Nightcap - Chateau D'Isaster Tapes  (50:28)
	01	First Post						01:54
	02	Animelee						01:40
	03	Tiger Toon						01:35
	04	Look At The Animals						05:09
	05	Law Of The Bungle						02:31
	06	Law Of The Bungle Part II						05:25
	07	Left Right						05:02
	08	Solitaire						01:25
	09	Critique Oblique						09:02
	10	Post Last						05:35
	11	Scenario						03:25
	12	Audition						02:33
	13	No Rehearsal						05:12
Nightcap (Disc 2) - Unreleased & Rare Tracks  (70:11)
	01	Paradise Steakhouse						04:01
	02	Sealion II						03:20
	03	Piece Of Cake						03:40
	04	Quartet						02:44
	05	Silver River Turning						04:51
	06	Crew Nights						04:33
	07	The Curse						03:38
	08	Rosa On The Factory Floor						04:38
	09	A Small Cigar						03:39
	10	Man Of Principle						03:57
	11	Commons Brawl						03:23
	12	No Step						03:38
	13	Drive On The Young Side Of Life						04:12
	14	I Don't Want To Be Me						03:29
	15	Broadford Bazzar						03:38
	16	Lights Out						05:16
	17	Truck Stop Runner						03:47
	18	Hard Liner						03:47

~ Nightcap ~


An introduction to "Nightcap"

In the wake of the '25th Anniversary Box Set' and the double CD 'The Anniversary Collection', Chrysalis came up with yet another but very special release of archive material: the double CD 'Nightcap'.

The first one, called 'My Round' caused great excitement among Tull-fans since it contained the previously unreleased tapes from the Chateau D'Herouville sessions of 1972. Only three songs were released earlier on the 20 Years Of Jethro Tull Box Set and two on the War Child album in 1974. These Chateau-tapes were believed to be missing, but Ian found them back after working his way through a large amount of old studio tapes. Most of the material was (re)mastered, but a few pieces were left out however, since Ian judged them being "simply wretched" (1).

The second CD, titled 'Your Round', contained previously unreleased studio tracks from 1974 to 1988, including material from the 'Rock Island' and 'Catfish Rising' sessions. It contains some of Anderson's finest songs, showing his versatility and craftmanship as both a songwriter and a musician in delightful pieces like 'A Small Cigar', 'Crew Nights', 'Commons Brawl' and 'Broadford Bazaar' and it makes one wonder why they were not released before. The price of this album was kept as low as possible and the songwriting royalties were donated to The Animal Health Trust and Balnair House, Home of Highland Music.




Annotations

My Round: The Chateau D'Isater Tapes

The Chateau D'Isaster Tapes

In August 1972 Jethro Tull went to France to record the follow-up to 'Thick As a Brick' at the Chateau D'Herouville studios. The backing tracks plus some overdubs for three sides of a double album were completed before Ian called the sessions off. Two songs, 'Solitaire' and 'Skating Away On the Thin Ice of the New Day', appeared two years later on the Warchild album. About 50 minutes of the so-called 'Chateau D'Isaster tapes' were released in 1993 on the 'Nightcap' album. Keep in mind the unfinished nature of this album as I discuss the songs. There is no way to tell how the album would have turned out had it been completed and released. David Rees states, that parts of the Chateau-tapes were unfinished: ".... he (Ian) set to work in the studio to present it almost as it was originally intended. A lot of the flute playing on the tracks is therefore of recent pedigree, but he decided against recording the missing vocal parts" (1). Finally, I m not convinced that the sequencing of the songs in 1993 is the same as it was envisioned in 1972.

The first song is 'First Post'. I interpret this to be equivalent to the starting post in a race, namely the rat race that is modern life. (Remember his comments about life in New York.)

'Animelee' follows. The title (the first 3 songs are instrumentals) suggests a fight between animals or at least a general sense of turmoil. Note that 'animals' and 'melee' are contracted in this title.

The last introductory song, 'Tiger Toon', brings in a specific animal, the tiger, known as a predator and makes reference to the cartoon suggesting the what follows is a caricature.

The first song with lyrics is 'Look at the Animals'. It lays out the order of the food chain in Anderson's world. Personification is rampant in the song. The animals wait in line on a stairwell to use the bathroom. But it seems here is the melee. The animals put chewing gum in each other's hair and swing from chandeliers. There are also further scatological and sexual references continuing the vulgarity of Anderson's lyrics. "The cat comes out to take a leak while the rest of the animals are treading in their elephantine stools." At one point the animals are playing with their tools. The analogy with people is emphasized when the narrator asks alternatively, "...how would you like to be one? , ....how would you like to free one" and "...how would you like to queer one?" The narrator seems to be demonstrating the baser elements of human nature and asking the listener if that is really how they want to be.

'Law of the Bungle', a song that was never completed, follows and reintroduces the tiger. He is king of the jungle and forces the other animals to submit to his will. The tiger in this case wears a suit and has business sense. Notice the use of the term bungle. Why not jungle? I think the reason is two-fold. One, it adds to the cartoonish, caricaturish nature of the lyrics. Secondly, it serves to point out that the business world is in some way inadequate or does its business clumsily.

After a six-song cycle which makes use of animals in the lyrics to satirize people, a second cycle begins. The theme shifts to Anderson's reaction to the scathing criticisms of the press that his music has elicited.
This cycle is started with the song 'Left Right'. Here is where I think the 1993 sequencing may have distorted what was planned in 1972. The song has no references to the rock critics that prevail in the next three songs: 'Solitaire', 'Critique Oblique' (and) 'Post Last'. In fact it introduces us to the idea of a play that is significant in the last three songs and on the next album. The song 'Left Right' introduces us to the"master playwright". Perhaps this is reference to human nature, perhaps to God, who later reappears in Scenario: "Then God, the director, smells a rat...". He urges you to play right/play wrong. I take this to mean that people can be both good and bad, being urged to make choices all the time. This idea is reiterated later in the song but now the narrator describes us as dancing around maypoles while the vicar toasts our pagan ceremony. It is not clear exactly what this means but I think it may have something to do with Christianity's adoption of pagan holidays as its own. (This very idea would be explicitly stated on the sleeve of their 1976 'Solstice Bells' EP.)

'Scenario' begins the third cycle which makes use of the metaphor of the passion play. In it Anderson mentions the age of man. In the song he says that before the beginning of this age, men lived peacefully but that at some point they were told that they have to learn to hate the things you fear. After this, a passion play begins. Men is left on his own now as God (or his belief in him) leaves: "Well, that's that, I'm going". In 'Audition' we see how fathers and sons are now at each other's throats. The play is modern life - life in modern, urban city where evryone of us has to sort everything out for himself.

"The actors milling helplessly---
The script is blowing out to sea
The lines you ll have to improvise
The words are written in the eyes
Of politicians who despise their fathers.
And so the play necessitates
That all you boys participate
In fierce competition to eliminate each other".

Once again recall Ian's comments about New York City. But the narrator intimates that these values are not innate. Society passes them down: "But what the hell, we didn't even pass an audition". This last cycle refers to god/God. Before the age of man when hate and fear did not prevail, man invented his own god that reflected his attitudes, as these verselines from 'Scenario' show:

"In long years of ancient time
Stood alone of friend of mine
Reflected by the ever-burning sigh
Of a god who happened by".

Recall that on the back of the Aqualung album cover, it said that Man invented God in His own image. So when the Age of Man begins, a new god is created. Compare the cynical contents in the last verse of Scenario to that the last verse of Audition: it seems that God after starting off all these passion plays He now is amused about what He sees and doesn't care at all:

"But God is laughing up his sleeve
as he pours himself a cup of tea,
and He waves good-bye yo you and me, at least for now".

I maintained that the songs on side 2 of Aqualung critique the wealthy's (mis)use of religion for their own ends. We see the same idea here. This is why I perceive the Passion Play here as being about modern, urban society. The rich run society by propping up their own god and imposing a system of competition which they know they'll be sucessful at. A swipe at capitalism perhaps? 'No Rehearsal' follows, taking the passion play from a different angle. We come into life with no script or experience and have to play our own passion play in a society that is obsessed with materialism. While we have to improvise and sort things out all by ourselves with all sails set, we are so obsessed with maintaining ourselves on 'life's stage', that we are not aware of the dead end street our society has run into. It will lead to disaster that surprises all of us:

"When the bomb that's in the dressing room
blows the windows from their frames".

The last verse satirizes the quality of this kind of life: it looks great from the outside, but a closer look will reveal its shortcomings, lack of sincerity and limitations:

"Well, the scenery is colourful, but the paint is so damn thin.
You see the wall behind is crumbling, and the stage door is bricked in".


The lyrics to the Chateau D' Isaster tapes are complicated and because the album was never finished and the originally intended sequence is not reconstructable, they lack a certain sense of cohesion. But the important idea here is to see that Ian Anderson continued his critique of modern, urban society. For the first time he puts forth the idea that modern man has lost something by abandoning the tradition of the past. He also mentions paganism and perhaps indirectly asserts it as being at least part of the tradition that has been lost and superceded by the rat-race of modern society. This specific theme will reappear and is gradually more worked out on the trilogy 'Songs From The Wood', 'Heavy Horses' and 'Stormwatch'.
As I said, the album was never completed and parts of the tapes were never released on record. One of them is a three minute segment of a take that was never finished and is by Tull-fan Sam Therouin called 'Sailor'. It definitely stems from the "Chateau D'isaster" tapes as it is crammed between the ending of Skating Away and the beginning of No Rehearsal. The lyrics as I understand them are:

"When the (cold, thin actor?) decides to take a look,
refers to the pages of his holy book,
sends the warm rain falling from the sky,
if you've never been a sailor better try
if you've never been a sailor you better try."
(The last phrase is repeated over and over again)

Sam Thirouin sent me his MP3 file of Sailor, which does take some time to download.
Another snippet of these tapes is 'Hard Hearted English General', that was played during concert from 1972 to 1975 as part of the encore. You'll find a MP3 of an audience recording here. (Thank you, Sam!).

Some musical ideas and bits of lyrics were recycled for the next album 'A Passion Play', or should we say that the tapes are 'A Passion Play' in its embryonic state? 'Solitaire', a response to a particular critic, dates back to the Chateau D' Isaster sessions, but was first released on the 'Warchild' album, as was 'Skating Away On The Thin Ice Of The New Day', that so unfortunately was not included in this album.
* John Benninghouse: "Songs From The Wood, the music and lyrics of Ian Anderson/Jethro Tull", 1994; additional research and corrections: Jan Voorbij; 1. David Rees: "Minstrels In The Gallery, A History Of Jethro Tull",1998.


I have my own toughts about the sequence Scenario - Audition - No Rehearsal. My picture of this is:
A) Scenario. This is what God started with as a manuscript and He saw the scenario like it's discribed here, then He tought that why tell man what he shall do, let him improvise. "The lines you'll have to improvise".
B) Audition. Then He has an audition and He let man compete to see who's the fitted to bee in the play. He's sitting and watch it and He sends away all that He don't want in His play: "and He waves goodbye to you and me at least for now."
C) No Rehearsal. Then the life of man begins and God is watching man ruins his life and turns everything into armageddon.
And God is back to scratch and begin a new scenario.
* Lars Fuglesang


Annotations

Your Round: Unreleased & Rare Tracks

Silver River Turning

Although 'Silver River Turning' was recorded during the Catfish Rising sessions of 1991, it would perfectly fit into the Rock Island songs (1989), taking in account its theme and athmosphere. At first sight the subject - like in many other songs - seems to be the effect of industrialization on the environment: "Where they built their industries on the edge of town, leaching chemicals from underground. Now it's true that silver river turning blue". But I take the ambivalent, mixed feelings the narrator experiences, when watching what has changed over the years ("silver river turning") in the small town where he was raised, as the true subject:
For in the first verse we see how (1) warm memories from his childhood come back, reminding him of growing up in a small, safe and secluded town with the silver river and its environment as playground: "through a child's eye saw places where I used to go". (2) That harmonious world has been lost, due to the industrialization (evoking melancholy?), (3) that on the one hand spoils the environment (regret, bitterness?), but on the other hand brings jobs for the people in the town (consent?). (4) He has to accept these changes: "Face reality and stare it down" (resignation?). (5) As there is no job for everyone, life has become though. Many are forced to leave finding a job elsewhere and those who stay have to face hard times:"Sometimes it's harder hanging on. Much easier to look around. But I need that job" (dispair?). (6) The narrator realises that he is one of them: the people in this town: "we're just small players here" ... "drinking poor man's beer" (a feeling of connection?). Not even the local tradition or folklore can 'chase away' (7) the feeling of alienation caused by this dilemma: choosing for industrialization and jobs or choosing for preservation of nature and poverty: "But there's no easy answer in the green man's song".
What Ian describes here is what has happened in many small towns in 'written off' parts of Scotland and Cornwall e.g. during the seventies and the Thatcher era. Note the double entendre in "the silver river turning blue". 'Blue' might refer to the pollution of the river and to a feeling of sadness about what has been lost.
* Jan Voorbij


Crew Nights

The song depicts the stressful and hazardous life on the road as led by the roadies, who have to make sure that everything works well and the band can make it's gig into a success. I take this song as a kind of tribute to 'the underrated, anonymous men in the background who make it all work'. The ingenuity of this song lies in the tempo and variety of images: both underline the fast lives roadies are living. Ian must have known by experience what he was talking about, for in the 'Production Manual' issued for the Broadsword tour, he describes how life was when the band couldn't afford a professional crew and "trundled up and down the motorways and trunk roads of Britain in a rusting Ford Transit van (...) with one roadie-cum-driver to aid and abet, we did a great deal of the humping ourselves, struggling manfully with 4x12 cabinets upstairs and down cellars and setting up and wiring everything in a blind panic before the doors opened".
* Jan Voorbij
"Crew nights, no bar fights or 'Reader's Wives'...". 'Reader's Wives' is a porn magazine, the sort of thing roadies might 'read' on tour, being away from their wives and girlfriends. There is no need for porn magazines on this occcasion, since there are real women around!
* Neil R.. Thomason

The Curse

In "The Curse", Ian sings "Went down to the local disco, In what used to be the one-and-nines...". The "one-and-nines" referred to are the cheap front seats in a UK cinema, referred to in pre-decimal UK currency, which was introduced in 1971. They invariably cost one (shilling) and nine (pence). In the 1970's a lot of cinemas in the UK closed down and were turned into discos, bingo halls and the like. Another similar reference is to be found in "Taxi Grab", with the line "Teatime calls, the bingo halls, Open at seven in the old front stalls".
* March the Mad Scientist

A Small Cigar

Particularly in the early 1970's, many people assumed Ian was a regular user of 'mind-expanding' drugs. As he said in an article he wrote for Trouser Press Magazine, in October 1982: "Of course, people who saw me jumping about on-stage thought I was taking every drug under the sun. No matter how many times I would say politely, "No, thank you, I would not like a joint ", they'd say, "Aw, C'MON, man, HEY... " Rather than be rude or get angry bottled it up, all these feelings of growing up among a generation I felt I didn't belong with surfaced on Benefit". This attitude to drugs is apparent in the second verse of 'A Small Cigar':
"If you ask me they're on their way
to upper-middle-class oblivion.
The stupid twits, they roll their only one cigarette between them".
The other people at the party are sharing a joint:
"My small cigar's redundant now
in the haze of smoking pleasure.
Call it a day, Get the hell away".
The smell of cannabis fills the room, so Ian leaves early:
"Go down the cafe, For a cup of real tea."
'Tea' being a slang term for cannabis, of course, as distinct from 'real' tea, the drink!
* Neil R. Thomason

Commons Brawl

The UK Parliament is split into two 'houses': the House of Commons and the House of Lords. The House of Commons consists of 540 democratically elected members from constituencies in England and Northern Ireland. The House of Lords is an unelected group of both hereditary peers (those members of the aristocracy who have inherited their title by accident of birth) and lifetime peers (those who have been granted a position in the Lords by the Prime Minister of the day). Legislation is made by the House of Commons. However, before it can become law, it must be passed to the House of Lords. Therefore it is the undemocratic House which has the final powers to either pass or amend or reject UK legislation. At the present moment (1999) the ruling Labour Party are seeking to abolish the House of Lords . . . so this aristocratic anachronism may soon be a thing of the past.

"All right and honourable gentlemen, and lady too...". The lady in question would be Margaret Thatcher, Prime Minister from 1979 - 1991. Her government was much prone to division, particularly over the matter of Europe. "One member": 'Member' as in MP (Member of Parliament).
"Let's serve this brief": I'm not sure 'brief' is the word commonly used in Parliament; it's usually a 'bill'. But the idea is the same, i.e.a preliminary draft of proposed legislation to be put before Parliament.
"... poor Guy went to the wall ..." stands for Guy Fawkes was born in York in 1570. His parents were Protestant, but Guy became a zealous Catholic in his late teens, and went on to serve in the Spanish army in the Netherlands from 1593 to 1604. Along with eight others, Guy was a conspirator in the 'Gunpowder Plot', their intention being to blow up the House of Lords and King James I in one fell swoop at the opening of parliament on 5th Nov 1605. On the 4th November the plot was discovered, and Guy Fawkes was hanged for treason on 31st January 1606.
*Andy Jackson
": as the party firmly did divide". When there's a formal vote in the Commons, the Division Bell (c.f. Pink Floyd's 1994 album!) is rung, and the MPs file into the division lobbies (i.e. a 'yes' lobby, and a 'no' lobby), where they're counted and the vote decided. The Party authorities try hard to make all their MPs vote the same way on key issues, so when MPs don't enter the division lobby the Party wants them to, it's quite a major issue, certainly newsworthy. There's a key point about all this that particularly reinforces the theme of the song. When an MP 'rebels', and votes the 'wrong' way, the focus of the newspaper reports is that the MP disobeyed his/her leader - the procedures and conventions of the Commons overshadow the actual subject of what the vote was about, which should really be the central issue.
* Neil Thomason

Broadford Bazaar

Broadford is a small town on Skye, with a ferry terminal (presumably the one mentioned in 'Ears Of Tin' ). It's quite a chaotic place, with tourists wandering about, locals getting on with their daily business, and far more traffic than the road system was designed to cope with. Hence the image of a bustling Middle Eastern bazaar. In addition to the usual shops of any Scottish market town, there are plenty of gift shops and opportunities to separate tourists from their money. It's the nearest town to Ian's old estate at Strathaird. The implication of the song is that there's a market in Broadford - not just livestock, groceries and souvenirs, but homes, jobs, heritage and land - everything is for sale.
"Dirty white caravans down narrow roads sailing.
Vivas, Cortinas, weaving in their wake."
The song begins with the image of holidaymakers driving around Skye, towing caravans. The Vauxhall Viva and Ford Cortina were models of cars common in Britain in 1978. More to the point, they were family-saloon type cars, ill-suited to the narrow rural roads of Skye.
"With hot, red-faced drivers, horns' flattened fifths wailing,
Putting trust in blind corners as they overtake".
The drivers are struggling to manoeuvre their unwieldy vehicles on the narrow, twisting minor roads, complicating matters by their arrogance and poor knowledge of the roads. A situation I've frequently seen in rural Wales is where a queue of traffic builds up behind a tractor or slow-moving car towing a caravan. Invariably, someone gets impatient and attempts to overtake. However, the road is also invariably inappropriate for overtaking - blind corners, the brows of hills, etc. suspect Ian had frequently turned a corner to be confronted by a tourist hurtling towards him on the wrong side of the road!
"And it's "All come willing now,
Spend a shilling now,
Stack up the back of your new motorcar."
There's home-dyed woollens, and wee plastic Cuillins.
The day of the Broadford Bazaar".
The Cuillins are the mountains of Skye. I presume the 'wee (small) plastic' ones are snowglobes, keyrings, and other tourist mechandise. The home-dyed woollens are probably made in Taiwan, too. Incidentally, the British shilling became obsolete in 1971, but the word was still used colloquially to mean five pence. doubt he meant specifically spend 5p, just "give us your money !"
"Out of the north, no oil-rigs are drifting.
And jobs for the many are down to the few.
Blue-bottle choppers, they visit no longer.
Like flies to the jam pots, they were just passing through."
The deep waters around Skye were used as a construction site for oil platforms, subsequently towed out to the North Sea oilfields - they weren't drilling for oil around Skye! By 1978, development in the oilfields had reached its peak, so few new offshore platforms were required. The construction side of the industry therefore declined and withdrew from Skye:
"Where once stood oil-rigs so phallic
There's only swear-words in Gaelic
To say at the Broadford Bazaar".
"All kinds of people come down for the opening
Crofters and cottars, white settlers galore".
A croft is simply a small farm, the traditional unit of agriculture in the Scottish Highlands. 'Cottier' is the Irish version, with different implications in law. A cottar is a Scottish peasant occupying a cottage in exchange for labour; i.e. an agricultural worker who gets a cottage as part of his employment - his employer owns the cottage, and if the worker leaves his job, he has to vacate the cottage. A cottier is an Irish tenant holding land as the highest bidder. As understand it, residence is for a fixed period, then the bidding process is repeated, for the tenant to renew the lease or for someone else to take over the tenancy. However, I suspect Ian was thinking of cottierism in this case, where rich outsiders are able to outbid the poorer locals, so the Skye locals become displaced from their own homes. "'White settlers" is a term evoking colonialism in Britain's imperialist past, where British people moved to live in foreign countries, particularly India and South Africa, generally taking the best properties and reorganising social life to their preferences. In this case, it's outsiders taking over the small Skye communities.
"And up on the hill, there's an old sheep that's dying,
But it had two new lambs born just a fortnight before".
A hopeful metaphor - the old agricultural economy may be declining on Skye, but newer variants, better adapted to modern life, are evolving within the community. Several crofters have managed to keep the ir livelihoods by farming part-time, and doing other work from home - with a phone, fax and computer with e-mail, Broadford might as well be Bradford, Boston or Beijing. And there's always fish farming...
"We'll take pounds, francs and dollars from the well-heeled,
And stamps from the Green Shield".
Green Shield stamps: a system whereby people could save money a little at a time, to spend on groceries, etc.; a way of spreading everyday expenses. Also mentioned in Genesis' "Selling England By The Pound" (1973). Note that this was a saving scheme, not US-style Food Stamps. The hypothetical shopkeepers in the song will happily charge premium prices to foreign (including English!) tourists, but will support poorer locals by accepting the trading stamps instead of cash.
* Neil R. Thomason






Jethro Tull
Nightcap
Chrysalis (724382815723)
UK 1996


conrad

Giving in to die-hard Jethro Tull fans, Ian Anderson agreed to release what he calls a "bottom drawer collection" of previously unreleased pieces under the title of Nightcap. Given that many of these songs were not released on earlier Tull albums on the grounds of quality, the question that has to be asked is, "Do these songs deserve to see the light of day?" The answer for Disc 1 is a resounding yes, and for Disc 2 a reluctant no.
Disc 1 is referred to as "The Chateau D'Isaster Tapes". It was recorded while Jethro Tull were in "tax exile" in France. The recording was never completed, but much of the material went on to be integrated into A Passion Play. The surprise here is that the recordings made in France make a better album than A Passion Play, although they are somewhat less cohesive. There are a couple of real gems in here, such as "Law of the Bungle" with its portrait of the tiger as a dapper, refined killer. The more familiar tracks also often sound better that their equivalent on A Passion Play.

Disc 2 contains little of note. Most of the best material which had been passed over at first had since been released. "Paradise Steakhouse" is a respectable song, and "Broadford Bazaar" has a lovely chorus; aside from those, the only track that stands out for me is "A Small Cigar". Despite the fact that this one strikes me as one of Anderson's least serious songs, it's a good analogy for Jethro Tull's status in the nineties - a once popular novelty has since worn out its welcome, and yet still manages to bring joy to a disenfranchised few. Although most of the songs are at least tolerable, there are also a few banal nasties such as "Piece of Cake", which sound like it missed the cut for Catfish Rising for good reason.

For those fans who like Tull during their Passion Play era and wish to hear an improved version of their controversial classic, this album is a must. Just don't expect to find much of value on the second disc.

5-8-03







============

First Post [Instrumental]
Animelee [Instrumental]
Tiger Toon [Instrumental]
Look At The Animals
The tiny ant leaves his tiny ant drops in the sand,
And makes his home inside a rusty watering can,
Occasionally going out to look for bread and jam.

He runs into a sparrow who hasn't eaten for a week,
And later, quite contented, the sparrow cleans his beak,
Failing to notice pussy cat has come out to take a leak.
Our cat partakes of dinner when a sudden kangaroo
Emerges from the undergrowth and asks to use the loo.
Kangaroos aren't usually dangerous, for that would never do.
My goodness, will you look at all the animals queuing on the stairs!
Look at the animals in the zoo; how would you like to be one?
They're waiting to use the lavatory and putting chewing gum in each other's hair.
Look at the animals, look at you; well how would you like to free one?
Good gracious, will you look at all the animals playing with their tools!
Look at the animals, look at you; well how would you like to queer one?
Flying from the chandeliers and treading in their elephantine stools.
Look at the animals, two by two; aren't you glad to be one?
This kangaroo's a lunatic and his pouch is very full
Of pussy cats and penguins who can't fly as a rule,

But then neither could the pussy cat: he never went to school.
The kangaroo gets nervous when confronted by the size
Of an elephant named Simon who is always telling lies;
He swears he wears green corduroys and can button up his fly.
Presently, a fatter Simon's indigestion fails.
He regurgitates the whole damn mess into an aluminum pail,
And the tiny ant scuttles back inside his watering can
Occasionally going out to look for bread and jam.
(Woof, woof, woof)

Law of the Bungle
The tiger flashes sharpened teeth.
Bowler-hatted; summer briefs beneath his pinstriped skin.
To kill demands a business sense;
Economy moves non-residence approaching from down-wind.
Being a tiger means you laugh
Whenever lesser tigers have to eat meat that's infected.
Being a tiger means your mate
When overfed will defecate in places least expected.

Knowing a tiger means you must
Accept his promise of mutual trust
And offer him your throat.

Loving a tiger means you take second place to the cake you bake
(Spoken:) and with undying servile obedience keep the stiffly starched
collar of his conference shirt spotless and remove daily the daubed bloody
evidence of his dastardly misdeeds from the otherwise immaculate elegance
of his pinstripe tiger coat.
Period.

Law Of The Bungle Part II [Instrumental]
(Spoken:)
"Hello. This is 'Law of the Bungle Part II'. By the way, I'm Martin Barre; but
sometimes I'm an owl, and my feathers are really smooth,
and when I feel romantic I like to dress up in men's clothing.''

Left Right
The master playwright
urges you to play right/play wrong;
life is long and every night's the first night.

The wardrobe mistress
urges you to dress left/dress right;
what a mess, well, your underpants are too tight.

Who's on the stage door
to help you find the way in/way out?
It's not a sin to be knowing that you don't know.

When you breathe your last line
will you make your exit stage left/stage right?
Well, you might decide while there's still time.

You have an angel on your shoulder
but you wear the old god's horns.
And you dance around the maypole
while the vicar makes a toast
to the pagan celebration
and extends an invitation to us all
so he can save us when we fall.

Who's your leading lady?
Will you help to get her off the bus? It's best
to pass the test before you get too lazy.

Strike up the orchestra.
Take your cues on the up-beat/Beat down
Anyone who says he doesn't like the sound.

Solitaire
Brain-storming, habit-forming, battle-warning weary winsome actor spewing spineless
chilling lines.
The critics falling over to tell themselves he's boring and really not an awful lot of fun.
Well who the hell can he be when he's never had V.D., and he doesn't even sit on
toilet seats?
Court-jesting, never-resting he must be very cunning to assume an air of dignity and
bless us all with his oratory prowess,
his lame-brained antics and his jumping in the air.
And every night his act's the same and so it must be all a game of chess he's playing,
but you're wrong, Steve. You see, it's only solitaire.

Critique Oblique
Critic of the black and white it's your first night.
The Passion Play gets in the way - spoils your insight.
Tell me how the baby's made, how the lady's laid,
Why the old dogs howl with sadness.

(Spoken:)
The blue thing in the ball leaves naught but a bloody footprint on the memory
of last summer's trip to Europe.
Did you buy a passport from the queen?
(Spoken:)
And your little sister's immaculate virginity wings away on the bony shoulder
of a young horse named George who stole surreptitiously into her geography
revision.
The examining body examined her body.

Post Last
(One two three two)
The editor lies screaming (baking in his waking dream),
Questioning "Who is God's favorite rock star this week?''
And will the front page pay take him?
The deadline for the headline is the breadline.

Scenario
In long years of ancient time, stood alone a friend of mine.
Reflected by the ever-burning sigh of a god who happened by.
And in the dawn, there came the song of some sweet lady singing in his ear.
Your god has gone, and from now on, you'll have to learn to hate the things you fear.
We want to know, are we inside the womb
of passion plays, and by righteousness consumed?
Or just in lush contentment of our souls?
And so began the age of man.
They left his body in the sand.

Their glasses raised to a god on high who smiled upon them from the sky.
So take the stage. Spin down the ages. Loose the passion. Spill the rage upon your son
who holds the gun up to your head -
the play's begun.

Audition
Then God, the director, smells a rat.
Pulls another rabbit from His hat.
Sniffs the air and He says, "Well, that's that I'm going.''

The actors milling helplessly the script is blowing out to sea.
But what the hell, we didn't even pass an audition.
The lines you'll have to improvise.
The words are written in the eyes of politicians who despise their fathers.
And so the play necessitates that all you boys participate
in fierce competition to eliminate each other.

And groupies, on their way to war, get to write the next film score.
But the rock and roll star knows his glory is really nothing.
Men of religion, on the make, pledge an oath they undertake
to make you white for God's own sake, and none other.
While ladies get their bedding done to win themselves a bouncing son,
but bad girls do it for the fun of just being.
And me, I'm here to sing along,
and I'm not concerned with righting wrongs,
just asking questions that belong without an answer.
But God is laughing up his sleeve
as He pours himself another cup of tea,
and He waves goodbye to you and me,
at least for now.

No Rehearsal
Did you learn your lines today? Well, there is no rehearsal.
The tickets have all been sold for tomorrow's matinee.
There's a telegram from the writer, but there is no rehearsal.
The electrician has been told to make the spotlights brighter.
There's one seat in the circle, five hundred million in the stalls.
Simply everyone will be there, but the safety curtain falls
When the bomb that's in the dressing room
blows the windows from their frames.
And the prompter in his corner is sorry that he came.

(Spoken:)
There's one seat in the circle, five hundred million in the stalls.
Simply everyone will be there, but the safety curtain falls
When the bomb that's in the dressing room
blows the windows from their frames.
And the prompter in his corner is sorry that he came.

When the bomb that's in the dressing room
blows the windows from their frames.
And the prompter in his corner is sorry that he came.

Did you learn your lines today? Well there is no rehearsal.
The interval will last until the ice-cream lady melts away.
The twelve piece orchestra are here, but there is no rehearsal.
The first violinist's hands are chilled he's gone deaf in both ears.
Well, the scenery is colourful, but the paint is so damn thin.
You see the wall behind is crumbling, and the stage door is bricked-in.
But the audience keep arriving`till they're standing in the wings.
And we take the final curtain call, and the ceiling crashes in.




2. Your Round:
Unreleased & Rare Tracks
Paradise Steakhouse
I'd like to take you to the edge of every morning
on a magic eiderdown to a window chair.
In the Paradise Steakhouse where there's a cup of silver coffee,
steaming chrome reflections from the mist in your hair.

Try not to watch me (Try not to watch me)
Just call me after darkfall (Call me after darkfall)
I'll bring a whip to sow, my seed on your land.
In the Paradise Steakhouse there's a cup of silver coffee

A sheath of steel so you may hold my sword in your hand
I'll cut you, divide you into tender pieces
No wings to fly away upon my dear.

In the Paradise Steakhouse on a plate upon a table
I will carve your name with care to last the years.

I'd like to eat you (I'd like to eat you)
All fire will consume you (Fire will consume you)
Roast on the spit of love on this arrow true.
In the Paradise Steakhouse I'll taste every finger
Baking in the ashes 'til the flames rise anew

I'd like to take you to the edge of every morning
On a magic eiderdown to a window chair.
In the Paradise Steakhouse where there's a cup of silver coffee,
steaming chrome reflections from the mist in your hair.

Sealion II
Would you like to see my lion, my friend Cecil is damp and smooth
A damp smooth sea lion, yes, Cecil is a sea lion.
(Cecil is a sea lion)
(Cecil is a sea lion)
(Cecil is a sea lion)

Cecil is a clever sea lion, Cecil sometimes swims
And often sits (And balances multicolored striped balls?)
Yes, balances multicolored striped balls, Clever Cecil
(Cecil is a sea lion) (Cecil is a sea lion)
(Cecil is a sea lion) (Cecil is a sea lion)
(Cecil is a sea lion) (Cecil is a sea lion)

Cecil the sea lion is serene, he doesn't wear spectacles or a scarf
(No central heating or cement) Well, the whole ocean is Cecil's home
(Cecil is a sea lion) (Cecil is a sea lion)
(Cecil is a sea lion) (Cecil is a sea lion)

Piece Of Cake
Come running. Go for overkill. If you don't come now,
I'll be over the hill, all right?
Tell me, "All right.''
Got a sell-by date. Soon be out of stock.
Pop me in your trolley you can start my clock. Well, all right?

Tell me, "All right.''
I could be on your shelf, could be the risk you take.
I'm a cup of hot coffee, I'm a piece of cake.
Piece of cake.

I'm the hot chicken in your superstore.
You can take me home if you can take some more, Well, all right?
Tell me, "All right.''
I could be on your shelf, could be the bread you bake.
I can fill your larder, I'm a piece of cake.
Piece of cake.

Show me rosemary, I'll show her wild thyme.
See you at the checkout or on the credit line. Well, all right?
Tell me, "All right.''
I'm your spicy filling, I'm your low-fat spread.
I'll be your smooth rubber, be your pencil lead, All right?
Tell me, "All right.''
If you set me to simmer, if you grill my steak
you can bowl me over, I'm a piece of cake.
Piece of cake.

Quartet [Instrumental]
Silver River Turning
I walked down that boulder road,
through a child's eye saw places where I used to go.
Where I crawled barefoot with a fishing pole
to the rock that overlooked that steelhead hole,
but it's true silver river turning blue.

It was a small town in a smaller world.
Just a black dot on an old map with its edges curled.
Where they built their industries on the edge of town,
leaching chemicals from underground.
Now it's true that silver river turning blue.

Just got a late reaction. Face reality and stare it down.
Sometimes it's harder hanging on. Much easier to look around.
But I need that job.
Well, this place is no city: we're just small players here.
Like a million other heroes drinking poor man's beer.
We know what's right. We're just living it wrong.

But there's no easy answer in the green man's song.
What do you do? When your river's turning blue.

I walked down that boulder road,
through a child's eye saw places where I used to go.
Where I crawled barefoot with a fishing pole
to the rock that overlooked that steelhead hole,
but it's true silver river turning blue.

Just got a late reaction. Face reality and stare it down.
Sometimes it's harder hanging on. Much easier to look around.
But I need that job.

Crew Nights
Tearing down in double quick time to get the "A" truck shifted 'bout midnight.
The locker rooms are empty but the strobo tuners still spin with their pitching lights
And someone with a yellow pass gives out precise directions as to where and when.
And earmarked with a drumstick, young girls set to rendezvous, and be recognized again.
Tomorrow is an off-day, be in Baltimore by Thursday is the only law.
There's a suite down at the hotel reserved for making merry with connecting doors.
The lighting man's already improvised a bar and printed invitations to the ball.
Off-duty cops line corridors wearing tour T-shirts proudly and the band may even call.
Crew nights, no flashlights or folding knives,
Best boots and road suits and nine lives.

Feeling that it might be wrong to temporarily belong to the P.A. man.
Some angel from the midwest is regretting being undressed with no suntan.
His polaroid a-snapping, the head carpenter is rapping on the gates of dawn.
Sitting lonely with a warm beer the girl with dental braces wishes that she hadn't gone.
Crew nights, no bar fights or 'Reader's Wives',
Thin walls and late calls and nine lives.
Crew nights, no flashlights or folding knives,
Best boots and road suits and nine lives.

The Curse
Young Gladys was a silky maiden
at thirteen, she was going strong, yeah.
Oh, Gladys.

Nicely filled out, fully laden,
but down below there was something wrong, yeah.
Oh, Gladys.

Nobody told her about the secrets, that ladies have to hide
Mom had no words to describe the things, that happened inside.
Need someone to help me, I feel that there's a curse on me, oh.
Went down into the local disco,
For what used to be the one-and-nines, yeah,
Oh Gladys.

Felt a searching hand to frisk her,
Along the length of her water line, yeah,
Oh Gladys.

Now Gladys knew she was in no condition, in no mood to play
I cracked a knee in a soft spot, nothing had got in her way.
I want no one to touch me, I feel there's a curse on me, oh.
Directed down to the local drugstore
Got fixed up, now she's doing fine, yeah
Oh Gladys

Equipped with various kinds of apparatus
You know the feminine hygiene kind, yeah
Oh Gladys

Must have been a man to do this thing who won her fall from grace
That day he programmed Eve, you should have seen the smile on his face.
He said "You'll need someone to help you
When you feel like cursing me'', oh.

Rosa On The Factory Floor
She moves with machinery for the fancy sports car trade.
Part of the industrial process: she sees that they stay made.
She works from early A.M.. They work her to the bone.
When I call her in the evening, she's too tired to lift the phone.
Damned if I'll wait for her, and I'll be damned if I don't.
Damned if I only see that Rosa on the factory floor.

Signed on for the duration. They say she came from the East.
With her tool bag and her coveralls, to pay the rent at least.
She doesn't talk with workers on the rest of the line
and over in the canteen, she's alone most of the time.

Somewhere in her history is a lock without a key.
She doesn't trust the management and she won't trust me.
We're two different animals. We live jungles apart.
She circles round her freedom and I circle round her heart.
Oh, Rosa, oh, Rosa.
She moves with machinery for the fancy sports car trade.
Part of the industrial process: she sees that they stay made.
She works from early A.M.. They work her to the bone.
When I call her in the evening, she's too tired to lift the phone.
Damned if I'll wait for her, and I'll be damned if I don't.
Damned if I only see that Rosa on the factory floor.
Damned if I'll wait for her, and I'll be damned if I don't.
Damned if I only see that Rosa on the factory floor.
Oh, Rosa on the factory floor.
Oh, Rosa on the factory floor.
Oh, Rosa on the factory floor.
[Hey, Santa, pass us that bottle, will y....- oh, no, we've done that.]

A Small Cigar
A small cigar can change the world,
I know, I've done it frequently at parties
where I've won all the guests' attention
with my generosity and suave gentlemanly bearing.
A little flat tin case is all you need
breast-pocket conversation opener
and one of those ciggie lighters that look rather good
you can throw away when empty.
Must be declared a great success
My small cigars all vanish within minutes.

Excuse me, mine host, that I may visit a nearby tobacconist
to replenish my supply of small cigars and make the party swing again.
I know my clothes seem shabby
and don't fit this Hampstead soiree,
where unread copies of Rolling Stone,
well-thumbed Playboys
decorate the hi-fi stereo record shelves.
If you ask me they're on their way
to upper-middle-class oblivion.
The stupid twits, they roll their only
one cigarette between them.
My small cigar's redundant now
in the haze of smoking pleasure.
Call it a day,
Get the hell away,
Go down the cafe
For a cup of real tea.

By the tube station, there's a drunk old fool
who sells papers in the rush hour.
I hand to him ten small cigars.
He smiles, says, "Son, God bless you''.
A small cigar
Has changed his world, my friend
A small cigar
Has changed the world again

A small cigar, a small cigar,
a small cigar, a small cigar
a small cigar.

Man Of Principle
One day he'll walk from out of this place.
You'll see a quiet determination on his face.
He'll toe no lines. Suffer no fools.
But he'll raise three cheers to the losing team from the other school.
A little dedication. A little pair of daddy's shoes to fill.
Compleat education. One day he'll be a man of principle.

And the battle's on. And he'll play to win.
Feel the blue blood rushing quick beneath his skin.
And grim they stand. And hard they fall.
Harder still, when their backs are up against the wall.
Gonna get your attention. But he's carrying his cross to the other hill.
With divine intervention, he can be a man of principle.

In the evening light, with a fair-ground girl
he stops himself as his head begins to whirl.
And he walks her home. And there's a kiss goodbye.
She feels a chill as she looks him in the eye.
Well, there's a time and a place now and it's not tonight she'll bend his will.
Slow realization she's looking at a man of principle.

Hung from the highest station by his old school tie undressed to kill
He could be a real sensation. But he's a man of principle.
A little dedication. A little pair of daddy's shoes to fill.
Compleat education. One day he'll be a man of principle.
Gonna get your attention. But he's carrying his cross to the other hill.
With divine intervention, he can be a man of principle.





2. Your Round: Unreleased & Rare Tracks
Commons Brawl
All right and honorable gentlemen and lady too,
will kindly try to restrain themselves in derring-do
As verbal hard graffiti flies and echoes wall to wall
Our precious model of democracy,
it's the House of Commons brawl

One member from some dark mill town furious did cry,
as spittle frothed on folded chin to damn the lie.
Let's serve this brief amid the rush of boos and loud catcalls
Let's finish this right here and now
at the House of Commons brawl

Kick, punch went the government
as with jackets off they charged heaven-bent.
Scratch, gouge went the other side
as the party firmly did divide.

Another day in the lives of those who would guide us through,
it follows perhaps that we should by their example do,
but there again I think for less poor Guy went to the wall.
The wrong house but the right idea
to end the Commons brawl.

No Step
I looked out of my window, saw stencilled black,
No step. No step.
There were nervous mothers with children crying in the back.
No step. No step.
Someone bought me my ticket, now I'm on the wing.
Hope my angels are watching me, do I hear them sing?
No step. No step.
Those afterburners cut in and kicked us high.
No step. No step.
The thin air shimmered, the sun cut through and burned my eye.
No step. No step.
Someone bought me my ticket, now I'm on the wing.
Hope my angels are watching me, do I hear them sing?

No step. No step No step. No step No step. No step No step.
Give me a jet stream schooner or a crew-lagged goose.
No step. No step.
I'm a clear-air jockey when they turn me loose
No step. No step.
Someone bought me my ticket to the captain's seat.
Will the shakes soon leave me, will I find my feet?
No step. No step. No step. No step. No step.

Drive On The Young Side Of Life
Your mother she protected you
And softened every blow
And brought you up to fear the worst
To be careful as you go.

And the learned educators
With dripfeed facts did fill
You up to here with reason
Well-meaning overkill.

If you find yourself a-growing
to be old before your time,
Get off the endless corridor
Set your soul out on the line.

Drive on the young side of life
Drive on the young side of life
Drive on the young side of life

When the pressure pains are building
And you're forced to join the crush
In the race to mediocrity
So respectable and plush.

And while the child within is raging
And threatens to break out,
Get off the endless corridor
Make a timely turnabout.

Drive on the young side of life,
Drive on the young side of life,
Drive on the young side of life.
Drive on the young side of life,

Drive on the young side of life,
Drive on the young side of life.

Drive on the young side of life,
Drive on the young side of life.

I Don't Want to Be Me
Got a grand house out in the country.
Marble pillars holding the door.
Empty bottles lining the wall from the night before.
Got a Roller out in the garage.
But the wheels are stuck to the floor.
Got no reason to go anywhere, no friends call anymore.
I don't want to be me, I don't want to be me,
I know it's hard to see, but I don't want to be me.

Had me playing down at the palace.
I was declared the belle of the ball.
Made the boys take my goods and chattels away,
now I'm staring at an empty hall.
I don't want to be me, I don't want to be me,
I know it's hard to see, but I don't want to be me.

Pardon me I'm on my way.
Pardon me but I'm going.
Taking on the simple life and I feel the grass roots growing.
I'm going to ride the ragged road,
diamond spurs jangling into the sunset.
No circuits running overload Well maybe I'm not done yet.

Now there's nothing left in the cupboard
and three bears' been eating my soup.
My life is one big critical mess if you take a look.
And the butler's off in Ibiza on expense account gone berserk.
But I can't check out of this crazy world
without being a jerk I don't want to be me.
I don't want to be me, I know it's hard to see, but I don't want to be me.

Pardon me I'm on my way.
Pardon me but I'm going.
Taking on the simple life and I feel the grass roots growing.
I'm going to ride the ragged road,
diamond spurs jangling into the sunset.
No circuits running overload Well maybe I'm not done yet.
No maybe I'm not done yet.

Broadford Bazaar
Dirty white caravans down narrow roads sailing.
Vivas, Cortinas, weaving in their wake.
With hot, red-faced drivers, horns' flattened fifths wailing,
Putting trust in blind corners as they overtake.
And it's "All come willing now,
Spend a shilling now,
Stack up the back of your new motor-car.''
There's home-dyed woolens, and wee plastic Cuillins
The day of the Broadford Bazaar.

Out of the north, no oil-rigs are drifting.
And jobs for the many are down to the few.
Blue-bottle choppers, they visit no longer.
Like flies to the jampots, they were just passing through.

And it's "All come willing now,
Spend a shilling now,
Stack up the back of your new motor-car''
Where once stood oil-rigs so phallic
There's only swear-words in Gaelic
To say at the Broadford bazaar.

All kinds of people come down for the opening.
Crofters and cottars, white settlers galore.
And up on the hill, there's an old sheep that's dying,
But it had two new lambs born just a fortnight before.

And it's "All come willing now,
Spend a shilling now,
Stack up the back of your new motor-car.''
We'll take pounds, francs and dollars from the well-heeled,
And stamps from the Green Shield.
The day of the Broadford Bazaar.

Lights Out
Last light's out. They're all abed
And something's in my room,
Creeping down towards me on the wall.
Daddy said it's just some flickering headlight through the gloom,

Making shapes through trees outside the hall.
But what the hell does he know?
He doesn't feel the dread
The cold restricting terror in the dark.
I've seen that silhouette before
Something the newsman said

Something about some monster in the park
It's you, you're the man on the TV screen.
It's you front page face of the dead.
Locked up in the light of day
At night come out to play
To terrorize me there above my bed.

The air is still and heavy now,
There's thunder in the sky.
He's dreaming up some message he can send.
I'm scared completely helpless
and I think I'm going to cry.
Are grownups brave or do they just pretend?

His face is growing clearer.
I can see his eyes glow red.
My teddy bear's the only friend I can feel.
The shadow's hand slips down the wall
And touches teddy's head
I now suspect that shadow will touch me.

It's you, you're the man on the TV screen.
It's you front page face of the dead.
Locked up in the light of day
At night come out to play
To terrorize me there above my bed.

It's you, you're the man on the TV screen.
It's you front page face of the dead.
Locked up in the light of day
At night come out to play
To terrorize me there above my bed.

Truck Stop Runner
Stopped off on a long drive.
Down from the high country.
Spent a long time sitting here,

Long time counting hot miles.
Ohh, oh I'd like a cup of black coffee and a piece of sweet cake.
But the girl in the print dress doesn't want my money she won't take it: she says
Oh she says.
Oh she says I just know you're a Leo,
I can tell you've got a lion's heart.

She went on in this way for a while,
Like some 60's sister playing a part.
Oh this cup of black coffee gonna do me just fine.
Through the dust in the mirror tiles I can see that door, Keep it close behind.

Oh she says.
She says, come on over to my house,
make a journey here sometime.
You know there's a party going on,
a ladder in my stocking you can climb,
There's a ladder you can climb.

Oh she looked so liberated.
She was looking fit to start.
She got this back to front and sideways,
wore her sleeve upon her heart.
Ohhh, oh, just one more coffee's 'bout all I can take.
Have to do a truck stop runner now.
I'm not man enough to make it,
She says. She says.

Oh she says.
She says, come on over to my house,
make a journey here sometime.
You know there's a party going on,
a ladder in my stocking you can climb,
There's a ladder you can climb.

Stopped off on a long drive.
Down from the high country.
Spent a long time sitting here,
Long time counting hot miles.
Ohh, oh I'd like a cup of black coffee and a piece of sweet cake.
But the girl in the print dress doesn't want my money
she won't take it: she says

Oh she says.
She says, come on over to my house,
make a journey here sometime.

Kick off those tired sports shoes
got a ladder in my stocking you can climb,
There's a ladder you can climb.

Truck stop runner.
I'll be a truck stop runner.
Truck stop runner.
Truck stop runner.

Hard Liner
Hard liner,
she brings ice when I bring fire.
She's a hard liner.
Tightrope cross Niagara. She'd cut the wire.
Never feel a thing.
Walked the sidewalk of another strange avenue.
Kicked my heels and wished my feet were in some other shoes.
But I'm not running
from that hard liner.

Well she brings ice when I bring fire.
She's a real hard liner.
How does she retain my heart's desire?
It's a funny thing.
Knows what she wants, knows how to get it, too.
Scares me with cold logic, scares me with the witch's brew.
But I keep on drinking.
Hard liner.

Hard liner.
I'm framed and I'm hanging on the wall.
She's a hard liner.
I'm like some big game trophy hat-stand in the hall.
But I remember warm and loving nights.
Pier-head restaurants,
Swaying mast-head lights
It's a funny thing.
Hard liner.
Yeah, she brings ice when I bring fire.
Hard liner.
Tightrope 'cross Niagara, don't cut my wire.
Hard liner, hard, hard liner.
She brings sun when I bring rain.
She's a real hard liner.

Yeah, we've got it all crossed up again.
Hard liner. Hard liner.
Now I don't think we can stay in the same town.







Sailor (unreleased)

When the holy (........) decides to take a look,
refers to the pages of his holy book,
sends the warm rain falling from the sky,
if you've never been a sailor better try
if you've never been a sailor better try
if you've never been a sailor better try
if you've never been a sailor better try
if you've never been a sailor better try
if you've never been a sailor better try
if you've never been a sailor better try
if you've never been a sailor better try
if you've never been a sailor you'd better try.....




Your Round --- Unreleased & Rare Tracks
Paradise Steakhouse (1974)
Sealion II (1974)
Piece Of Cake (1990)
Quartet (1974)
Silver River Turning (1990)
Crew Nights (1981)
The Curse (1981)
Rosa On The Factory Floor (1990)
A Small Cigar (1975)
Man Of Principle (1988)
Commons Brawl (1981)
No Step (1981)
Drive On The Young Side Of Life (1981)
I Don't Want To Be Me (1990)
Broadford Bazaar (1978)
Lights Out (1981)
Truck Stop Runner (1991)
Hard Liner (1989)