Genesis - Silver Songs (1977)

While the band were at their peak in the early 70's, current and former members of Genesis were often active with solo projects, and they would sometimes call on their band-mates to help out. Founder member Anthony Phillips has released a number of solo albums over the years, and Mike Rutherford and Phil Collins were always happy to lend a hand, while Phillips joined Collins in recording a couple of demos with Peter Gabriel, and Hackett's own superlative 'Voyage Of The Acolyte' featured Collins and Rutherford on one track. Youtuber The Beatles Archeology & Other Subjects realised this and has complied a collection of these recordings, spanning the years from 1974 to 1977, and because a majority of the core group was present in the studio, it really does sound like a lost Genesis album from the mid-70's. I've added artwork by the same artist that designed the 'Selling England By The Pound' cover, and titled it after one of the tracks, so enjoy this mix of familiar and not so familiar recordings by the core members of the band. As the album was a little short, I have cheated a little and included a 1973 track by Peter Banks, as it does feature a rare guest appearance by Hackett, as well as Collins, but it actually slots in quite nicely, so I hope you'll forgive the slight artifice. 

   

Track listing

01 You Never Know [Peter Gabriel, Phil Collins, Anthony Phillips] (1974)
02 Only Your Love [Anthony Phillips, Phil Collins, Mike Rutherford] (1974)
03 Star Of Sirius [Steve Hackett, Phil Collins, Mike Rutherford] (1975)
04 Knights (Reprise) [Peter Banks, Phil Collins, Steve Hackett] (1973)
05 Firebirds [Peter Gabriel, Phil Collins, Anthony Phillips] (1975) 
06 Silver Song [Anthony Phillips, Phil Collins, Mike Rutherford] (1974)
07 God If I Saw Her Now [Anthony Phillips, Phil Collins, Mike Rutherford] (1977)
08 You Get What You Want [Peter Gabriel, Phil Collins, Anthony Phillips] (1974)
09 Which Way The Wind Blows [Anthony Phillips, Phil Collins, Mike Rutherford] (1977)

Thanks to The Beatles Archeology & Other Subjects for putting this together.

Jan Akkerman - ...and on guitar (2001)

I've already covered Jan Akkeran's early years in my 'Minstrel' post, which took him up to the solo albums that he released in 1972 and 1973, so this collection of guest appearances follows on nicely from that one, as it starts in the early 70's and includes his collaborations with fellow musicians over the next 30 years. His solo career actually dated from 1968, though his attempt at a solo album, later titled 'Guitar For Sale', and which contained his covers of numbers such as 'What'd I Say', 'Ode to Billy Joe', and 'Green Onions', was so primitive by the standards of the time that it was deemed unreleasable until Akkerman started topping reader surveys as best rock guitarist in the mid-'70s. Although it's unlikely that it would have been heard much in the UK, you can hear his early prowess on 'The Morning After The Third' by Hans Dulfer & Ritmo Natural from 1970, which came out two years before his first real solo album, 1972's 'Profile'. The music on that album was actually recorded in 1969, while he was still a member of Brainbox, and so it wasn't util 1974's 'Tabernakel' that the music reflected his interests at the time, which included the lute. Having finally acquired a medieval lute of his own, he taught himself to play it, and the results comprise more than half of the album, with authentic medieval music mixed with originals composed in a medieval style. After leaving Focus in 1976, Akkerman began releasing a stream of solo albums, beginning with the concept offering 'Eli', and this also gave him more time to offer his services as a guitarist for hire, mostly appearing on records by fellow Dutch artists such as The Tielman Brothers, The Joachim Kuhn Band, Mark Nauseef, and André Hazes. His own albums frequently embraced classical, jazz, and blues, and much of his work during the 1980's wasn't released officially outside of Holland, but in 1990 he issued the album 'The Noise Of Art' in the US on Miles Copeland's I.R.S label, and this revitalized him in terms of releases, becoming more active than he had been in over a decade, although this caused the guest appearances to slow down as a consequence. When he did show up on someone else's album his guitar-work was as fluid and emotive as ever - just listen to him on Ange's 'Autour D'Un Cadavre Exquis' from 2001. Akkerman's first two albums of the new century, 'Jazzah!' in 2000 and 'I'm In The Mood' in 2002, were self-released, but gained much acclaim from critics and the public alike, and 2003's 'C.U. On Coast To Coast' even earned him a place in the Dutch charts. He continues to record and release albums to this day, and I mentioned 2019's 'Close Beauty' in the last post, so enjoy this celebration of his contribution to Dutch music over the years, both as a solo artist, with his bands, and with these collaborations with his fellow countrymen. 

Track listing

Disc One
01 The Morning After The Third (from 'The Morning After The Third' by Hans Dulfer 

                                                                                                                 & Ritmo Natural 1970)
02 The Sky Has Called Us Out To Dance (from 'Scarecrow's Journey' by Robin Lent 1971)
03 Get Out Of My Fridge (from 'Two Sides Of Peter Banks' by Peter Banks 1973) 
04 Be-Bop-A-Lula (from 'Rock And Roll, Our First Love' by The Tielman Brothers 1976)
05 Orange Drive (from 'Sunshower' by Joachim Kuhn Band 1978) 
06 Don't Want Nobody (from 'J.D. Drews' by J.D. Drews 1980) 
07 Doctor Marathon Parts I & II (from 'Personal Note' by Mark Nauseef 1982)
08 Volgens Mij Ben Ik Getrouwd (from 'Dit Is Wat Ik Wil' by André Hazes 1989) 

Disc Two
01 Atlantis (from 'Atlantis: Bilder Från En Ö' by Björn J:son Lindh 1983)
02 I Lose Again (from 'The Talisman' by Forcefield 1988)
03 Stealth (from 'Guitar Speak II' by Various Artists 1990) 
04 Blij En Bang  (from 'Mijn Hart Slaapt Nooit' by Henny Vrienten 1991)
05 Soul Detective (from 'Soul Detective' by Bernard Oattes 1995)
06 Autour D'Un Cadavre Exquis (from 'Culinaire Lingus' by Ange 2001)

Steve Hackett - ...and on guitar (2020)

Stephen Richard Hackett was born on 12 February 1950 in Pimlico, London, just one day before his future Genesis band-mate Peter Gabriel. He grew up having access to various musical instruments, such as the harmonica and recorder, but he didn't develop an interest in the guitar until the age of 12 when he started playing single notes. By 14, he was learning chords and experimenting with chord progressions, although he never received any formal training. His first professional playing experience came as a member of Canterbury Glass, where he played on 'Prologue' on their album 'Sacred Scenes And Characters', which was recorded in 1968 but didn't receive a release until 2007. He also played with Heel Pier and Sarabande, and all three bands performed rock with progressive elements. He joined Quiet World in 1970, which featured his brother John on flute, and he used his time with the group to gain experience in a recording studio, playing on their only studio album 'The Road'. In December 1970 Hackett placed an advertisement in Melody Maker in his search for a new band, and he received a response from the lead singer of Genesis, Peter Gabriel, as the band had just lost founding guitarist Anthony Phillips and so were seeking a new, permanent replacement. Hackett got the job, and played his first gig with them on 24 January 1971, and it wasn't long before the band were recording their new album 'Nursery Cryme', which was Hackett's first taste of recording with Genesis. He helped shape the group's sound by strongly encouraging them to incorporate a Mellotron into the songs, and his guitar work is prominently featured through solos on 'The Musical Box', 'The Return Of The Giant Hogweed', and 'The Fountain Of Salmacis'. For the next four years Hackett was an integral part of Genesis, but by 1975 he wanted to show what he could do on his own, and recorded his first solo album 'Voyage Of The Acolyte', before resuming work with Genesis and recording his final albums with them, 1976's 'A Trick Of The Tail' and 'Wind And Wuthering'. He had grown increasingly constricted by his lack of freedom and level of input and was insistent that more of his material be included on the albums, but was rebuffed, and so he left the group. His solo career proper commenced with 1978's 'Please Don't Touch!', and he's released over two dozen albums since then. With such a workload, as well as being part of bands Box Of Frogs and GTR, his guest appearances on other artist's records have been quite sparse, perhaps one every couple of years, but when they happened they gave the track that extra bit of magic, and so it's certainly worth seeking them out and collecting the best of them for this double disc set.

Track listing

Disc One
01 Prologue (from 'Sacred Scenes And Characters' by Canterbury Glass 1968)
02 Knights (Reprise) (from 'Two Sides Of Peter Banks' by Peter Banks 1973)
03 The Wind In The Willows (from 'Wind In The Willows' by Eddie Hardin & Zak Starkey 1985)
04 Voo De Coracao (from 'Voo De Coracao' by Ritchie 1983)
05 A Life In Movies (from 'Guitar Speak III' 1991) 
06 Face In The Mirror (from 'Gallery Of Dreams' by Gandalf 1993)
07 All Grown Up (from 'Arkangel' by John Wetton 1998)
08 Singing Deep Mountain (from 'Emergent' by Gordian Knot 2002)
09 Remainder The Black Dog (from 'Grace For Drowning' by Steven Wilson 2011)

Disc Two
01 12 (from '?' by Neal Morse 2006)  
02 Living From The Inside Out (from 'Sitting On The Top Of Time' by Jim McCarty 2009)
03 Moon Song (from 'Dirty & Beautiful Vol. 1' by Gary Husband 2010)   
04 The Parting (from 'The Theory Of Everything' by Ayreon 2013)
05 Old Man Of The Sea (from 'The Ghosts Of Propyat' by Steve Rothery 2014)
06 Man And The Machine (from 'Citizen' by Billy Sherwood 2015) 
07 Covid Nights (from 'Isolation' by The Backstage 2020)
08 What Have You Done (from 'The Bride Said No' by Nad Sylvan 2017)  

Thanks to Stenn for helping put this one together.

Yes - The Psychedelic Years (1969)

In September 1967, Chris Squire joined Mabel Greer's Toyshop, a psychedelic group that included Peter Banks, singer Clive Bayley and drummer Bob Hagger. They played at the Marquee club where Jack Barrie, owner of the La Chasse drinking club a few doors down, saw them perform, and was impressed with their musicianship. One evening at La Chasse, Barrie introduced Squire to Jon Anderson, a worker at the bar who had sung with The Gun and also released a few solo singles, but with little success. The two found they shared common musical interests including Simon & Garfunkel, The Association and vocal harmonies,and in the following days they developed 'Sweetness', a track later recorded for the first Yes album. As the band developed, Anderson and Squire brought in drummer Bill Bruford, keyboardist Tony Kaye and Banks for rehearsals, eventually deciding to drop the name Mabel Greer's Toyshop.

After Tony Kaye joined Winston's Fumbs they recorded their one and only single 'Real Crazy Apartment', and shortly after that came out Kaye was invited to attend rehearsals with members of Mabel Greer's Toyshop, a London-based psychedelic rock band, who were forming a new, full-time group. He was approached by bassist Chris Squire after singer Jon Anderson had met Kaye some time before and suggested him, and after a successful audition, he joined Squire and Anderson in the new band.

When Peter Banks left The Syndicats he formed a new band with ex-The Selfs bassist Chris Squire, calling themselves The Syn. They were joined by keyboardist Andrew Pryce Jackman, Steve Nardelli on vocals and Gunnar Jökull Hákonarson on drums, and they recorded two singles, 'Created by Clive'/'Grounded' and 'Flowerman'/'14 Hour Technicolour Dream', in 1967 before calling it a day a year later. Squire meanwhile joined friends Clive Bayley (rhythm guitar) and Bob Hagger (drums) in Mabel Greer's Toyshop, and Banks came to join them, although he briefly left to play with the band Neat Change on their sole single 'I Lied to Aunty May'. Banks then returned to Mabel Greer's Toyshop, and with the loss of Bayley and the addition of organist/pianist Tony Kaye, they started to write new music together, adding to a repertoire which already included Squire/Bayley's 'Beyond And Before' and Anderson/Squire/Bayley's 'Sweetness'.

Meanwhile, Steve Howe's band The In-Crowd had renamed themselves Tomorrow and adopted a psychedelic rock sound, writing more original songs and changing their stage clothes. In 1967, they released two singles, the classic 'My White Bicycle', and it's follow-up 'Revolution, the latter co-written by Howe. During the recording of a new single with producer Mark Wirtz, Howe was asked by Wirtz to record some guitar as a session musician, which he eagerly accepted, and the session led to him recording a selection of singles for EMI, which included his first song 'Mothballs', also known as 'So Bad'. He played guitar on Keith West's single 'Excerpt From A Teenage Opera', which went to No. 2 in the UK, and Howe and his Tomorrow bandmates also took part in a pie fight scene in 1967's satirical comedy film 'Smashing Time'. After Tomorrow split in 1967, Howe played on several songs by their singer Keith West, and by 1968, with his reputation as a guitarist on the rise, he was invited to join Bodast, a trio who went by the name of Canto for a short period. They signed a record deal with Tetragrammaton Records and put down a selection of songs in 1969 at Trident Studios for an album with West as producer, but the label went out of business shortly before its release. After Bodast split, Howe auditioned for The Nice as a potential new member, but decided it wasn't for him, and left the next day, being offered an audition with Jethro Tull, which he failed to attend when he learned the guitarist they wanted would not contribute to the songwriting. He also had a try out with Atomic Rooster while Carl Palmer was a member, but that didn't gel, and so in 1970 he toured as a member of American soul singer P. P. Arnold's backing band, alongside future members of Ashton, Gardner and Dyke, and in April of that year he was approached by Yes to replace the recently-departed Peter Banks. 

When Jon Anderson returned to London a year after the Warriors split up in Germany in 1967, he met Jack Barrie, owner of the La Chasse drinking club in Soho, who had befriended the rest of the Warriors after they had relocated to the city. With no money or accommodation, Barrie allowed Anderson and ex-Warrior Brian Chatton to stay with him, and Anderson helped out by working at La Chasse. During this time he got talking to Paul Korda, a producer for EMI Records, who took him on to sing several demos, and after that he travelled to the Netherlands to join Les Crunches, a band he had met in London. On hearing that some of his demos were to be released as singles by Parlophone Records under the pseudonym Hans Christian, he promptly returned to England, but despite positive reviews in the press neither was successful. In May 1968, Barrie introduced Anderson to Chris Squire, bassist of the London-based rock band Mabel Greer's Toyshop, which had previously included guitarist Peter Banks, and as the two talked they found they shared common musical interests such as Simon & Garfunkel and the idea of vocal harmonies. After some gigs as lead singer in Mabel Greer's Toyshop the members started talking of forming a new band, and in June 1968 they hired Bill Bruford to replace founding drummer Robert Hagger.

William Scott Bruford was born on 17 May 1949 in Sevenoaks, Kent, and decided to take up drumming at the age of thirteen after watching American jazz drummers on the BBC2 jazz TV series, Jazz 625. He cites Max Roach, Joe Morello, Art Blakey, and Ginger Baker as his favourite and most influential drummers as a youngster, and after his sister bought him a pair of drum brushes as a birthday present he gradually built a full drum kit. During his time at boarding school he befriended several fellow jazz fans, and they performed as a four-piece named The Breed from 1966 to 1967 until he was no longer able to attend all their gigs. In 1968 he auditioned for a place in The Savoy Brown Blues Band, but only lasted three gigs as he messed with the beat, and so he joined psychedelic rock band Paper Blitz Tissue in time to record their only single 'Boy Meets Girl'. After he left that band he settled into a flat in north London and placed an advertisement for drum work in the Melody Maker, which was spotted by Jon Anderson, then a member of Mabel Greer's Toyshop. Following a meeting with the rest of the band, Anderson was so impressed with Bruford that he invited him to play with the band that very evening at the Rachel McMillan College in Deptford. Following the gig, Bruford had several offers to join soul bands but chose to remain with Anderson and Squire, who took charge in forming a new band with Peter Banks and Tony Kaye.

After dropping the name Mabel Greer's Toyshop they settled on Yes as the new name, and everything was now in place for the newly-christened band to rehearse, and to start writing material for their first album, destined to become the starting point for a long and illustrious career for all the current and subsequent members. Rick Wakeman joined in 1971, and so is outside the scope of these collections, even though I stretched it slightly to include Steve Howe, who was not actually a founding member of the band, but did join just after their first album had been released. In 1981 Howe obtained the recordings of the songs taped for the Bodast album, and remixed and released them himself, but for these compilations I've just used tracks where he was involved in the songwriting as well as playing on the song, otherwise half the album would be Bodast tracks. If nothing else, these four albums show that every member of Yes had paid their dues over the years, slogging away in various moderately successful or unappreciated bands, and so fully deserved the success and acclaim then they eventually achieved.  

Track listing

Winston's Fumbs (Tony Kaye)
01 Real Crazy Apartment (single 1967)

The Syn (Chris Squire, Peter Banks)
02 Created By Clive (single 1967)
03 Grounded (b-side of 'Created By Clive')

Tomorrow (Steve Howe)
04 My White Bicycle (single 1967)
05 Claramont Lake (b-side of 'My White Bicycle')

Paper Blitz Tissue (Bill Bruford)
06 Boy Meets Girl (single 1967)

Hans Christian (Jon Anderson)
07 Never My Love (single 1968)
08 All Of The Time (b-side of 'Never My Love')

Mabel Greer's Toyshop (Chris Squire, Peter Banks)
09 Beyond And Before (demo 1968)
10 Get Yourself Together (demo 1968)
11 Jeanetta (demo 1968)

Canto (Steve Howe)
12 The Spanish Song (recorded 1968)

Bodast (Steve Howe)
13 Nether Street (recorded 1969)
14 Beyond Winter (recorded 1969)

Neat Change (Peter Banks)
15 I Lied To Aunty May (single 1968)

Enjoy / Enjoy

Track listing

Winston's Fumbs (Tony Kaye)
01 Snow White (b-side of 'Real Crazy Apartment' 1967)

The Syn (Chris Squire, Peter Banks)
02 Flowerman (single 1967)
03 14 Hour Technicolour Dream (b-side of 'Flowerman')

Tomorrow (Steve Howe)
04 Revolution (single 1967)
05 Three Jolly Little Dwarfs (b-side of 'Revolution')

Paper Blitz Tissue (Bill Bruford)
06 Grey Man (b-side of 'Boy Meets Girl' 1967)

Hans Christian (Jon Anderson)
07 (The Autobiography Of) Mississippi Hobo (single 1968)
08 Sonata Of Love (b-side of '(The Autobiography Of) Mississippi Hobo')

Mabel Greer's Toyshop (Chris Squire, Peter Banks)
09 Images Of You And Me (demo 1968)
10 Electric Funeral (demo 1968)

Canto (Steve Howe)
11 Power Of Music (recorded 1968)

Bodast (Steve Howe)
12 Tired Towers (recorded 1969)
13 Nothing To Cry For (recorded 1969)

Neat Change (Peter Banks)
14 Sandman (b-side of 'I Lied To Auntie May' 1968)

Yes - The Beat Years (1966)

Anthony John Selvidge (Kaye) was born on 11 January 1945 in Leicester, and at a very young age was left his grandmother's grand piano, which he played on when he was little. At age four, Kaye began formal piano lessons, and took part in his first concerts at twelve in solo and duet piano performances. His aim was to study at the Royal College of Music in London and become a concert pianist, but he developed an interest in other music once he heard jazz musicians Count Basie and Duke Ellington. By the early 1960s, Kaye had abandoned his classical background in favour of pop and rock music, and after moving to London, he used to visit The Marquee club to watch bands play, including keyboardist Graham Bond whose style became a strong influence. Kaye landed a position in The Federals through an advertisement in Melody Maker and played on their singles recorded between 1963 and 1967, mainly in a covers and comedy showband style, and after passing through Yellow Passion Loaf and Johnny Taylor's Star Combo, he joined Jimmy Winston in Winston's Fumbs. 

Christopher Russell Edward Squire was born on 4 March 1948 in Kingsbury, north west London, and from the age of six his only musical experience was singing in a church choir. He didn't consider a music career until the age of sixteen, when the emergence of the Beatles and the Beat music boom in the early 1960's inspired him to "be in a group that don't use music stands". A school friend recommended Squire to take up the bass after pointing out his tall frame and large hands, thinking they were ideal for playing the instrument, so Squire purchased his first bass. After being suspended from school for having long hair, he never returned, and landed a job selling guitars at a Boosey & Hawkes shop in Regent Street, where he used the staff discount to purchase a new Rickenbacker bass. Squire's first band was The Selfs, a rock and rhythm and blues band that featured Andrew Pryce Jackman on keyboards and Martin Adelman on drums. In 1965, following several personnel changes, Squire, Jackman and Adelman teamed up with singer Steve Nardelli, guitarist John Painter, and drummer Gunnar Jökull Hákonarson to form a new group, the Syn. 

Peter William Brockbanks (Banks) was born on 15 July 1947, and grew up in Barnet, North London, learning to play the  acoustic guitar and banjo as a teenager. His musical career started with the Nighthawks in 1963, and he played his first concert at the New Barnet Pop Festival before leaving them to join the Devil's Disciples in 1964. That band consisted of Banks on guitar, John Tite on vocals, Ray Alford on bass and Malcolm "Pinnie" Raye on drums, and they recorded two songs on an acetate, Arthur Alexander's 'You Better Move On' and Graham Gouldman's 'For Your Love' (which would later be a hit for the Yardbirds). About a year later, Banks joined The Syndicats, replacing their guitarist Ray Fenwick, who had himself replaced Steve Howe, who would later replace Banks in Yes.

Stephen James Howe was born on 8 April 1947 in Holloway, North London, and was exposed to a wide variety of music during his childhood by way of his parents record collection. After he left primary school, he wanted to become a guitarist, and so his parents bought an F-hole acoustic at age 12 as a Christmas present. Two years later he bought a solid body Guyatone, his first electric guitar, which was followed with a Gibson ES-175D in 1964, one of the guitars that he would became most identified with. Later that year he became a member of his first professional band, the north London-based r'n'b group The Syndicats, who were produced by Joe Meek. The band recorded three singles, and the b-side of one of them, 'True To Me', was Howe's first co-writing credit with the band's singer Tom Ladd. In 1965, he left the band and accepted an invitation to join The In-Crowd, a soul and covers band who released a rendition of Otis Redding's 'That's How Strong My Love Is', which just missed the UK Top 40.

John Roy Anderson was born on 25 October 1944 in Accrington, Lancashire, and as a youngster he became a fan of several musicians, including Elvis Presley, Eddie Cochran, The Everly Brothers, and Jon Hendricks. He attended St. John's School, but was not a strong academic, and while there he made a tentative start in a musical career, playing the washboard in Little John's Skiffle Group. At fifteen he left school, and had no particular desire to become a singer until his brother Tony took up singing and joined the Warriors, a local group also known as the Electric Warriors. After one of the backing vocalists left the group, Anderson filled in the position, and found music more enjoyable and a better choice for money than manual labour. The group performed mainly cover songs, and recorded two singles in 1965, 'You Came Along' and 'Don't Make Me Blue'. After the Warriors split in Germany in late 1967, the band returned to England while Anderson stayed behind, briefly singing in the Party, a band from Bolton who were playing in Germany.

Track listing

The Federals (Tony Kaye)
01 Boot Hill (single 1963)
02 Keep On Dancing With Me (b-side of 'Boot Hill')
03 Brazil (single 1963)
04 In A Persian Market (b-side of 'Brazil')
05 Marlena (single 1964)
06 Please Believe Me (b-side of 'Marlena')

The Selfs (Chris Squire)
07 I Can't Explain (demo 1964)

The Devil's Disciples (Peter Banks)
08 You Better Move On (single 1964)

The Syndicats (Steve Howe, Peter Banks)
09 Maybelline (single 1964)
10 True To Me (b-side of 'Maybelline')
11 On The Horizon (single 1965)

The Warriors (Jon Anderson)
12 You Came Along (single 1965)

The In Crowd (Steve Howe)
13 Stop! Wait A Minute (single 1965)
14 You're On Your Own (b-side of 'Stop! Wait A Minute')
15 Why Must They Criticide (single 1965)
16 I Don't Mind (b-side of 'Why Must They Criticise')

Enjoy / Enjoy

Track listing

The Federals (Tony Kaye)
01 Twlight Time (single 1964)
02 Lost And Alone (b-side of 'Twilight Time')
03 The Climb (single 1964)
04 Dance With A Dolly (b-side of 'The Climb')
05 Bucket Full Of Love (single 1965)
06 Leah (b-side of 'Bucket Full Of Love')

The Selfs (Chris Squire)
07 Love You (demo 1964)

The Devil's Disciples (Peter Banks)
08 For Your Love (b-side of 'You Better Move On' 1964)

The Syndicats (Steve Howe, Peter Banks)
09 Crawdaddy Simone (b-side of 'On The Horizon' 1965)
10 Howlin' For My Baby (single 1965)
11 What To Do (b-side of 'Howlin' For My Baby')

The Warriors (Jon Anderson)
12 Don't Make Me Blue (b-side of 'You Came Along' 1965)

The In Crowd (Steve Howe)
13 That's How Strong My Love Is (single 1965)
14 Things She Says (b-side of 'That's How Strong My Love Is')
15 Am I Glad To See You (previously unreleased 1966)
16 Blow Up (previously unreleased 1966)