HEADS HANDS & FEET (Inc. POET AND THE ONE MAN BAND and other

Ray Smith (music)/Tony Colton (lyrics) compositions.) LYRICS

Compiled by Robin Dunn & Chrissie van Varik.

With grateful thanks to Ray Smith for his interest, advice and input.

The highly regarded but also shamefully underrated HEADS HANDS & FEET (HH&F) started out as the late 1960s folk/psychedelic rock band POET AND THE ONE MAN BAND (P&TOMB) - named from a line in Paul Simon’s ‘Homeward Bound’. By then Ray Smith (composer) and Tony Colton (lyricist) were established songwriters and highly regarded (session) musicians in their own right. Tony also produced. The short-lived Tony Colton and The Big Boss Band had been formed in 1964. They recorded only one single for Decca, ‘Lose My Mind’. In 1965 Tony recorded three solo singles for Pye. A move to Columbia

Records resulted in ‘In The World Of Marnie’s Dreaming’ but as none of these provided the big break Tony and Ray were looking for, they returned to composing and Ray went back to session work, including tracks for Zoot Money among many others. P&TOMB, formed with fellow (backing/session) musicians Tony and Ray had been working with throughout the ‘60s, recorded an excellent self-titled album in 1968 of which two versions were issued in 1969 with differing track-listings and sleeve designs - one in the UK (on Verve) and one in the US (on Paramount).

After a change in the line-up, P&TOMB became HH&F in 1971. They were a very hot band set for stardom with lucrative recording contract offers, but despite great recordings and live shows, frictions set in and at the end of 1972, when Albert Lee left, the band had effectively split. Their first official release (there is another album - we will get to that) was the self-titled 1971 album that, like P&TOMB, was issued in two versions: a double album in the US (on Capitol) and a single album, with of course fewer tracks, in the UK (on Island Records). This time the sleeve covers, designed by band member Mike O’Neill, were the same and both had a gatefold sleeve. The complete album was released on CD in 1996 by re-issue company See For Miles Records but is very difficult - and expensive - to obtain.

The follow-up to HEADS HANDS & FEET in 1972 was TRACKS (on Capitol in the US and Island in the UK), later released on CD as TRACKS - PLUS which includes two bonus tracks. The final official album was OLD SOLDIERS NEVER DIE, recorded in the autumn of 1972 and issued in 1973, after the band had broken up. It saw its first release on CD in 2008 by Wounded Bird Records and is now hard to come by.

As mentioned above, a full album had been recorded as early as December 1968, and is by many believed to be the original debut album of HH&F. However, as Ray Smith told us, this was really intended to be the second P&TOMB album. The recording sessions took place between October and December 1968 under extraordinary circumstances and at the time were referred to as the “Pirate Sessions” as much of it was done late at night after official (i.e. paying) recording sessions had finished for the day. Many musicians and singers got involved for little or no money and/or for fun. By April 1969 Tony and Ray had the second album ready. However, the first album had come out in March and six weeks later they were told by Ian Ralfini, musical director of MGM, “Sorry Ray, I’m taking everybody to WEA. You can have the rights to the second album but don’t release it in England for five years.” They weren’t happy about it but did as they were told. Danny Secunda, their manager, later tried to convince Tony Colton to issue it as the HH&F debut album but by then Pat Donaldson had left and been replaced by Chas Hodges. Tony Colton, altruistically, felt that the first album should reflect the new line-up (with Chas), and consequently the album was kept in the can until it finally saw the light in 1995 as HOME FROM HOME (The Missing Album). The reason it was attributed to HH&F and not P&TOMB is that HH&F had by then earned a cult status - and thus would sell better. Tony Colton had told Ray Smith: “We won’t call it Poet 2. We’ll call it Heads Hands And Feet: The Missing Album.” (Quotes: Ian Ralfini and Tony Colton from the Albert Lee biography Country Boy by Derek Watts.)

In addition, there is a bootleg release called HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN comprising live recordings and a copy of ‘Hail The Conquering Hero’, recorded for the film The Hero (aka Bloomfield in the UK). Two download albums were released in 2013, entitled WIZZ KIDS and TRUCKERS MUSIC, put together by Ray Smith and comprising some different and/or adapted recordings of previously released tracks as well as ‘new’ unreleased ones. Another download album, EVERYBODY’S HUSTLIN’ saw the light in 2014 - also put together by Ray Smith.

HH&F provided the core backing for Jerry Lee Lewis’s album The Session, recorded in London from 7th to 11th January 1973. Some members of HH&F, including Albert Lee and Ray Smith, featured on Don Everly’s 1974 solo album Sunset Towers, produced by Tony Colton who with Ray Smith wrote most of the tracks including some previously recorded by HH&F. Albert Lee played lead guitar on the album and toured with Don during the latter’s solo years; later he became The Everly Brothers’ post-1983 reunion tour

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bandleader/arranger and lead guitarist. Albert also played and recorded with Emmylou Harris’ Hot Band, The Crickets and numerous other bands as well as having a successful solo career. He currently tours with his band Hogan’s Heroes.

Ray Smith, the musical genius behind most P&TOMB and HH&F songs (and earlier compositions on many of which he also played), continued with composing after the band split - e.g. Leo Sayer’s ‘Rumours’ composed with Mark Alan. On his own and with a number of collaborators he has composed numerous songs - including jingles for commercials. He moved to Wales where he still resides today with his wife Jo Jo. He has also issued, as downloads, HH&F material much of which is previously unreleased and is working on more to come. For some great tracks see riff490 on YouTube.

Ray with Tony also scored music for films including A Man Called Horse, The Hero (both starring Richard Harris), The Vengeance of She and Popdown (references included here as they are Colton/Smith compositions - sometimes with Johnny Harris). Other films are Shadows in the Storm (1990 - starring Ned Beatty) and Fortune Strangers the music for both of which has yet to be located. They composed music for a 1969 TV movie, Destiny of a Spy, starring Lorne Greene, Rachel Roberts and Anthony Quayle.

Following a rough period, Tony Colton began working as a songwriter and producer in Nashville after Ricky Skaggs had recorded ‘Country Boy’ and taken it to # 1 on the country charts in 1985. The renewed interest in him and his work caused Tony move to Nashville and found him working with Willie Nelson, Ray Charles, The Allman Brothers, Johnny Cash, Tom Waits, Trisha Yearwood and Garth Brooks among others. He still plays festivals and gigs of his own. Chas Hodges subsequently formed one half of the duet Chas ‘n Dave with Dave Peacock and they became legends of Cockney pub rock. Pete Gavin was briefly in Vinegar Joe (which featured a very young Robert Palmer on vocals), played on sessions of many rock stars of the time and joined Albert Lee in several bands before retiring from music and taking up a job in construction, remodelling houses. Mike O’Neill revived his old instrumental band Nero & The Gladiators in 1991 (with Mike as ‘Nero’), an outfit he had formed in the early 60s with Rod “Boots” Slade. They toured until 2005. He eventually reunited with several musicians of the 60s in The Pioneers Of Rock ‘N’ Roll. Sadly Mike died in October 2013.

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The definitive early line-up for HH&F was: Tony Colton* - lead vocals (Anthony George Chalk, 11th February 1942, Tunbridge Wells, Kent). Ray Smith* - rhythm guitar (Raymond Barry Smith, 7th September 1942, London). Albert Lee* - lead guitar (Albert William Lee, 21st December 1943, Willey, Hertfordshire). Pete Gavin* - drums (Peter Leslie Gavin, 8th September 1946, Lewisham, South East London). Chas Hodges - bass, violin, vocals (Charles Nicholas Hodges, 28th December 1943, Edmonton, North London). Mike O'Neill* - keyboards (1970-1971) (born Michael O'Neill, 1938, Leigh, Lancashire – Died, Bolton, Lancs. 10th October 2013 ). *core members who were also in, or recorded with, P&TOMB. The line-up for the HOME FROM HOME album was: Tony Colton - lead vocals and production. Ray Smith - rhythm guitar/vocals. Albert Lee - lead guitar/vocals. Pat Donaldson - bass/vocals. Pete Gavin – drums/vocals. Mike O’Neill – keyboards/vocals. Additional musicians - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir, which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Summers (for a short while spelling his surname ‘Somers’), David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. The line-up for the P&TOMB album was: Tony Colton - vocals. Ray Smith - guitar/vocals. Pat Donaldson - bass/backing vocals. Mike O'Neill - keyboards. Pete Gavin - drums. Albert Lee - guitar. ) At that point these were Nicky Hopkins - piano. ) session musicians and Jerry Donahue - backing vocals/arrangements. ) not formally part of John Bell - clarinet. ) P&TOMB. Jerry Donahue and Pat Donaldson later left to join the short-lived folk-rock group Fotheringay, formed and fronted by (post Fairport Convention) Sandy Denny. Words/lines in blue in the lyrics indicate we are guessing at what is being sung; blue question marks mean we haven’t got a clue! Don’t hesitate help us out; please forward typos and other corrections/additions/suggestions to: RobinDunn@btconnect.com NB: The lyrics below are, as far as possible, ‘as performed’ and are reproduced for amusement only and not for commercial gain. Ownership and copyright remains with the original composer(s) and/or publishers. These lyrics are for your personal use only. We will not, and you must not, gain commercially from this listing.

Robin & Chrissie Sackful O’Rock, Country, Folk, Soul & Blues

http://robindunnmusic.wordpress.com/

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A_c_______________________________________________ ACHMED (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”. It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. Below is the best we can do with the lyrics - phonetically! Email us if you’ve got any suggestions. Salam Yeah Salam aleikum se de la pez I asked the man and the man said yes Salam aleikum de best see-dee I see you but you don’t see me Salam aleikum se de la pez I asked the man and the man said yes Salam aleikum de best see-dee Peacef, peacef, now the foos on me Salam aleikum se dee Achmed Sha-ha sha-ha everything I said Salam aleikum de best see-dee Now the foos on me Hey Achmed noom-a-rooh-wah-hey Hey Achmed noom-a-rooh-wah-hey Hey Achmed noom-a-rooh-wah-hey Hey Achmed noom-a-rooh-wah-hey Ah noom-a-rooh-wah-heh de doll black dah Hey Achmed Noom-a-rooh-wah-heh de Marrakesh Noom-a-room-wah-hey Ah noom-a-rooh-wah-heh de doll black dah Hey Achmed Ah noom-a-rooh-wah-heh de Marrakesh Noom-a-rooh-wah-heh ???? dee noom-a-rooh-wah-heh Hey Achmed Barak-a-lach-wit-te-let-itswin Noom-a-rooh-wah-hey Thank you very much for the Arabic bean Hey Achmed Noom-a-rooh-wah-heh de doll black dah Noom-a-rooh-wah-hey Noom-a-rooh-wah-heh de Marrakesh Hey Achmed ???? Noom-a-rooh-wah-hey Barak-a-lach-wit-te-let-itswin Hey Achmed ???? up to here Noom-a-rooh-wah-hey

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AIN’T GONNA LET IT GET ME DOWN (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) - at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir, which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. A different take was released, with Albert Lee on vocals and some additional overdubs by Ray Smith, on the 2013 download album TRUCKERS MUSIC I see the faithful committing treason I see the beggar of the blind I’m gonna take my sense of reason Lock it up inside my mind Ain’t gonna let it get me down Ain’t gonna let ‘em push me round No, no No, no No, no No, no She said she lost me where she found me With the vagrant of night I’m gonna pull shade around me Close the door and kill the light Ain’t gonna let it get me down Ain’t gonna let ‘em push me round No, no No, no No, no No, ain’t gonna let it get me down Ain’t gonna let it get me down Ain’t gonna let it get me down Ain’t gonna let it get me down Ain’t gonna let it get me down Ain’t gonna let it get me down Ain’t gonna let it get me down (Oooooo-be-lean-on-you) (Oooooo-be-lean-on-you) (Oooooo-be-lean-on-you) ANOTHER USELESS DAY (1973) (Chas Hodges) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. The lead vocal on this track is Chas Hodges.The overall album line-up is - vocals: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. A different take was released, with some overdubs by Ray Smith, on the 2013 download album TRUCKERS MUSIC. Teresa Brewer recorded the song in 1973 on the Amsterdam label (AM-85028) with HH&F. The label (on both sides) states ’featuring Albert Lee, guitar’. The B-side was ‘Music To The Man’ - see below. Got up late this morning Went downstairs and out into the cold spring day Walked towards the station And I stopped to buy some cigarettes on my way Rain was falling down Gotta get out of this town Gotta change this way of life I can’t stand another useless day - no No No!

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Train was full of people But not a smiling face could there be seen Well, I sat there thinking ‘bout my life And wishing that it all was just a dream Rain kept falling down Gotta get out of this town I gotta change my way of life And go and see some things that I ain’t seen Whooo Oh Oh-hoh Ohh, I got up late this morning Went downstairs And out into the cold spring day Walked towards the station And I stopped to buy some cigarettes on my way Rain kept falling down Gotta get out of this town I’ve gotta change my way of life I can’t stand another useless day Oh! Oh! Whoooo-hoo Yeah - oh-hoh ARIZONA BOUND (rec. 1971; rel. 2013) (Ray Smith/Albert Lee) Instrumental released on the 2013 download album TRUCKERS MUSIC. HH&FJamming session whilst on Farmer Davies’ farm in Tirabad, Wales.

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B________________________________________________ BALLAD OF A MAN CALLED HORSE (1970) (Richard Harris/Tony Colton/Ray Smith) Written for the 1970 film A Man Called Horse starring Richard Harris, who also recorded the song with Heads Hands & Feet backing him. In Ray Smith’s own words: “It wasn't in the film. It was a promo for it. The song played in the cinemas before the film and Richard Harris released it as a single.” The red golden sunset is dying And soon I will need your love The warlord is silently crying And soon you will meet me Spirit of the sun My body circles here beneath you The tears My body bears I used to seek you Silver white buffalo In your wide and shining plains When the golden water rains I will run with you Bring me the sound of the choirs Lighting your love with fires The shield and the war-lance is flying And soon you will leave me Spirit of the sun My body circles here beneath you The tears My body bears I used to seek you Silver white buffalo In your white and shining planes When the golden water rains I will run with you BELFAST BOY, THE (1970) (Johnny Harris/Tony Colton/Ray Smith) From the BBC documentary World Of Georgie Best, recorded by Don Fardon and produced by Tony Colton and Johnny Harris. George Best was a legendary footballer from Northern Ireland who played as a winger for Manchester United. In 2006 the song was rereleased in tribute following the death of George Best (22nd May 1946 - 25th November 2005). When I saw you, you looked like a diamond As you played in the dust and the grime Just a boy from the country of Ireland And I knew I could make you shine ‘Coz you move like a downtown dancer With your hair hung down like a mane And your feet play tricks like a juggler As you weave to the sound of your name Georgie, Georgie They call you the Belfast Boy Georgie, Georgie They call you the Belfast Boy And they say Georgie, Georgie, keep your feet on the ground Georgie, Georgie, when you listen to the sound Georgie, Georgie, put a light on your name Yeah, yeah, yeah Play the game Play the game, boy Play the game

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Just play the way the ball bounces And bounce the way the ball plays ‘Coz you won’t have long in the limelight No you won’t have many days When you live and you play for United With your life and your blood and your soul You run and you kick and you fight it And you learn every way to the goal Georgie, Georgie They call you the Belfast Boy Georgie, Georgie They call you the Belfast Joy And they say Georgie, Georgie, keep your feet on the ground Georgie, Georgie, when you listen to the sound Georgie, Georgie, put a light on your name Yeah, yeah, yeah Play the game Play the game, boy Play the game Play the game, yeah Play the game Whoa play the game, man Play the game Yeah play the game, now Play the game Play the game, yeah.…. BIG CITY LIGHTS (AND COUNTRY BOY BILL) (1968) (Tony Colton/ Ray Smith) The Shevells (who sometimes recorded as Mike Stevens and The Shevells) recorded and released this Colton/Smith composition in June 1968 as the follow up to ‘Guaranteed To Drive You Wild/Hog Tied’, also Colton/Smith compositions (see elsewhere in this Lyrics List). B-side was ‘The Coffee Song’, which P&TOMB recorded as ‘The Fable’. As the big road winds Through the hill and pines Where the fields are stacked with corn and wheat There’s a backwoods town Not a single sound Except the dog that’s barking on the street Big city lights On top of the hill We’ll love you right Says country boy Bill If I don’t leave now, later Maybe I never will In the cold dark night There’s the strangest sight Of a young boy standing by the bridge He’s all alone By his family home Looking high up over on the ridge Big city lights On top of the hill We’ll love you right Says country boy Bill If I don’t leave now, later Maybe I never will Leaves are falling

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And the lights are calling To the country boy The window’s dropping And the taillights stopping For the country boy City lights are calling to the country farmer’s boy Oh how many times Have you changed your mind And gone walking home to try and wait But you know that’s wrong Country boy be gone For tomorrow maybe far too late Big city lights On top of the hill We’ll love you right Says country boy Bill If I don’t leave now, later Maybe I never will Big city lights On top of the hill We’ll love you right Says country boy Bill Big city lights Big city lights On top of the hill……… BIG TIME OPERATOR (1966) (Tony Colton/Ray Smith) Released by Zoot Money & The Big Roll Band on Columbia in July 1966 as DB 7975. The song was also recorded by Tommy James & The Shondells (USA album It’s Only Love - Roulette label 1966), Charlie Rich (USA Hi label - circa 1966), Keith Hampshire (Canada 1973) I started out a newsboy on a paper And for a time, I worked an elevator But all the time, I knew that later I would be, a higher-rater Finally, a big time operator Yeah-eah For a while, I drove an excavator I became and wine and brandy waiter - heh heh yeah A builder and a decorator Later on, an estimator I’m gonna be a big time operator Yeah-eah-eah-yeh You gotta understand now Woman, I’m gonna be big time Ah so big Ah yes I am Now listen to me I’m telling the truth I took a job as an airline navigator - yes I did Then I became a crime investigator For a time, a commentator Then I was an illustrator I’m gonna be a big time operator Oh-hoh-oh-hoh-hoh Yeah But don’t you know I’m gonna be in the big time, baby A big time operator – now, now A whole lotta people working for me - I’m gonna tread on their face

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I don’t care, baby I’m gonna make bread like nobody seen before I’m gonna be so big time You won’t be able to look in my face Ah-ah-ah I’m gonna be such….. BRAND NEW ROCK & ROLL BAND (1974) (Tony Colton/Ray Smith) Not actually recorded by HH&F except that a number of the band members backed Don Everly with his recording of this Colton/Smith track for his 1974 SUNSET TOWERS album - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens. The country I’m a-livin’ in is nearer to the sun Higher to heaven than the place we’re born And the train came from Wanna stick around for the mornin’ sun The only sun I care about I get from my own child I’d like to see my woman But I can live with steel ‘n’ slide I wanna stick around for the mornin’ flight Headed back to God’s own country Headed back to God’s own land With that same old restless feelin’ in my heart In my brand new rock ‘n’ roll band Brand new rock ‘n’ roll band The only sun I care about I get from my own child I’d like to see my woman I can live with steel ‘n’ slide I wanna stick around for the mornin’ flight Headed back to God’s own country Headed back to God’s own land With that same old restless feelin’ in my heart In my brand new rock ‘n’ roll band Brand new rock ‘n’ roll band Headed back to God’s own country Headed back to God’s own land With that same old restless feelin’ in my heart In my brand new rock ‘n’ roll band Brand new rock ‘n’ roll band

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BRINGING IT ALL ON MY OWN HEAD (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) - at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. She said, fly Lookin’ me straight in the eye You’re no good You robbed, you cheated and lied She said, pain Don’t knock on my doorstep again If he lived Your daddy would die with the shame But it’s all right Now that you’re out of sight All right ‘Coz I’m Bringing it all on my own head now (Yeah) And there’s no-one to blame except me (Oh my my my my) Bringing it all on my own head now Well I know what a pain it can be Yeah, bringing it down I’m amazed You’re not the same child that I raised Johnny be good The little boy everyone praised Look at you now boy Livin’ a life full of sin This is your mama You’ll come to no good in the end But it’s all right Now that you’re out of sight All right ‘Coz I’m Bringing it all on my own head now And there’s no-one to blame except me Hear me mama Bringing it all on my own head now And I know what a pain it can be I’m bringin’ it down Well you ain’t bringin’ shame On your good daddy’s name No you ain’t bringin’ shame On your good daddy’s name (Oh mama cried) No you ain’t bringin’ shame On your good daddy’s name (Mama say) No you ain’t bringin’ shame On your good daddy’s name (Oh Mama, she’s cryin’) No you ain’t bringin’ shame (My mama, cry mama) On your good daddy’s name (My mama, cry son) No you ain’t bringin’ shame (My mama, cry mama) On your good daddy’s name And not on me

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Not on me Ah Well all right Now that you’re out of sight All right ‘Coz I’m Bringing it all on my own head now And there’s no-one to blame except me Bringing it all on my own head now Well I know what a pain it can be (Well I know what a pain) Bringing it all on my own head now And there’s no one to blame except me (Bringing it all on my own head) Bringing it all on my own head now Well I know what a pain it can be (I’m bringing it all on my own head) Bringing it all on my own head now And there’s no-one to blame except me (Bringing it all on me – get yourself free) Bringing it all on my own head now....

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C________________________________________________ CAN YOU SEE ME (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. I’m bellowin’ And I’m hollerin’ And I’m breaking rock and stones The city lights And the pretty lights And the crazy paving stones Can you see me Can you hear me Can you see me Can you hear me Yeah Hey money man Will you lend a hand Will you feed my skin and bone Hey my Messiah Did you see the fire Have the three ships sailed for home Can you see me Can you hear me Can you see me Can you hear me Yeah Heat Fire Skin Bone Water More Mile Stone Can you see me Can you hear me Can you see me Can you hear me Yeah I’m bellowin’ And I’m hollerin’ And I’m breaking rocks and stones The city lights And the pretty lights And the crazy crazy paving stones Can you see me Can you hear me Can you see me Can you hear me Yeah

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CARLITA (1969) (Tony Colton/Ray Smith) Recorded by Des Ryan on Polydor - B-side to ‘Summer Gold’ (see below). Musicians: Ray Smith, Albert Lee, Pat Donaldson, Jerry Donahue, Pete Gavin, Mike O'Neil - in effect Poet And The One Man Band. The song is also known as ‘Fridays Child’ with slightly different lyrics for which only a demo exists (not be confused with Them/Van Morrison track of the same name). She was on the midnight train Half-way to Bangor, Maine For I knew she’d gone The neighbours saw her leaving She packed her bag And ran away in the early dawn Carlita’s gone I got on the next train out And I followed her to every place I thought she’d go Through the dance halls of Nebraska To the small hotel I found her in so long ago In Idaho Carlita, Carlita (Carlita, Carlita) So beautiful I might have known you wouldn’t stay I love you Carlita Carlita (Carlita) But I might have known that in the end you’d run away In every town as nightfall came You’d find me searching down the streets And lonely lanes And her street-girl friends would laugh at me As I went round calling out Carlita’s name Ah – but all in vain Carlita, Carlita (Carlita) So beautiful I might have known you wouldn’t stay (Carlita) I love you Carlita (Carlita) But I might have known that in the end you’d run away (Carlita) When I finally ran her down She was working in a ten-cent bar in Georgia town She’d been drinking mighty heavy Her eyes looked bad and she looked sad As she turned around Ah - she turned me down Carlita, Carlita (Carlita, Carlita) So beautiful I might have known you wouldn’t stay (Carlita) I love you Carlita (Carlita) But I might have known that in the end you’d run away (Carlita) Carlita, Carlita (Carlita, Carlita) COFFEE SONG, THE - see: FABLE, THE CORNER TABLE, THE - see: FABLE, THE

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COUNTRY BOY (1971) (Tony Colton/Ray Smith/Albert Lee) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Albert Lee; harmony: Chas Hodges. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. A version is included on the 2013 download album WIZZ KIDS and a live version is included on the bootleg HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. It features regularly as a knock-out performance in Albert Lee’s live appearances. Lyrics slightly vary sometimes. Those below are taken from the first recording – with one alternate line. I may look like a city slicker Shinin' up through my shoes But I’d rather be a cotton picker/Underneath I’m just a cotton picker Blowing out a bit of blues Show me where I start Buy a horse and cart I'm just a country boy Country boy at heart I may talk like a bank teller Pushing facts in a file But I'd rather be a hog-swiller Chewing cud on a style Read Exchange & Mart Buy a horse and cart I'm just a country boy Country boy at heart I may look like a city slicker Shinin' up through my shoes But I’d rather be a cotton picker/Underneath I’m just a little old cotton picker Blowing out a bit of blues Tell me where I start Find a horse and cart I'm just a country boy Country boy at heart CREEPING UP ON YOU (aka JO JO) (circa 1972) (Tony Colton/Ray Smith) A live version is included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. Another recording is on the 2013 download album WIZZ KIDS where it is entitled ‘Jo Jo’. On both versions the band goes straight into ‘Meal Ticket’. Chas Hodges - lead vocal & guitar; Ray Smith - bass; Albert Lee - piano; Pete Gavin – drums. Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up Well Jo Jo need a doctor Jo Jo loves his mind He go flyin’ on Friday And he’s comin’ round again

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Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Creepin’ up on you Take me to the doctor Give me something for my brain Make no difference We can backbeat all the same Whey-hey-whooo Jo Jo need a doctor Jo Jo loves his mind He go flyin’ on Friday And he’s comin’ round again Creepin’ up on yer Creepin’ up on yer Creepin’ up on yer Creepin’ up on yer Creepin’ up on yer Can’t you feel it calling Up and down my yellow spine Make no difference He goin’ to kick us all the time Yeahhhhh-whoooo Yeahhhh-hey-hey Yeahhhhh.... CROSS TOWN LINK (1968) (Tony Colton/Ray Smith) Instrumental recorded during the Poet & The One Man Band sessions - available via Ray Smith.

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D________________________________________________ DANCER (1972) (Tony Colton/Mabon Lewis Hodges/Michael Lee Smith/Earl ‘Bud’ Lee/Chas Hodges/Pete Gavin) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Mabon Lewis Hodges, Michael Lee Smith and Earl ‘Bud’ Lee are no doubt Chas Hodges, Ray Smith and Albert Lee for some reason composing under pseudonyms. Ohhhhhhh She was a dancer Ohhhhhh-oh She did me good Front line romancer By the way she moved I knew she would Ohhhhhhh She was a dancer Ohhhhhh-oh She did me good She was a Country Jezebel I found her in a ballroom in a back-wood You could hear the band was jumpin’ From way out on the street She was just whirling like a whirlwind To a Cajun beat You should’ve see her sequins Shining in the light Country Jezebel You made me feel all right Ohhhhhhh She was a dancer (She was a dancer) Ohhhhhh-oh (She) She did me good Front line romancer By the way she way she moved I knew she would (I knew she would) Ohhhhhhh She was a dancer Yeah Ohhhhhh-oh She did me good (good, good, good) (She did me good) Country Jezebel I found her in a ballroom in a back-wood Ohhhhhh-oh......

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DANCE THE BLUES (1962/3) (Ray Smith/Tony Colton) Demo recording never recorded or released commercially. Tony Colton - vocal; Chad Stewart - piano. A-a-hah Forget the twist ‘cause it just don’t exist now Let me tell you the big big news Mashed potatoes is way off the list A-a-hah And the new dance is called the blues A-a-hah Shake your hip and do it a little stroll now Shimmy on way down to your shoes All you need Is a bit of soul And a big shot of rhythm and blues Hands behind your back now Make like you’re in a trance Woah yeah Jump and clap your hands now Now you know Now you know Now you know the dance now Take a chance come on do the dance now You ain’t got a thing to lose Woah yeah If you want some ro-ro-romamce Gotta learn to dance the blues Yeah Hands behind your back now Make like you’re in a trance Woah yeah Jump and clap your hands now Now you know Now you know Now you know the dance now Take a chance come on do the dance now You ain’t got a thing to lose Woah yeah If you want some ro-ro-romamce DAYS I MOST REMEMBER, THE (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared on both the UK (on Verve) and US (on Paramount) releases of the self-titled 1969 album - the only album the band released. When I was young As I remember My mind was open fields And the road went on and on Throughout the year I chased December Time was just a game I used to hide from the rain In my dreams (Ahhhh...) I used to wander (...ahhhh...) Through the hallways Of my mind Then runnin’ wild (Ahhhh...) Feelin’ the strong (...ahhhh...) Ever grateful at the time (...ahhhh...)

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Went on and on and on and on and on and on Those were the days (Ooooh...) I’ll most remember (...ooooh...) Those were the days (...ooooh...) I’ll most remember (...ooooh...) Time was just a game (Ahhhhhh...) Hiding in the rain (...ahhhh...) And singing songs (...ahhhh...) Yeah Those were the days (Ooooh...) I’ll most remember (...ooooh...) Those were the days (...ooooh...) I’ll most remember The garden (Ahhhhhh...) Were my life begun (...ahhhh...) Days of sun (...ahhhh...) My first love came (...ahhhh...) And she was tender (...ahhhh...) And I warmed my skies (...ahhhh...) In the colour of her eyes The days were long (Ahhhh...) And filled with splendour (...ahhhh...) And the world we’d become (...ahhhh...) Seemed to warm the summer sun (...ahhhh...) We lived in dreams (...ahhhh...) And saw the future (...ahhhh...) Through the rose-coloured eyes (...ahhhh...) Of the young And lookin’ back (Ahhhh...) Over my life (...ahhhh...) Through the dreams of yesterday (...ahhhh...) Then on and on and on and on and on and on Those were the days (Ooooh...) I’ll most remember (...ooooh...) Those were the days (...ooooh...) I’ll most remember (...ooooh...) Time was just a game (Ahhhh...) Hiding in the rain (...ahhhh...) And singing songs (...ahhhh...) Yeah Those were the days (Ooooh...) I’ll most remember (...ooooh...) Those were the days (...ooooh...) I’ll most remember (...ooooh...) The garden (Ahhhh...) Where my life begun (...ahhhh...) Days of sun (Days of sun) Ahhhh Those were the days (Ooooh...) I’ll most remember (...ooooh...) Those were the days (...ooooh...) I’ll most remember (...ooooh...) Time was just a game (Ahhhh...)

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Hiding in the rain (...ahhhh...) And singing songs (...ahhhh...) Those were the days (Ooooh...) I’ll most remember (...ooooh...) Those were the days (...ooooh...) I’ll most remember (...ooooh...) The garden (Ahhhh...) Where my life begun (...ahhhh...) The days of sun (Days of sun) DEADLINE (1968) (Tony Colton/Ray Smith) Released by Zoot Money and The Big Roll Band on their 1968 album Transition. Ray Smith plays guitar on this track. Gotta work, I’ll be late tonight Over my time (take your time) Been especially-paid to write To finish on time My music publisher called today He said to me, son Top priority right away It’s got to be done now Right on Z time You need every minute Searching for a headline Can’t stop, I got a limit Working to a deadline I got a track and the lines are wrong So - I wondered if you (what I do) Take it back and rewrite the song It’s got to be through By tomorrow you understand - coz They’re closing the date, so (concentrate) It’s being done by a big roll band And it must not be late Right on Z time You need every minute Searching for a headline Can’t stop, I got a limit ‘Cause I’m working to a deadline I’ve got to keep on Working to that deadline It looks like for me There’s gonna be no bedtime So listen (right on Z time) I got to work And I mean in a minute Working with a red line Can’t stop, I got a limit ‘Cause I’m working to a deadline Got to work, got to work, got to work Got to keep on working Oh yes Don’t you know I ain’t gonna go to bed now Pushin’, pushin’, pushin’, pushin’, pushin’ - all right Gotta understand I can’t go out tonight I gotta work

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DECISION (1967) (Tony Colton/Ray Smith) Recorded on Columbia by Jackie Lynton (born 27th February 1940), one of rock ‘n’ roll’s ‘nearly made it’ singers who worked with many famous musicians: a “musicians musician” who influenced Status Quo, Chas & Dave, Lemmy, Ritchie Blackmore, Long John Baldry and Chris Farlowe among others. Early on he had a residency at the famous Two I’s Coffee Bar in Soho, London, graduating to package tours alongside Billy Fury, Vince Taylor & the playboys, Wee Willie Harris, Terry Dene, Lance Fortune, Screaming Lord Sutch & his Savages, Nero & the Gladiators, John Leyton, Freddie Star & the Midnighters etc. His first well-received single ‘All Of Me’ (1962) marked the recording debut of Albert Lee who continued to work with Lynton until 1965. Jackie was then using the Two I’s house band, The Jury, initially comprising Albert on guitar, Bob Xavier on sax, Pat Donaldson on bass and Roy Mills on drums. Lynton was one of the early British Rock & Rollers to visit Hamburg in 1962 - where he did some recording. In 1972 he appeared at the Fillmore East, fronting Savoy Brown with whom he stayed and toured for a couple of rip-roaring years. Status Quo scored a massive hit with 'Again And Again', co-written by Lynton and Rick Parfitt, a long-standing friend, with whom he co-composed other early Quo hits. You make a decision After spending what seems like years Contemplating Hesitating ‘Til your mind is nearly breaking And the chance you are taking And when you’ve decided You must spend the time in between Glowing moments Behind occasion When in doubt and desperation While you abandon speculation Then you’d give most anything To turn the back the hands of time No joy You just gave away The chance in a life You will pine You make a decision But you can’t for the life of you see What’s the reason for believin’ You were right and not deceivin’ Til you hear them Clearly pleadin’ Ahh babe Yeah Yeah Ahh babe You make a decision And you can’t undo what you’ve done So forget it Don’t regret it It will haunt you - if you let it Now it’s over I merely say it It is done....

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DELAWARE (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Chas Hodges; backing vocals: the band plus Jerry Donahue (who also arranged) and Ray Osborne. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. Orginal also re-released, with some additional Ray Smith harmony/orchestral overdubs, on the 2013 download album TRUCKERS MUSIC. They say the lines are down in Utah And Cincinnati’s had a race war In Delaware It’s raining And Delaware Keeps on changing They say you’ve plains fire might reach Gladstone New York City has a cyclone In Delaware It’s raining And Delaware Keeps on changing Are you walking in the California sun (ahhhhhh - California) New York City - twenty-five, Chicago thirty-one (ahhhhhh – ooooo) Do you think about July’s affair (ahhhhhhh) And Delaware (ahhhhhh) Is almost anywhere (ahhhhhh) Delaware (ahhhhhh) Is everywhere (ahhhhhh) The Burbank’s sirens sound low and clear They sent a lifeboat to the Santa Barbara pier In Delaware It’s raining And Delaware Keeps on changing Are you walking in the California sun (ahhhhhh - California) New York City - twenty-five, Chicago - thirty-one (ahhhhhh - ooooo) Do you think about July’s affair (ahhhhhhh) And Delaware (ahhhhhh) Is almost anywhere (ahhhhhh) Delaware (ahhhhhh) Is everywhere (ahhhhhh) Delaware (ahhhhhh) Is almost anywhere (ahhhhhh) Delaware (ahhhhhh) Is everywhere (ahhhhhh) Delaware……. DETROIT JONES (rec. 1978; rel. 2013) (Ray Smith/Ray Flacke) A demo of a Heads Hands & Feet get together in 1978, Covent Garden Studios. Chas Hodges: vocals; Dave Peacock: bass; Albert Lee: lead electric guitar; Ray Flacke: acoustic guitar; Ray Smith: guitar; Keith Nelson: banjo. Released on the 2013 download album TRUCKERS MUSIC. Begging in the club in a backwater town Laying down a lick or two and puttin’ it down Play so fast, and he plays so clean He plays so vicious he can make you mean Got strings nylon-wound, no big thing He could pick a chicken wire and make it sing Detroit Jones Faster than sin Detroit Jones Don’t fit in

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Detroit Jones Your home ain’t in the south Gonna find a local picker Put him in the band Detroit Jones Detroit Jones Oh Detroit Jones The clothes you wear Long black hair The way you bend them strings Well it ain’t nothing personal All the things that you might say You’re a wild man with your heavy-drinking ways Local institution had a meeting yesterday Said we’d like to see a clean-cut, home-grown boy pick Saturday You’re slick as greased glass And you grin and stomp You’re quicker than a fox-fire in a swamp Detroit Jones You’re faster than sin Detroit Jones You don’t fit in Detroit Jones Your home ain’t in the south We’re gonna find a local picker Put him in the band Detroit Jones Detroit Jones Oh Detroit Jones The clothes you wear Long black hair The way you bend them strings Well up stepped a boy He’d been picking quite a while Knew DJ’s licks and he had his own style They faced each other on the stand with a grin The kid hit sixteen like a wildcat coming in Well Big D laughed and with a sigh His hands burnt a trail like strings on fire He bent and twisted and paralysed He hypnotised and mesmerised And buddy, I’ll leave the answer up to you Detroit Jones Faster than sin Detroit Jones You don’t fit in Detroit Jones Your home ain’t in the south We’re gonna find a local picker Put him in the band Detroit Jones Detroit Jones Oh Detroit Jones The clothes you wear Long black hair The way you bend them strings Detroit Jones Faster than sin Detroit Jones You don’t fit in Detroit Jones Your home ain’t in the south

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We’re gonna find a local picker Put him in the band Detroit Jones Oh Detroit Jones The clothes you wear Long black hair The way you bend them strings DEVIL’S ELBOW (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; harmony: Albert Lee & Chas Hodges. In 1996 a CD of the complete double album was issued by See For Miles Records - a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. In the song ‘Muff’ was Tony’s Colton’s girl friend at the time and ‘Mary’, Albert Lee’s. Methodist minister called on me And he asked my denomination He said with my hair and my band and me We’d improve the congregation No use trying to convert An unconverted man Devil worship the Lord Now try to understand Carpenter’s Valley Where my song lost a line From the back of my alley You can see the sun shine Devil’s Elbow That’s a hard bend to take Make it easier, lord I’m not the kind to fade Take Muff and take Mary That’s an easy way to shine All the best of my memory Are from the watchtower up in the pines I got lost Up on the Black Mountain mist Fell in love with a girl Who said she’d never been kissed before Right now I got lost Up on the Black Mountain mist Fell in love with a girl Who said she’d never been kissed before Devil’s Elbow That’s a hard bend to take Make it easier, lord I’m not the kind to fake I got lost Up on the Black Mountain Mist Fell in love with a girl Who said she’d never been kissed before Devil’s Elbow……

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DID IT RAIN? (1974) (Tony Colton/Ray Smith) Not actually recorded by HH&F except that a number of the band members backed Don Everly with his recording of this Colton/Smith track for his 1974 SUNSET TOWERS album - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens.

The song was also recorded by Barbara Fairchild in 1976. She slipped off softly in the early morning rain Up on a hillside for a place to hide her pain Breaking the cobwebs from the branches of the pine Asking forgiveness for me and my short time And did it rain, and did it rain And is there a such place called empty And did it rain, and did it rain And is there such place called time Left on your mind I know the writer of the song she sadly sings She rides a pony and her cape flies in the wind Checking the dew-drops on the branches of the corn She rides to keep her strange appointment with the dawn And did it rain, and did it rain And is there a such place called empty And did it rain, and did it rain And is there such place called time Left on your mind And did it rain, and it rain And is there a such place called empty And did it rain, and did rain And is there such place called time That’s on your mind DIRTY HEAVY WEATHER ROAD (1969) & (1973) (Tony Colton/Ray Smith) First released under the aegis of Poet And The One Man Band, this track appeared only on the US release of the self-titled 1969 album (on Paramount – pic of sleeve elsewhere in the list) – the only album the band released. In 1973 it featured in a longer (over 7 mins) and heavier version as the flipside of the Heads Hands & Feet 45 rpm single ‘One Woman’. It did not appear on the subsequent HH&F 1973 album OLD SOLDIERS NEVER DIE although ‘One Woman’ did. Nor has it to date appeared on any later LP, CD or download release. For the uninitiated, the Pennine Chain referred to in the song is a range of hills separating North West England from Yorkshire and North East England extending about 257 km southward from the Cheviot Hills on the Scottish border to central England. Sometimes called “the backbone of England”, the long hills of this chain reach nearly 3,000 feet, and steep escarpments rise over long lush valleys. It can be very bleak in winter – but beautiful in summer. My foot is hard upon the running board The window-wipers lash the screen The wind is howling through a quarter light The pole lines flash an endless stream The cats-eyes shinin’ forth like diamond As the road is bathed in light And the red post signs a danger In the black sheet of the night Through the shadow of a mountain High above the Pennine Chain Runs a dirty heavy weather road ‘Cross a windy barren plain Sweeping high across the hillside (ahhhh) Like a switchback on a train (ahhhh) See the taillights of a trailer (ahhhh) Through the sheets of blinding rain (ahhhh)

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See the ruins of a castle (ahhhh) High above upon a ridge (ahhhh) And the river’s overflowing (ahhhh) In the meadow by the bridge (ahhhh) Through a shadow of a mountain (ohhhh) High above the Pennine Chain (ohhhh) Runs a dirty heavy weather road (ohhhh) ‘Cross a windy barren plain Blinding headlight in the distance (ahhhh) From the car that’s comin’ on (ahhhh) A face jump right out of the window (ahhhh) He said, I’m goin’ where you just been gone (ahhhh) See the soft light of the city (ahhhh) From the blind spot in the bend (ahhhh) The semi-circle globe of orange (ahhhh) The far horizon never end (ahhhh) Through a shadow of a mountain (ohhhh) High above the Pennine Chain (ohhhh) Runs a dirty heavy weather road (ohhhh) Across a windy barren plain (Beep beep) Dirty heavy weather road (Beep beep) (Beep) (Beep beep) Dirty heavy weather road (Beep beep) (Beep beep) (Beep beep) (Beep beep) Dirty heavy weather road (Beep beep) DISTRACTION (1971) from the film soundtrack THE HERO (US) / BLOOMFIELD (UK) (Tony Colton/Ray Smith) Film starred and directed by Richard Harris (with Uri Zohar). Albert Lee sings lead on this track, available on CD of the soundtrack on Castle Music CINCD 031. This track is also included on the 2014 Heads Hands & Feet download album EVERYBODY’S HUSTLIN’. Ooohhhh - ooohhhh Ooohhhh I get lost among the falling time And drifted by the breeze If you please And the problems of the junkyard Are inclined to get me low There you go Ah well hmmm-mmm-mmm-mm-mm-mmm Hmm-mmm-mm-mm-mmm Words like hummingale and columbine Fall among the rhymes that meet me (You sing a rainbow sweetly) Distractions call like friends of mine Holding out their arms to greet me (You’ll never reach me) I never listen I’m a million miles away

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Ooohhh-oohhh-oohhh-oohhh Ooohhh-oohhh-oohhh-oohhh I get lost among the meaning If I look to find the cause In my pause And the tinker tale rebellion Hangs like ragged chains and rime In my mind Ah but hmmm-mmm-mmm-mm-mm-mmm Hmm-mmm-mm-mm-mmm Hmmm-mmm-mmm-mm-mm-mmm Hmm-mmm-mm-mm-mmm Hmmm-mmm-mmm-mm-mm-mmm Hmm-mmm-mm-mm-mmm DOIN’ WHAT I’VE ALWAYS DONE (re. 1971; rel. 2013) (Ray Smith/Chas Hodges) Released on the 2013 album TRUCKERS MUSIC. Very much in the vein of Chas Hodges’ later ‘Cockney’ material. Intended but rejected for the TRACKS album. Lead vocal: Chas Hodges. Doin’ what I’ve always done The only way I know The only way that I can make a livin’ Yes I’m doin’ what I’ve always done The only way I know The only way that I can make a livin’ Well I could have been an organ grinder Grindin’ O sole mio Oi! So roll out out the carpet And turn on all the light There’s gonna be some singin’ in this old ‘ouse tonight Hey! DON’T LEAVE ME (1977) (Ray Smith/Tony Colton) Never before released Poet and The One Man Band track. First issued 2013. Tony Colton: lead vocal; Roger Rettig: steel guitar; Ray Smith: additional synthesizer. If you gotta go, don’t leave me now If you gotta go, don’t leave me now Tomorrow will likely come shining And light up the darkness you’re hiding Come blinding I’m begging you to stay Don’t you run away, baby If you gotta go, don’t leave me now If you gotta go, don’t leave me now Don’t go with my head bent in sorrow Please wait ‘til the music’s all gone Tomorrow One more night and day Don’t you run away, baby If you gotta go, don’t leave me now If you gotta go, don’t leave me now Wait ‘til the birds sing the first light of morning Your heart might be filled with a change Then if you go will you go without warning And I’ll never see you again

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If you gotta go, don’t leave me now If you gotta go, don’t leave me now Oh, tomorrow One more night and day Don’t you run away, baby If you gotta go, don’t leave me now If you gotta go, don’t leave me now If you gotta go, don’t leave me now If you gotta go, don’t leave me now If you gotta go, don’t leave me now… DREAMS COULD COME TRUE (rec. 1976; rel. 2013) (Ray Smith/Tony Colton) Never before released re-constituted Poet and The One Man Band track. First issued 2013. Tony Colton: lead vocals; Dave Mattocks: drums; Phil Palmer: guitar; Dave Pegg: base; Max Middleton: piano; Phil Palmer: guitar: Ray Smith: additional synthesizer/backing vocals. I wait them on the jack Cheek to cheek, baby, dancing Partners from way back Hand in hand and arm in arm They laugh, and they cry And even then It couldn’t’ve died But it’s sad, but it’s true, my friend The same thing can happen To me and you With hearts like that And being dancing partners If Dreams could come true And you and I will surely make it Just me and you Me and you I watch them dancing the tango They were doing the Trot And skipped the light fantastic ‘til the dawn! And playing their parts In the greatest love affair, ever staged And even then The dream just faded But sad, but it’s true, my friend The same thing can happen To me and to you With hearts like that And being dancing partners If Dreams could come true And you and I will surely make it Just me and you Me and you Babe But it’s sad, but it’s true, my friend The same thing can happen To me and you With hearts like that And being dancing partners If Dreams could come true And you and I will surely make it Just me and you Me and you Babe

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DROP EVERYTHING AND RUN (1970) (Ray Smith/Tony Colton) A-side 45 rpm by Thane Russal on CBS (202403). It can be found on the ‘various artists’ compilation album/download Circus Days: UK Psychedelic Obscurities (1966-1970). Born Doug Gibbons, balladeer Thane Russal made his debut on Decca in 1965 - where he was noticed by the Rolling Stones, who saw something more in him than ballads. Through this association he got a contract with CBS in 1966. Russal reinvented himself as a soul singer with ‘Security’, produced by Paul Raven (aka Gary Glitter). A second single, ‘Drop Everything and Run’, appeared that same year, but despite strong performances from the singer, neither dented the charts. His prospects on mainland Europe were more promising and he next turned up in Italy, where he cut the single ‘Adesso Tardi’ b/w ‘If I Were a Carpenter’ for Italian CBS in 1967 and a follow-up record the next year. He fronted two bands during his time in Italy, The Electric Heart and Beggars Farm. When something tells you Your chance has come Just drop everything and run Get up, get moving Fast as you can Best to leave things as they stand Don’t stop Not even to say goodbye Just explain you gotta fly And like a bullet Shot from a gun Just drop everything and run Don’t waste a moment debating ‘Cause if you do Your chance will be gone If you misuse it You’re bound to lose it So don’t you wait around too long Get off, get moving Go right away You’re a fool if you delay Don’t mind the things that You’ve left undone Just drop everything and run Don’t waste a moment debating ‘Cause if you do Your chance will be gone If you misuse it You’re bound to lose it So don’t you wait around too long Get off, get moving Go right away You’re a fool if you delay Don’t mind the things that You’ve left undone Just drop everything and run

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E________________________________________________ ECHOES OF THE CHEERS (1970) (Johnny Harris/Tony Colton/Ray Smith) B-side of ‘Belfast Boy’ from the BBC documentary World of Georgie Best, recorded by Don Fardon and produced by Tony Colton and Johnny Harris. George Best (22nd May 1946 – 25th November 2005) was a legendary footballer from Northern Ireland who played as a winger for Manchester United. With the echoes of the cheers Ringing loud in my ears I stand alone With all these things I own With the memory of the years Of the laughter and the tears The passing time Weighs heavy on my mind Of yesterdays, everlasting Thinking now, of future things With the echoes of the cheers Ringing loud in my ears Where do I go from here EVERYBODY’S HUSTLIN’ (1971) (Tony Colton/Ray Smith/Chas Hodges) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). On the US album this track segues straight into ‘Hang Me, Dang Me’ without a break. The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Chas Hodges. In 1996 a CD of the complete double album was issued by See For Miles Records - a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. An outtake is included on the 2014 download album EVERYBODY’S HUSTLIN’. Well uncle Joe, he’s hustlin’ bars Uncle Jack, he’s a-hustlin’ cars Cousin Freddy he’s a-hustlin’ beetroot You better buy some before the next grouse shoot Everybody hustlin’ sumth’n Well my friend Reece, he’s hustlin’ peace Says he’s got a lamb with a golden fleece He’s up on the big cert turning down biz cause He’s learned how to panhandle his kids Everybody’s hustlin’ sumth’n Well, everybody hustlin’ sumth’n Well, everybody hustlin’ sumth’n Everybody hustlin’, everybody bustlin’ Everybody tryin’ to make the bolt fit the nut Take you shoes off at sup’ Will you hurry with your cup Got a cryin’ here for tea, and they might think it’s free I don’t know about you and that’s worrying me Well, everybody hustlin’ sumth’n Yeah, pick some Al’ Well my friend Lope, he’s a-hustlin’ dope Whole chain of Boots stores huslin’ soap If you can’t play dirty then you gotta play clean Can’t get in between then you got to be extreme

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Everybody hustlin’ sumth’n Well farmer Davis, he’s a-hustlin’ sheep Wet wood, dry wood, corn and beef He hustles so hard he just can’t stop One day his bottle punchin’ belly gonna go off – pop Everybody hustlin’ sumth’n Everybody hustlin’ sumth’n Everybody hustlin’, everybody bustlin’ Everybody tryin’ to make a dollar or a buck An’ the price is goin’ up Will you hurry with your luck Got a cellar full of meat, and it ain’t gonna keep Only barefoot librarians become vegetarians Everybody’s reading and I got no shoes on my feet And that’s a lotta lines to repeat Well, everybody’s hustlin’ sumth’n Me, I’m hustlin’ words That’s a kick for the birds You better buy some before they all go stale Ah yeah

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F________________________________________________ FABLE, THE (1969) (aka THE COFFEE SONG, aka THE CORNER TABLE) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared only on the UK (on Verve) release of the self-titled 1969 album - the only album the band released. This song is also known by the title ‘The Coffee Song’ and was recorded under that name by Cream (1966 - initially only in Sweden) - their first recording and by The Shevells (1968) with Ray Smith as guest guitarist. Also recorded by Dantalian’s Chariot for the prospective 1967 album Transitions but not issued until the re-named CHARIOT RISING in 1996. There’s a full-time Reservation Made in the bar at the railroad station And there’s a story A kind of fable On a card at the corner table On it is a message; been there sometime It starts off, ‘The coffee tasted so fine’ It says, ‘One day This may find you’ ‘These few words may just remind you We sat here together just to pass time And you said how the coffee tasted so fine’ It goes on to Say, ‘I love you If you should find this I must hear from you’ It gives a number but the name has faded away All that is left, are just the words, ‘Maybe someday’ Well that’s the story And the fable Never leave alone from a corner table Do-do-do-do Do-do-do-do Do-do-do-do-do-do Do-do-do-do Do-do-do-do FRIEND OF A FRIEND (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. Friend of a friend make a chain And the circle goes around like a game Now you don’t know me But I know somebody Who knows someone else who knows you Yes I do And God knows how many lives you pass through Before me and I get to you - yeah Friend of a friend make a line And as long as you live in my time Sooner or later A friend or a neighbour Will stop you and ask for the time Have some moonshine

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And I’ll get to hear on the grapevine Coz friend of a friend they make a line Well friend of a friend make a chain Yeah friend of friends make a chain The circle goes around like a game Friends of friends who make a chain Friends of mine Make a line Friends of friends make a line.... FUNNY, ‘COS NEITHER COULD I (1967) (Tony Colton/Ray Smith) Recorded on Columbia and released as an A-side Shotgun Express track. Lead vocals on the released 45 rpm record are Dave Brien with Madeline Bell - confirmed by her (often stated as Beryl Marsden - whose lead vocal was removed) with orchestra. An earlier alternative take with Beryl Marsden as lead vocal is available on the album Changes - The Story Of Beryl Marsden. Rod Stewart also plays harmonica and provides backing vocals on the track. The Shotgun Express, a British R & B band formed in London in May 1966 and achieved little success, was notable for including such subsequently famous musicians as Rod Stewart, Mick Fleetwood and Peter Green. The band emerged when Peter Barden’s instrument group, Peter B's Looners, (Bardens: keyboards; Peter Green: guitar; Dave Ambrose: bass; Mick Fleetwood: drums) decided to change style and add vocalists - Rod Stewart (previously of Steampacket) and Beryl Marsden (a leading female singer on the Liverpool club scene) and took the name The Shotgun Express. They played London clubs, focussing on soul classics such as ‘Knock On Wood’, ‘In The Midnight Hour’ and ‘Hold On, I’m Comin’’. Green left the band in late 1966 to join John Mayall’s Bluesbreakers and was replaced by, first, John Mooreshead and then Phil Sawyer. The group’s first single, ‘I Could Feel The Whole World Turn Round’ (October 1966), was not successful. Stewart left to join the Jeff Beck Group at the start of 1967. The group’s second single, ‘Funny 'Cos Neither Could I’, again had little success. Shotgun Express split up in early 1967. Fleetwood joined Green in John Mayall’s band before founding Fleetwood Mac. Marsden joined The She Trinity, Ambrose joined Brian Auger, Sawyer joined Spencer Davis, and Bardens later formed prog-rock band Camel. I’ve been so lonely since you said goodbye Have you baby, so have I Right from the moment that we broke up And you parted from me, baby I just gave up believin’ My whole world’s lost its meaning I couldn’t walk I couldn’t sleep or talk No matter how hard I tried I couldn’t forget you And the love when I met you Was still burnin’ deep down inside Now ain’t that strange It happened to me just the same I couldn’t make My love for you die Well ain’t that funny ‘cos Neither could I I tried to find myself somebody new I did the same about you But there was no one I could find Who came a fraction near you, baby It’s just no use pretendin’ I’d die from start to endin’ I got so down I thought of leavin’ town Of movin’ far, far away But by dodgin’ and weaving I put off my leavin’ ‘Til I found a reason to stay Now ain’t that strange It happened to me just the same I couldn’t run No more than fly

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Well ain’t that funny ‘cos Neither could I Hah! Funny, ‘cos neither could I Funny, ‘cos neither could I Funny, ‘cos neither could I Funny, ‘cos neither could I Funny, ‘cos neither could I……. FURTHER ON DOWN THE TRACK (1965) (Tony Colton/Ray Smith) One of the three singles Tony Colton and the Big Boss Band released on Pye and ABC-Paramount in the mid-1960s (7N 15886). This one was issued in July 1965 and later that year recorded by the Merseybeats. Elvis Costello recorded a version in 1980. The A-side is ‘I Stand Accused’. You got to know I got to go Further on down the track, baby Please set me free I got to be Further on down the track, baby I’ve got to move right now I’ve got to set sight now Further on down the track, babe Never gonna come back, babe Slip off the noose I’ll break the news Further on down the track, baby Got me a break I got to take Further on down the track, baby I’ve got to move right now I’ve got to set sight now Further on down the track, babe And I’m never gonna come back, babe Something inside me says I’ve got to move Somehow I’ve got to get out of this groove I got to move You got to know I got to go Move out the train I’ll find some fame Further on down the track, baby Goodbye romance I got a chance Further on down the track, baby I’ve got to move right now I’ve got to set sight now Further on down the track, babe I’m never gonna come back But I’ll write Sounds nice Yeah Something inside me says I’ve got to move Somehow I got to get out of this groove

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I got to move You got to know I got to go Move out the train I’ll find some fame Further on down the track, babe Goodbye romance I got a chance Further on down the track, baby I’ve got to move right now I’ve got to set sight now Further on down the track And I ain’t never gonna come back I’m all right Further on down the track I’m never gonna come back I’m gonna be all right Stay here the Night I wanna move I wanna move I wanna move right now Get me along I got to move along the track I ain’t never gonna come back

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G________________________________________________ GENEVA (1968) (Tony Colton/Ray Smith) An unreleased (presumed lost) track from the Poet And The One Man Band sessions. GOOD EVENING MR. JONES (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared on both the UK (on Verve) and US (on Paramount) releases of the self-titled 1969 album – the only album the band released. What kind of mood is your father in I’m frightened what will you say to him I’ve walked in circles all the day Trying to find the right words to say Good evening Mr. Jones How are you I hope you’re feeling well There’s something I would like to ask Or rather tell About your girl I love her Mr. Jones Believe me I know you love her too But she loves me And I must ask you for her hand Say I can And all the dreams you’ve dreamed for her (Oooooo-ooooo) I’ll try to make come true (Oooooo-ooooo) Roses in garlands (Oooooo-ooooo) Babies in gardens (Oooooo-ooooo) I’ll build her a mansion home (Oooooo-ooooo) Mr. Jones (Oooooo-ooooo) And if the day is cold or raining (Oooooo-ooooo) I’ll try to keep her warm (Oooooo-ooooo) And guard her from the storms (Oooooo-ooooo) As you’ve done these many years (Oooooo-ooooo) Dry your tears (Oooooo-ooooo) And if the day is hot (Oooooo-ooooo) I’ll plant a palm tree in the yard (Oooooo-ooooo) To give her shade (Oooooo-ooooo) And keep her from harm (Oooooo-ooooo) I’ll build her a wall of stone (Oooooo-ooooo) Mr. Jones (Oooooo-ooooo) Good evening Mr. Jones (Oooooo-ooooo) I thank you (Oooooo-ooooo) For giving life to her (Oooooo-ooooo) For in a way (Oooooo-ooooo) Because she is part of you (Oooooo-ooooo) I love you too (Oooooo-ooooo) Ooooh-ooh I love her Ooooh-ooh I need her Ooooh-ooh I love her Ooooh-ooh I need her Ooooh-ooh I love her Ooooh-ooh I need her Ooooh-ooh I love her Ooooh-ooh I need her (Mr. Jones, Mr Jones, Mr Jones) Ooooh-ooh I love her Ooooh-ooh I need her (Mr. Jones, Mr Jones, Mr Jones)

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Ooooh-ooh I love her Ooooh-ooh I need her (Mr. Jones, Mr Jones, Mr Jones) Ooooh-ooh I love her Ooooh-ooh I need her Ooooh-ooh I love..... GREEN LIQUOR (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on US version only). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track, lead vocal: Tony Colton; harmony: Chas Hodges. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. Lady Jane, is raising Cain She blew my line and blew my brain Pay no heed; I’m back on weed Working like a dog for my aniseed Green liquor Got me going again Green liquor Got me blowing again Green liquor and water Give me an ice bucket of soda Green liquor Got me going again Hey there Luce, back on juice Blow my lid, cannot kick my boots A jug of wine, is tasting fine I’m working on this lick with a friend of mine Green liquor Got me going again Green liquor Got me blowing again Green liquor and water Give me an ice bucket of soda Green liquor Got me going again Daddy drinks water! Bye bye Luce, bye bye Jane I’m back on juice, ain’t no man on my brain You get so high, a dog could fly And you could play your axe strung with baling wire Green liquor Got me going again Green liquor Got me blowing again Green liquor and water Give me an ice bucket of soda Green liquor Got me going again Well it rots your hair And it blows your mind It plays hell with your Sense of timin’

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Green liquor Got me going again Green liquor Got me blowing again Green liquor Got me going again Green liquor Got me blowing again GUARANTEED TO DRIVE YOU WILD (1968) (Tony Colton/Ray Smith) Mike Stevens & The Shevells recorded and released this Colton/Smith composition in 1968. B-side: ‘Hog Tied’. The backing band comprises largely members of what was to become Poet And The One Man Band. Guaranteed to drive you wild Talkin’ ‘bout my baby Sunshine is the colour Of my true love’s hair (true love’s hair) Guaranteed to drive you wild Send you kind of crazy And if you ever saw her You would stop and stare (stop and stare) She’s guaranteed to drive you out of your mind - that girl She’s highly commended To drive you insane She’s guaranteed to drive you out of your mind - that girl She’s well-recommended And love is her name Hey! Guaranteed to drive you wild Cause a mild sensation Just by standing near you You would be surprised (be surprised) Guaranteed to drive you wild ‘Cause you palpitations And if you saw her walking You would swear she flies (swear she flies) She’s guaranteed to drive you out of your mind - that girl She’s highly commended To drive you insane She’s guaranteed to drive you out of your mind - that girl She’s well-recommended And love is her name She’s guaranteed to drive you out of your mind - that girl She’s…..

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H________________________________________________ HAIL THE CONQUERING THE HERO (1971) film soundtrack THE HERO (US) / BLOOMFIELD (UK) (Tony Colton/Ray Smith) Film starred and directed by Richard Harris (with Uri Zohar). Released as the B-side single (with A-side ‘Homing In On The Next Trade Wind’) on Capitol P-3456. Also available on CD of the soundtrack on Castle Music CINCD 031. I’m gonna make it to the stadium And feast my eyes in the palladium Hear the thunder of my chariot wheels And watch the sawdust fly (sawdust fly) Steel is flashing And the shield is crashing And the eagle feathers of my plumage fly Shall I spare him Shall I offer up his life to Nero Hail the conquering hero ‘Til a new name is borne on the cry Hail the conquering hero ‘Til he dies I’m gonna make it to the stadium And feast my eyes in the palladium See the wonder of my magic skills Amaze a million eyes (vanqished eyes) March my stallions with the war battalions And the whole arena will be made to rise Sound of fanfares as I climb the stairs and stand with Nero Hail the conquering hero ‘Til a new name is borne on the cry Hail the conquering hero ‘Til he dies HANG ME, DANG ME (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). On the US album the immediately preceding track ‘Everybody’s Hustlin’’ segues straight into this track without a break. The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; harmony: Chas Hodges. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. A version is also included on the 2013 download albums WIZZ KIDS and TRUCKERS MUSIC. Hang me, dang me Rope me, wrang’ me I’m a hustler too Yeah, let’s pick some of that banjo boy D’you understand the words, boy Whoa pardner What are you singing the song for, boy If you don’t understand the words Hang me, dang me I can hear you listenin’ I can see you while you’re thinkin’ I can feel you while you’re rollin’ ‘cross my mind I can feel you walkin’ I can see you while you’re talkin’ And I know what’s going on behind your eyes

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Hang me, dang me Rope me, wrang’ me Jody lost his ride Hang me, dang me Rope me, wrang’ me Lord, if peace ain’t fine I know every angle Every bead and every bangle As they jingle and they jangle on your line I know when you’re fakin’ I can tell when you’re mistaken And I know when they’re the truth and when they’re lies Hang me, dang me Rope me, wrang’ me Jody lost his ride Hang me, dang me Rope me, wrang’ me Lord, if peace ain’t fine Hang me now! Hang me, dang me Rope me, wrang’ me Jody lost his ride Hang me, dang me Rope me, wrang’ me How I read your mind How I read your mind I can hear you listenin’ I can see you while you’re thinkin’ I can feel you while you’re rollin’ ‘cross my mind I can feel you walkin’ I can see you while you’re talkin’ And I know what’s going on behind your eyes Hang me, dang me Rope me, wrang’ me Jody lost his ride Yeah Well, hang me, dang me Rope me, wrang’ me Lord, if peace ain’t fine Lord, if peace ain’t fine HARD ROAD (rec. 1971; rel. 2014) (Ray Smith/Tony Colton) Although dating from recording sessions back in 1971, this track first appeared on a download album EVERBODY’S HUSTLIN’ in 2014. Vocals: Tony Colton & Ray Smith; keyboards: Mike O’Neill; drums: Pete Gavin; bass: Chas Hodges. This is effectively an unused outtake from the 1971 HEADS HANDS & FEET album. * Danny is Danny Secunda - HH&F manager at the time; Jim is Johnny Harris, the composer and musical arranger who worked with HH&F. If you get the inclination And you feel you wanna blow D’you get my invitation If you did, you gotta go Jack is high and Joe is nimble

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Danny* by here lookin’ in The whole band is jumpin’ With bow-legged Jim* Hard road (Hard road) Hard life (Hard life) Been a - Long day here tonight Hard road (Hard road) Hard life (Hard life) Been a - Long day here tonight Can you see Do you tumble Do you know what I mean There’s a juicehead drinkin’ From a can o’ gasoline That’s the third time I’ve said it Put a little meat back on the bone Three ships are sailin’ And they’re all coming home Hard road (Hard road) Hard life (Hard life) Been a - Long day here tonight Hard road (Hard road) Hard life (Hard life) Been a - Long day here tonight Hard road (Hard road) Hard life (Hard life) Been a - Long day gettin’ here tonight Hard road (Hard road) Hard life (Hard life) Been a - Long day here tonight Can you see Do you tumble Do you know what I mean There’s a juicehead drinkin’ From a can o’ gasoline That’s the third time that I’ve said it Put a little meat back on the bone Three ships are sailin’ And they’re all coming home Hard road (Hard road) Hard life (Hard life) Been a - Long day getting’ here tonight Hard road (Hard road) Hard life (Hard life) Been a - Long day here tonight HARD LIVIN’ BLUES (rec. 1971; rel. 2013) (Ray Smith/Albert Lee) Instrumental (from a HH&F jamming session) released on the 2013 download album TRUCKERS MUSIC.

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HARLEQUIN (1972) (Tony Colton/Michael Lee Smith) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Also included on the 2013 download album WIZZ KIDS (lyrics differ slightly). Michael Lee Smith is no doubt Ray Smith for some reason composing under a pseudonym. You keep my trophies - in your window All the time It is because you can feel them all ‘Cause they shine And is the stardust slowly fading from your First dream And I’m like the movie actor in the still-shot of the Slow-motion love scene Do I seem strange if I change now that you Know me so well I wear my love on my sleeve and I show you My feelings so well My love is obvious It will remain so And what if your harlequin should reach out An empty hand His colours fading like the worn rags on a Torn man Will you save any of your winners luck For a lost game While I’m like the blushing young, young schoolboy With his, with his first flame Do I seem strange if I change now that you Know me so well I wear my love on my sleeve and I show you My feelings, my feelings so well My love is constant It will remain so HAVE YOU LOST YOUR MIND (1966) (Tony Colton/ Ray Smith) B-side to ‘You’re Wrong There Baby’. Tony Colton: vocals; Vick Flick: guitar; Joe Moretti: guitar; Ray Smith: acoustic guitar. Behaving foolish Doesn’t give me the right to say That you’re wrong But I can’t stand by and Watch you Throw your life away Before you do I must say I beg you girl Don’t waste your time How can you be oh so blind Have you lost your mind He doesn’t love you Doesn’t need you And later on He’ll leave you

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But I can’t stand by here and See him See him break your heart Listen girl Before we part I beg you girl Don’t waste your time How can you be oh so blind Have you lost your mind I beg you girl Don’t waste your time How can you be oh so blind Have you lost your mind He doesn’t love you Doesn’t need you And later on He’ll leave you I love you so I can’t let you go Please say He’ll only break your heart Listen girl Before we part I must ask you One more time How can you be oh so blind Have you lost your mind HOG TIED (1968) (Tony Colton/ Ray Smith) Mike Stevens & The Shevells recorded and released this Colton/Smith composition in 1968. It was the B-side to ‘Guaranteed To Drive You Wild’. The backing band comprises largely members of what was to become Poet And The One Man Band. Since I met you baby I’ve been wrapped in chains I gave up all my freedom just to play your game Now I think it’s only right that I should say I prefer it this than any other way Now I’m here and that is where I’m gonna stay ‘Cause I’m hog tied and I’m satisfied Hog tied and I’m satisfied Hog tied and I’m satisfied - baby Baby Before I met you baby I was running wild Now you got me acting like a newborn child Say you want me and I’ll run right home to you There is nothing in the world I wouldn’t do Say you need me and I’ll be right by your side Because I’m hog tied and I’m satisfied Hog tied and I’m satisfied Hog tied and I’m satisfied - baby Baby Baby Before I met you baby I was running wild Now you got me acting like a newborn child Say you want me and I’ll run right home to you There is nothing in the world I wouldn’t do Say you need me and I’ll be right by your side

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Because I’m hog tied and I’m satisfied Hog tied and I’m satisfied Hog tied and I’m satisfied - baby Hog tied…….. HOME FROM HOME (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions” - original sleeve design by Mike O’Neill elsewhere in the list). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. Fishbone in the dustbin Dirty washin’ on the line See the gas lamp burnin’ And the dirty windows shine Grey-haired old lady Your building’s dyin’ in the rain No sanitation There’s tepid water in your drain What makes you stay here (ohhhh) It’s different without old Bill And no electric graveyard Waiting on the hill It’s home from home she said What you’re brought up to be used to Home from home she said What you’re brought up to be used to Yeah, yeah, yeah, yeah, yeah Home sweet home See the inland seagull Flying homeless in the evening sky Round and round in a circle The oily water wondered why See the black smoke rising Smell the cordite on the wind Your chimney’s burning Notify my next of kin Ten mile from Rainham Go fishing on the way Yeah What a waste your human Dying on your grave It’s home from home she said What you’re brought up to be used to Home from home she said What you’re brought up to be used to Yeah, yeah, yeah, yeah, yeah Home sweet home Come on Yeahhhhh... Yeahhhhhahh... Home from home she said

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What you’re brought up to be used to Now, home from home she said What you’re brought up to be used to It’s my Home from home she said What you’re brought up to be used to (Home from home she said) What you’re brought up to be used to (Home from home she said - hey) What you’re brought up to be used to (Home from home she said - hey) What you’re brought up to be used to What you’re brought up to be used to What you’re brought up to be used to What you’re brought up to be used to What you’re brought up to be used to What you’re brought up to be used to What you’re brought up to be used to What you’re brought up to be used to What you’re brought up to be used to What you’re brought up…… HOMING IN ON THE NEXT TRADE WIND (1971) film soundtrack THE HERO (US) / BLOOMFIELD (UK) (Tony Colton/Ray Smith) Film starred and directed by Richard Harris (with Uri Zohar). Released as the A-side single (with B-side ‘Hail The Conquering Hero’) on Capitol P-3456. Also available on CD of the soundtrack on Castle Music CINCD 031. Linda Lewis is the lead backing singer. This track is also included on the 2014 Heads Hands & Feet download album EVERYBODY’S HUSTLIN’ under the title ‘Trade Winds’. Cut the strings and let me fly You may follow with the lifting of your eyes Like the sunbird when it rains I’m just following the instincts of the seasons change Look at me I’m flying I see you in sails Just like a schooner sailing the sky If God sends windy weather We fly Put on your windy feathers And fly Fly Fly Scan the far horizon and you’ll find me With all the streamers tied behind me Like a box-kite all the ribbons stream All the trinkets in the box I bring I’ll be homing in On the next trade wind Setting sail On the next high-tide All the ribbons and the streamers and the boxcars that I ride Float behind me Like a schooner in the sky Seem like sea-wings as they follow behind me By the lifting of your breeze (homing in...) And the bending of your palm trees you can find me (next trade wind) Like a schooner in the sky (seven seas) Seem like sea-wings as they follow behind me (next high tide) All the ribbons and the streamers (homing in) and the boxcars that I ride Float behind me …….

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HOT PROPERTY (1972) (Tony Colton/Jack Gavin/Mabon Lewis Hodges/Earl ‘Bud’ Lee/Michael Lee Smith) From the album TRACKS – later reissued on CD as TRACKS PLUS with two bonus tracks. Jack Gavin, Mabon Lewis Hodges, Michael Lee Smith and Earl ‘Bud’ Lee are no doubt Pete Gavin, Chas Hodges, Ray Smith and Albert Lee for some reason composing under pseudonyms. A version is included on the 2013 download album WIZZ KIDS. A live version is also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. One two One two three four Hey! Hey! Too hot too handle And she’s too high-class Too antisocial And she’s too good to last Too hot to vote for And she’s so good to feel Do you know how long it’s been Since I’ve had a good meal Too hot to handle Too high explosive Too good for you And too good for me She’s hot property Too high explosive And she’s too thoroughbred Too high to reach for And she’s so well-read Too high stable And she’s so good to stud I’m just one more cowboy And we all bite the dust Too hot to handle Too high explosive Too good for you And too good for me She’s hot property Too hot too handle And she’s too high-class Too antisocial And she’s too good to last Too hot to vote for And she’s so good to feel Do you know how long it’s been Since I’ve had a decent meal Too hot to handle Too high explosive Too good for you Too good for me She’s hot property

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HOW DOES IT FEEL TO BE RIGHT ALL THE TIME (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. I got eyes Filled with rain Look at me I’m on the run again I’m so sad you won’t believe it’s true You’ll be me, I’ll be you You’ll be me, I’ll be you You’ll be me and I’ll be you How does it feel to be right all the time To know in your mind you were there Tell me how does it feel to be right all the time To read every sign so clear Oh dear I got a heart Fit to break Did you ever make A bad mistake I get stuck while you go sailing through You’ll be me, I’ll be new You’ll be me, I’ll be new You’ll be me and I’ll be you How does it feel to be right all the time To know in your mind you were there Tell me how does it feel to be right all the time To read every sign so clear Oh dear How does it feel to be right all the time (how does it feel to be right...) To know in your mind you were there (...all the time) Tell me how does it feel to be right all the time (how does it feel to be right...) To read every sign so clear (...all the time) Well - how (...how does it feel...) How does it feel How does it feel to be right all the time (...all the time) How (..how...) How does it feel (...does it feel...) How does it feel to be right (...to be right...) How does it feel to be right all the time (...all the time...) How does it feel (...how does it feel...) How does it feel (...how does it feel...) Baby – (...how......) HOW FAR - see: NEXT MILESTONE, THE

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I________________________________________________ I COULD FEEL THE WHOLE WORLD TURN ROUND (1966) (Tony Colton/Ray Smith) Recorded (on Columbia) by a band called The Shotgun Express comprising vocals: Rod Stewart with Tony Colton, Ray Smith and Beryl Marsden; Herbie Flowers: base; Ray Smith: acoustic guitar - plus strings. The B-side was ‘Curtains’, an instrumental with Peter Bardens, Peter Green, Mick Fleetwood, Dave Ambrose, Phil Sawyer and Beryl Marsden. When I first saw you this strange kind of feelin’ Set my head a-reelin’ Like I hit the ceilin’ The same thing happened to me then, baby Something kind of crazy And everything went hazy Lightnin’ and thunder shook the ground And I could feel the whole world turn round Underneath me I could feel the whole world turn round My every nerve had been set on fire Burning with desire Growing higher and higher Like on a funny fair big-wheel stoppin’ When you’re at the top end Then you feel it droppin’����� Risin’ and never fallin’ down And I could feel the whole world turn round Underneath me I could feel the whole world turn round It took my breath as though I’d been runnin’ Quite completely stunnin’ Highly overcomin’ And in a funny way it seemed frightenin’ Tension and a-heightenin’� Thunder and a-lightnin’ And not one single breath of sound And I could feel the whole world turn round Underneath me I could feel the whole world turn round When you’re near me I could feel the whole world turn round I could feel the whole world turn round Underneath me I could feel the whole world turn round When you’re near me I could feel the whole world turn round Underneath me…..

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IF I LIVED MY LIFE TWICE OVER (1968) (Ray Smith/Tony Colton) Recorded on Polydor by Des Ryan. Produced by Tony Colton. If I lived my life twice over With the years as I grew older Would I change my mind Would I waste a moment’s time If I lived my life twice over Would I still re-live all over Every foolish day Would I throw that life away Would I fall in love with you Would I live that life for you Knowing in the end You’d go again If I had my life to live again Spoken: If lived my life twice over Looking back across my shoulder Would I waste those years Or would I cry those worthless tears Would I fall in love with you Would I live that life for you Knowing in the end You’d go again If I had my life to live again IF YOU WOULD CARE (1964) (Ray Smith/Tony Colton - as Terry Colton) Tony Colton DOT 16679 single. A-side ‘I Know The Feeling’. Chad Stuart (of Chad Stuart & Jeremy Clyde) is on piano. If you would care One night to share Your devotion With me I’d take on any dare I’d fight a bear Swim the ocean Effortlessly Cross rivers wide and deep In no time This I would do If you Would care Climb over mountains steep If you’ll be mine Yes I know I could show I know That we’d make a happy young pair Please come to me I’d give you Love so rare If you would care Cross rivers wide and deep In no time This I would do If you Would care Climb mountains high and steep

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If you’ll be mine Yes I know I could show I know That we’d make a happy young pair Please come to me I’d give you Love so well If you would care If you would care If you would care If you would care…. I KNOW THAT FEELING WELL (2010 but composed 1983) (Ray Smith/Tony Colton) Ray Smith on vocals on a demo of a composition likely written during the HH&F days but recorded much later. Say buddy can you spare me a dime I can put you off the bottle Have you got the time to spare with me My foot is on the throttle You’re in the shape I used to be I look at you and I see One foot in heaven One foot in hell I know that feeling well One foot in heaven One foot in hell I know that feeling well Brother can you spare me a dime I can put you off the bottle Sometimes my tears fall in the rain It leaves me wanting her again One foot in heaven One foot in hell I know that feeling well One foot in heaven One foot in hell I know that feeling well One foot in heaven One foot in hell I know that feeling well One foot in heaven One foot in hell I know that feeling well I know that feeling well So well

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I’M IN NEED OF YOUR HELP (1971) (Tony Colton/Ray Smith/Pat Donaldson) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; harmony: Chas Hodges. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. A live version is also included on the bootleg HEADS HANDS & FEET AND ALL PARTS IN BETWEEN with lead singer being Steve Simpson. Everybody needs a fair share of help Everybody want a fair share of wealth Everybody want a fair slice of - Garibaldi I’m in need of your help Everybody wants a fair slice of cake Everybody want a piece of what you make Everybody want - everybody I’m in need of your help I’m in need of your help I’m in need of your help I’m in need of your help I’m in need of your help I’m in need of your help I’m in need of your help I’m in need of your wealth I’m in need of your help I’m in need of your help I’m in need of your Help me I’M WITH YOU ALL THE WAY (1967) (Tony Colton/ Ray Smith) Recorded by The Tremeloes. Dedicated to Alan Blakeley. Special guest: co-composer Ray Smith on acoustic guitar. You ask me how I feel If my love is real Am I gonna stay I’ve said that I love you Told you what I’ll do What more can I say My past life’s through I’m with you All the way-ay-ay-ay-ay In all I do I’m with you Here I’ll stay-ay-ay-ay-ay I’ve broken all my ties Said my last goodbyes Just to be with you And I’ve thrown it all I’ve got It may not be a lot But what more can I do My past life’s through I’m with you All the way-ay-ay-ay-ay In all I do I’m with you Here I’ll stay-ay-ay-ay-ay

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My hopes and my dreams Fall in with your In with your schemes My coat and my glove Go with my love Follow your thing Bop bop bah bedah bah Bop bop bah bedah bah Bop bop bah bedah bah Bah I’d give the life I lost Count the days I curse Easy in my mind And I guess I’ll tag along From this moment on ‘Til the end of time My past life’s through I’m with you All the way-ay-ay-ay-ay In all I do I’m with you Here I’ll stay-ay-ay-ay-ay Bop bop bah bedah bah Bop bop bah bedah bah Bop bop bah bedah bah Bah Bop bop bah bedah bah Bop bop bah bedah bah Bop bop bah bedah bah Bah Bop bop bah bedah bah Bop bop bah bedah bah Bop bop bah bedah bah Bah Bop bop bah bedah bah……. IN THE WORLD OF MARNIE’S DREAMING (1968) (Tony Colton/ Ray Smith) Tony Colton solo. In the world of Marnie dreaming How I wonder what she’s seeing On a first-floor landing See a small girl standing On a wooden chair Through a backstreet window See her blue eyes shining Through her golden hair In the world of Marnie dreaming Is the world my Marnie’s seeing Like a Disneyland of dreaming In a mind so younger What a world of wonder Is a tree out there

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Are there ten wild stallions Or a fleet of galleons In the sea out there In the world of Marnie dreaming In the half-light of the evening Watching shadows on the ceiling As into sleep she’s falling I can hear her calling Daddy, what’s that there Is that Snow White walking Or a lion talking To my Teddy bear In the world of Marnie dreaming Do do do do do do do do Do do do do do do do I STAND ACCUSED (1965) (Tony Colton/Ray Smith) One of the three singles Tony Colton and the Big Boss Band released on Pye and ABC-Paramount in the mid-1960s (7N 15886). This one was issued in July 1965 and later that year recorded by the Merseybeats. Elvis Costello recorded a version in 1980. The B-side is ‘Further On Down The Track’. The Merseybeats had a 1965 hit with a recording of the song. Elvis Costello covered this in 1980 on his album Get Happy! on F-Beat Records (UK) and Columbia (US). Girl, I stand accused People say I love you Yeah, I stand accused Oh but what can I do You belong to some other guy I hope I never have to testify If loving you is a big crime I’ve been guilty a long time Girl, I stand accused With so much evidence Yeah, I stand accused And I got no defence All I need is a touch from your hand To find myself on the witness stand I’ll be unable to lie, girl I’ve got a love that won’t die, girl I’ll tell the world that I was guilty And I wouldn’t stand a chance I’ll tell the world that I was a victim A victim of circumstance They might show some mercy If I could explain That I loved you so much I was almost insane You disturb my balance of mind I could not help what I did at the time I stand accused and I’m guilty Baby, I always will be I need a witness, baby You disturb my balance of mind I could not help what I did at the time I stand accused and I’m guilty Baby, I always will be

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I need a witness, baby I stand accused of a-loving you And I’m so guilty, baby I’m so guilty of a-loving you…… I’VE LAID SOME DOWN IN MY TIME (1966) (Tony Colton/Ray Smith) Tony Colton solo. Released June 1966 as 7N 17117, the third of three singles recorded for Pye in the mid-1960s. B-side: ‘Run Pony Rider’. I’d better warn you, baby I’ve been around In my time I’ve been a-working Almost every town On the line I’m not a bad man but baby I’m not a saint You will find I’d better warn you, baby I’ve laid some down In my time I’ve done some things People might call a crime And I’ve laid some down In my time Yeah I’d better warn you, baby I’ve been around In my time I’ve been a-working Almost every town On the line I’m not a bad man but baby I’m not a saint You will find I’d better warn you, baby I’ve laid some down In my time I’ve done some things People might call a crime And I’ve laid some down In my time Hah! You gotta lay some down Yeah I’d better warn you, baby I’ve been around In my time I’ve been a-working Almost every town On the line I’m not a bad man but baby I’m not a saint You will find I’d better warn you, baby I’ve laid some down I’ve done some awful bad things In my time I’ve done some good things But I’ve done some bad things – yeah

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And I’ve laid some down in my time I’m not a bad man I tell you I’m not a bad man I’ve done some awful bad things in my time I WISH YOU KNEW ME (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton. Backing vocals: the band plus Jerry Donahue (who also arranged) and Ray Osborne.

In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive.

This track was originally planned for a Richard Harris album that didn’t come to fruition. Lady in your high wall of stone Cast your shadow like a silent chaperone (ahhhhhh) Did my humble words seem wrong (ahhhhhh) Did I offend you chapel choir’s evensong (ahhhhhh) I wish you knew me (ahhhhhh - ahhhhhahhhahhh) Can’t get through you at all (ahhhhhh) Dreams I would build with our lives Shone discreetly by casting down your eyes Words that leave me when I call (ahhhhhh) Grow entangled in the ivy on your wall (ahhhhhh) I fall unto thee (ahhhhhh- ahhhhhahhhahhh) Can’t get through to you at all Like a gypsy selling flowers (ahhhhhh) To a garden full of roses (ahhhhhh) Like the fool in his towers (ahhhhhh) Handing you his poses (ahhhhhh) Like the long winding mill (ahhhhhh) All life is losing (ahhhhhh) What am I doing (ahhhhhh) Hopelessly pursuing

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I WON’T LET YOU DOWN (1973) (Tony Colton/Ray Smith) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. The lead vocal on this track is Albert Lee.The overall album line-up is - vocals: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. I took a rose and put it in your garden Now watch it grow - watch it flower You took a change and put it in my heart, babe And it is growing by the hour Gonna tell it like it is And how it was - as I remember It will be so strange to see me change I won’t let you down Tell it like it is And how it was - as I remember And I won’t change one line - nor less a rhyme I won’t let you down I took a line and put it in my pocket And I will use it when I have the need You sang a song and put it in my memory And I will write now unknowingly Going tell it like it is And how it was - as I remember It will be so strange to see me change I won’t let you down Tell it like it is And how it was - as I remember And I won’t change one line - nor less a rhyme I won’t let you down

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J________________________________________________ JACK DANIELS OLD NO. 7 (1972) (Tony Colton/Earl ‘Bud’ Lee/Michael Lee Smith/) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Michael Lee Smith and Earl ‘Bud’ Lee are no doubt Ray Smith and Albert Lee for some reason composing under pseudonyms. An outtake is included on the 2014 download album EVERYBODY’S HUSTLIN’.

A number of the band members also backed Don Everly with his recording of this Colton/Smith track for his 1974 SUNSET TOWERS album - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens. A woman wrings her hands and cries “I’ve lost my man” You should-a seen him tote that diesel ‘cross his land Now you’ll find him up on Lynchburg, Tennessee Collecting bottles in his old dungarees At the Silver Dollar Saloon Gotta break him out here soon Jack Daniel's Old No 7 Tennessee sour-mash whiskey Jack Daniel's Old No 7 Tennessee sour-mash whiskey He used to be so frisky Bogie Bogart cried, “Lauren, let's sail to sea And when I’m dyin’ have a long drink just for me” Now you’ll find him up on Lynchburg all the time They keep him waiting, at the end of the line At the honky-tonky parade Look at all the parts he played Jack Daniels Old No 7 Tennessee sour-mash whiskey Jack Daniels Old No 7 Tennessee sour-mash whiskey Now you’ll find him up on Lynchburg, Tennessee Collecting bottles in his old dungarees At the Silver Dollar Saloon They gotta break him out it soon Jack Daniels Old No 7 Tennessee sour-mash whiskey Jack Daniels Old No 7 Tennessee sour-mash whiskey

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JACK OF ALL TRADES (1973) (Tony Colton/Ray Smith) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. The lead vocals on this track are: Tony Colton, Chas Hodges & Albert Lee. The overall album line-up is - vocals: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. Jack of all trades Neither joker nor ace I am all of the players The wine and the dinner But seldom the winner The losers are taking the fun Out of making the melody dance I’m the dancer romancer The cowboy with spurs And they jangle Twice nightly For satins and furs I am part of the show And I come as I stand Here I am, here I go I’m the man with the many Chequered plans And the gaily coloured clothes And I’m footing the bill On the last Of the travelling rodeo shows I’m the man with the many Chequered plans And the gaily coloured prose And I come as I stand Here I am who I am No-one knows I’m the dreamer The schemer The man in the middle The clue to the puzzle The rhyme to the riddle Last man on earth And the first man on Mars All of these things And I reach for the stars Like a child I am lost Without you baby And for all that I know I am losing control All sense of reason And sight of my goal I go round in circles I spin like a top I am red I am green I am go I am stop

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JACKSON (1970) (Tony Colton/Ray Smith) Tony Colton: vocals; Roger Rettic: electric lead guitar. Thus far unreleased track in the Poet & The One Man Band vein from late 1970. Up here sitting on a line Pumping on an old piano Me and my Joanna I’m so lonesome I could cry I gonna leave this New York City Where a hustle is a hustle And a dime is a dime When waiting on a record And its stuck there, hanging on line Pickin’ on a mean old Fender Me and my ol’ bender Lord it’s great if you survive I’m going back to Jackson city Where rustle is a rustle And a hide is a hide And the mean old sheriff goes, be gone Mississippi ride I’m gonna make it back to Jackson I’m gonna make it if it kills me - I’m gonna try I’m gonna make it back to Jackson That dear old town I’m waiting on a gal named Rita There ain’t nothing sweeter Than a piece of Southern hide I’m going back to Jackson city Where rustle is a rustle And a hide is a hide And the mean old sheriff goes, be gone Mississippi ride I’m gonna make it back to Jackson I’m gonna make it if it kills me - gonna try I’m gonna make it back to Jackson That dear old town South of the line I’m gonna leave this New York City I’m gonna make it back to Jackson I’m wanna make it if it kills me - I’m gonna try I’m gonna make it back to Jackson That dear old town I’m waiting on a gal named Rita There ain’t nothing sweeter Than a piece of that Southern hide - you know what I mean I’m going back to Jackson city I’m gonna make it back to Jackson I’m gonna make it if it kills me - gonna try I’m gonna make it back to Jackson To that dear old Southern town of mine I’m gonna make it if it kills me, gonna try Gonna make it back to Jackson Where a dollar is a dollar And a dime is a dime And you ain’t seen nothing till you’re south of the line A rustle is a rustle

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And a hide is a hide And the mean old sheriff goes, be gone - pride A dollar is a dollar And a buck is a buck I’m gonna beat my feet on the Mississippi mud Good old folks drink neat moonshine You ain’t seen nothing till you’re south of the line I want a top hat like a feather or a cap Cause the North is coming and they want it all back Dollar is a dollar And a buck is a buck And if that ain’t saying it - then hang it all up JACQUELINE (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared only on the UK (Verve – pic of sleeve below)) release of the self-titled 1969 album - the only album the band released. Jacqueline Pretty dream Like a bird you fly Jacqueline So serene Walking in the sky Jacqueline Will you be my queen Jacqueline Pretty, pretty dream Buy you a castle high on the hill Look down on the water mill Buy you a castle high on the hill Bulrushes‘d be there still Bulrushes‘d be there still Jacqueline Pretty dream Sunlight tint her hair Jacqueline So serene See you walking there Jacqueline Dress of jaded green Jacqueline Pretty, pretty queen Buy you a castle high on the hill Look down on the water mill Buy you a castle high on the hill Bulrushes‘d be there still Bulrushes‘d be there still Bulrushes‘d be there still Look down on the water mill..... JO JO - see: CREEPIN’ UP ON YOU

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JUKE BOX (1973) (Ray Smith/Tony Colton/Chas Hodges/Albert Lee) Jerry Lee Lewis with members of Heads Hands & Feet. Dedicated to two guest stars Rory Gallagher and Tony Ashton. Ball is shaking with the jukebox And everybody’s sayin’ yeah, yeah, yeah Do you love me, baby Do you think I’m out of sight Mama rolls, but she don’t roll right Town is burning with a heatwave The weather forecast keeps sayin’ fine, fine, fine Do you love me, baby Do you think I’m out of sight Mama she rolls, but she don’t roll right Ball is shaking with that old jukebox And everybody is singing yeah, yeah, yeah Do you love me, baby Do you think I’m out of sight Mama she rolls, but she don’t roll right Yeah The old town is burning with the heatwave You know the forecast keeps sayin’ fi-i-ine Do you love me, you good-looking woman You’re out of sight Mama roll, but she don’t roll all night Yeah, get it son – aooww Take it Ohhhh, the whole town is burning up with the heatwave The weather forecast keeps sayin’ fine, fine, fine Do you love me, baby Do you think the Killer’s out of sight You know mama she rolls, but she don’t roll right Ho! The ball is shaking with the jukebox And everybody is singing yeah, yeah, yeah Do you love me baby Do you think I’m out of sight Well mama, she rolls, but she don’t roll right Yeah mama, she rolls, but she don’t roll right

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JUST ANOTHER AMBUSH (1973) (Tony Colton/Ray Smith) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. The lead vocal on this track is Albert Lee. The overall album line-up is - vocals: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Brass arrangement: Derek Wadsworth. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. If you ride shotgun for the train You must expect a little pain If you get hit while you ain’t looking Boxed up in a canyon with your Whole defences down No way in, no way out No way through, no way round And so you lie there Playing possum for a while The Duke is banging on the door He drags his feet across the floor And he makes sure I lay my feelings down and smile He throws my papers in a pile Just another ambush Just the fate of the fortunes of war No more Just another ambush See the bandit Hiding in the hollow Bushwhackers and racketeers Lend me your ears Don’t you know - oh Old soldiers never die They only fade away To fight another day One more day longer And it gets stronger They have dreams And they have stars in their eyes And while you sit and count the notches on your gun I spent my whole life on the run They say I’ve got papers on you, son That’s when you really know you won The game Are you ready for the pain Just another ambush Just the fate of the fortunes of war, no more Just another ambush See the bandit Hiding in the hollow And so you lie there Playing possum for a while The Duke is banging on the door He drags his feet across the floor And he makes sure I lay my feelings down and smile He shoves my papers in a pile Just another ambush Just the fate of the fortunes of war No more Just another ambush

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See the bandit Hiding in the hollow Just another ambush Just the fate of the fortunes of war No more Just another ambush See the bandit Hiding in the hollow JUST A PASSING PHASE (1968) (Tony Colton/Ray Smith) Released by Zoot Money & The Big Roll Band on their 1968 album Transition. Ray Smith joins Andy Summers (who would later be a member of The Police) on guitar. Just like the dying Of some foolish craze Somehow without knowing Even showing Our love slowly dwindled down Just like the dying of a blaze Just a passing phase And like a pencil shade Slowly fading You went drifting from my mind Just like a word being erased Just a passing phase Just something that every once in a while Makes you turn round and think Look back and smile For I can almost laugh now When I think of Foolish, that I must have been To feel so bad about a craze Just a passing phase Just something that every once in a while Makes you turn round and think Look back and smile For I can almost laugh now When I think of Foolish, that I must have been To feel so bad about a craze Just a passing phase Do do do do do

K – None

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L________________________________________________ LAST FANDANGO, THE (1985) (Tony Colton/Ray Smith) Actually composed circa 1965. Performed, double-tracking vocals, by Jeff Beck’s backing singer (name unknown) with Ray Smith on guitar and Tony Colton on synthesizer. Out where the night winds are brushing the plains of Laredo Cowboy chases the day glow One lonely rider, trailing the five desperados Gold they stole in Colorado Tin star my darling, my heart it goes with you You know how I hunger for your safe return But I’m far too young and I’m too full of passion To spend my life in this crazy fashion While the light shines in the young drover’s eyes Cowboy would you like to tango Dance me the last fandango I can hear music drifting across from the bar Makes me feel like dancing Takes my mind from the thought of you there in the barrow Shot dead, cold in the saddle While at any one moment a gun could go flashin’ Out here on the streets and out dancing Tin star my darling, your thrill of the danger Is just how I am in the arms of a stranger Tonight I’ll dance with my party paint on Cowboy would you like to tango Dance me the last fandango Baby forgive me but I know one dark night in Laredo I’ll be standing there waiting for day glow Watching the crossroads for a sign of the riderless pony I’ll see your Roan come only Slug from the gun of a young desperado Has left you cold in the sand Tin star my darling, your thrill of the danger Is just how I am in the arms of a stranger Tonight I’ll dance with my party paint on Cowboy would you like to tango Dance me the last fandango Cowboy would you like to tango Dance me the last fandango Cowboy would you like to tango Dance me the last fandango LET’S GET THIS SHOW ON THE ROAD (1972) (Tony Colton/Ernest Smith/Albert Lee/Chas Hodges/Pete Gavin) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. An outtake is included on the 2014 download album EVERYBODY’S HUSTLIN’. Say goodbye to daddy He’s off to Cincinnati The band bus is leaving Dead on nine you know Have you got your suitcase Make sure you’ve got toothpaste They might not sell brushes down in Tupelo Load up all the stage parts Grease paint all background Make sure the sponsors know I’m clean Maybe I’ll see Margo

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Down in Chicago And I got a dancer down in New Orleans Let’s get this show on the road Ain’t it long about time Let’s get this show on the road Let’s all see some action You can’t get good reaction All the time I heard about the jet-sets The cowboys and the rednecks You can buy a bootleg for a dime All the smiles and all the handshakes The Howard Johnson pancakes The hotels and the motels on the line Well The big shiny ballrooms And them fifteen dollar shirts And them funky little small rooms in between Now maybe I’ll see Margo (maybe I’ll see Margo) Down in Chicago I got a dancer down in New Orleans Let’s get this show on the road Ain’t it long about time Let’s get this show on the road Well, let’s all see some action You know, can’t get good reaction All the time LET’S RUN FOR COVER (1966) (Tony Colton/Ray Smith) Released by Zoot Money & The Big Roll Band. Ray Smith plays guitar on this track. Calling everybody Who’s ever fought in the game Anyone who suffered pain Let’s run for cover You can find a hideout If you’re a refugee Come along with me I tell you Let’s run for cover Let’s run for cover If suddenly your love has died And you’ve been hurt inside Your pride Come with me I’ll find you someplace to hide Come with me Let’s run for cover Let’s run for cover If suddenly your love has died And you’ve been hurt inside Your pride Come with me I’ll find you somewhere to hide Come with me Let’s run for cover Let’s run for cover Let’s run for cover

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Let’s run for cover If you’ve been hurt inside I say come on with me Let’s hide away And if your love has died….. LIFE WILL ALWAYS BE THE SAME (rec. 1978; rel. 2014) (Ray Smith) Although dating from a sort of HH&F reunion recording session in 1978, this track first appeared on a download album EVERBODY’S HUSTLIN’ in 2014. Vocals & acoustic guitar: Chas Hodges; harmony vocals: Ray Smith; bass: Dave Peacock; piano: Albert Lee; lead guitar: Ray Flacke; drums: unknown. Same session as for ‘Detroit Jones’. I’m takin’ my shoes for walk Strollin’ down the dusty road Dirt ‘round my feet Free blowin’ trees Open-necked shirt And age-old jeans Silent sun keeps beatin’ down And I know That life will always be the same Will always play old games Tomorrow brings the city train I’ll keep workin’ on this feelin’ inside To bring a few dreams back home again And life will always be the same Will always play old games Will always be the same High-rise shadows shade me Meeting friends, forgetting names Chasing a seat - on the seven-o-four One step behind a reason While hope got me through another day And I know Life will always be the same Will always play old games Tomorrow brings the city train And I’ll keep workin’ on this feeling inside To bring a few dreams back home again And life will always be the same Will always play okay Will always be the same LIGHT MY FIRE AND BURN MY LAMP (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared on both the UK (on Verve) and US (on Paramount) releases of the self-titled 1969 album – the only album the band released. Here am I still holdin’ on When I’d almost given up believin’ Here am I still holdin’ on With a handful of words and a dream Here am I still holdin’ on Here am I still holdin’ on Light my fire and burn my lamp ‘Cause hope is fading daily Yesterday I saw three ships But they just kept on sailing I’m becalmed on a sea of time

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Left to the fate that tomorrow’s wind may blow Here am I still holdin’ on With no other reason than I got no place to go Here am I still holdin’ on Here am I still holdin’ on Light my fire and burn my lamp ‘Cause hope is fading daily Yesterday I saw three ships But they just kept on sailing Huh Keep it burning my lamp Here am I still holdin’ on When I’d almost given up believin’ Here am I still holdin’ on With a handful of words and a dream Here am I still holdin’ on Here am I still holdin’ on Light my fire and burn my lamp ‘Cause hope is fading daily Yesterday I saw three ships But they just kept on sailing LITTLE BIT LONELY (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; harmony: Ray Smith; backing vocals: the band plus Jerry Donahue (who also arranged) and Ray Osborne.

In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive.

An outtake is included on the 2014 download album EVERYBODY’S HUSTLIN’. The day has gone behind me Just took the ground from beneath me And as the evening breaks my fall I’ll just sit awhile Guess I’m just a bit lonely (ahhh...) Just a little bit lonely (...ahhh...) The fire falls surprise me (...ahhh...) Tired eyes search blindly (...ahhh...) And simple meaning lost its way (...ahhh..) For another day (...ahhh...) Guess I’m just a bit lonely (...ahhh...) Just a little bit lonely The sound of the silence brings me near Twilight sheds a tear And I hate to see you go away Hate to see you go

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LOOK AT THE WORLD IT’S CHANGING (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on US version only). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; alto sax: Elton Dean; backing vocals: the band plus Jerry Donahue (who also arranged) and Ray Osborne. On the album this track seques straight into ‘You Because You Know Me’ without a break. In 1996 a CD of the complete double album was issued by See For Miles Records - a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. This song was also recorded by Frankie Valli and can be found on the 1976 album Valli. So high Look in the evenin’ the sky See how the swallows fly Cutting a line across the moon Sailing out of June Here I go now (ahhhhhhhh....) Look at the world, it’s changing (...ahhhhhhhh...) Look in my eyes, they’re breaking (...ahhhhhhhh...) Oh, look at the way we’re always takin’ (...ahhhhhhhh...) Look at the lies, we’re faking (...ahhhhhhhh...) Look at the world – it’s changing (...ahhhhhhhh...) I love you, sleep, rise Wake up and catch the sun before the shadow dies Spinning light across the dream What did it almost mean Here I go now (ahhhhhhh...) Look at the world, it’s changing (...ahhhhhhhh...) Look in my eyes, they’re breaking (...ahhhhhhhh...) Oh, look at the way we’re always taking (...ahhhhhhhh...) Look at the lies, we’re faking (...ahhhhhhhh...) Look at the world – it’s changing (...ahhhhhhhh...) I love you Here I go now (ahhhhhhhh) Look at the world, it’s changing (...ahhhhhhhh...) Look in my eyes, they’re breakin’ (...ahhhhhhhh...) Oh, look at the way we’re always takin’ (...ahhhhhhhh...) Look at the lies, we’re fakin’ (...ahhhhhhhh...) Look at the world – it’s breaking (...ahhhhhhhh...) LOSE MY MIND (1964) (Tony Colton/Ray Smith) For interest’s sake we include Tony Colton’s single releases of the 1960s here. ‘Lose My Mind’ / ‘So Used To Loving You’ was his debut in April 1964, issued in the UK as Decca F 11879. I’ll be feelin’ so blue now Over you now Low down Since you left town Gotta make myself feel fine Or I’ll lose my mind And I’ve been feelin’ so sad now And so bad now (bad now) I’ve gotta move back Get on the right track (right track – ahhh) Gotta make myself feel fine Or I’ll lose my mind I’m losing so much sleep (ahhhh…) Got to get back on my feet (…ahhh…) Don’t wanna lose my mind (…ahhh…) Wanna get myself a good time (…ahhh)

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I wanna drink wine Makes you feel fine (feel fine) Make a new scene I wanna start clean (start clean - ahhh) Gotta make myself feel fine Or I’ll lose my mind Whoa here we go now Shake that thing, yeah I’m losing so much sleep (ahhhh…) Got to get back on my feet (…ahhh…) Don’t wanna lose my mind (…ahhh…) Wanna get myself a good time (…ahhh) I wanna drink wine Makes you feel fine (feel fine) Make a new scene I wanna start clean (start clean - ahhh) Gotta make myself feel fine Or I’ll lose my mind

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M________________________________________________ MAKE ME FEEL MUCH BETTER (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. What a day I had today Everything I did was bad Ohhh, I’m sad Make me feel much better Aching mind and heavy eyes Will you sympathise with me Ohhh, I’m beat Make me feel much stronger See the hand on the clock tick by Time fly for you and I Just so long as we are here together Maybe it’s just something in the weather MARIONETTE (rec. 1973/4; rel. 2014) (Ray Smith/Tony Colton/Albert Lee) Dating from recording sessions (at A&M studios, Los Angeles) for a prospective Albert Lee album in 1973/4 at the time members of HH&F were musicians for Don Everly’s Sunset Towers album. This track first appeared on a download album EVERBODY’S HUSTLIN’ in 2014. Vocals: Albert Lee; bass: Pat Donaldson; drums: Pete Gavin. Extra piano: Ray Smith (2014). Marionette, you made me crazy Pull the string and I will dance You will be my lady, only If you’ll bring me from this trance I could lose everything But I won’t give up my dream Marionette, I am running If you trap me with your schemes And though you pull still I strangle Still I’m dancing by your strings I’m just hangin’ in the meanwhile Knowing what my dream will bring And I wanna get up and sing I am here like a strange old song That’ll be, has failed in you capturing years I will still be here, after crazes have changed And I know my moment will arrive I will be the star of Shuck ‘n’ Jive Marionette, I know I’m crazy Pull the string and I still dance You couldn’t do more if you were tryin’ Now I’m lost in your trance Got rigours in my mind Till I lost everything But I gotta get up and sing

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MEAL TICKET (1973) (Tony Colton/Ray Smith/Albert Lee/Chas Hodges/Pete Gavin) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. The lead vocals on this track are: Tony Colton & Chas Hodges. The overall album line-up is - vocals: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. A live version is also included on the 2013 download album WIZZ KIDS as part of a medley with ‘Jo Jo’ (aka ‘Creepin’ Up On You’). Another live version appears on HEADS HANDS & FEET AND ALL PARTS IN BETWEEN, immediately following ‘Creeping Up On You’ (aka ‘Jo Jo’). Everybody got a meal ticket Everybody got to get down with it Everybody got a meal ticket Everybody Everybody got a ride Down by - down by the riverside Everybody got a true vocation Everybody got a shoe-shine hat Anybody got a good suggestion Ain’t you got one Got to get mine back Down by, down by the riverside Whaaaaaah-haaaa Everybody got a meal ticket Everybody got to get down with it Everybody got a meal ticket Everybody Everybody got a ride Down by - down by the riverside Whaaaaaah-haaaa Whaaaaaah-haaaa MELODY TRAIN (1974) (Tony Colton/Ray Smith) Not actually recorded by HH&F except that a number of the band members backed Don Everly with his recording of this Colton/Smith track for his 1974 SUNSET TOWERS album - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens. Let me take you far away from here High on a dream Halfway, to stardom Honesty grows, in your garden Hitch a ride on a melody train Going down Tie your eyes to the journey I made In my sound Each one Is Kansas City bound Tie the longhorn to the wagon wheels Dust on the rise, cowboy and Dago Blazin’ a trail, to the rainbow Hitch a ride on a melody train Going down Tie your eyes to the journey I made In my sound Each one Is Kansas City bound

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MIRACLE (1975) (Tony Colton/Ray Smith) Tony Colton singing lead. Members of Fairport Convention and Phil Palmer on lead guitar backing. Melody Will you dance your dance for me Will you smile your smile And turn it all into a symphony Will you sing your serenade Did you break my heart To turn it all into a better place Did you find my lost embrace Did you break my heart To turn it all into a miracle Fill my arms with love May all your wildest dreams comes true All your wild imaginings Grow like melodies That grow up into symphonies Will you sing your serenade Did you break my heart To turn it all into a better place Did you find my lost embrace Did you break my heart To turn it all into a miracle Symphony Will you sing your serenade Did you break my heart To turn it all into a better place Did you find my lost embrace Did you break my heart To turn it all into a miracle MORE YOU GET, THE MORE YOU WANT, THE (1971) (Tony Colton/Ray Smith/Pete Gavin/Mike O’Neill/Albert Lee/Chas Hodges) From the self-titled 1971 album HEADS HANDS & FEET (on US version only). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; alto sax: Elton Dean. In 1996 a CD of the complete double album was issued by See For Miles Records - a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. Ten bucks a week, all the grain you can eat And a place to lay your head Five dollars more and I’ll be fixing to score With some juice to line the head Now with my five-buck weed and my aniseed You would think I was satisfied Watch me go out searching For some hot-foot dame to ride The more you get, the more you want It ain’t human not to take Honey, it only goes to money And the more you got, the more you make Keep that turnstile turning around the gate Ten cents a rhyme, all the sun you can shine And some hay to fill my barn With capital gains and six months of rain

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Is not why the deal’s too far Now you might think that the cake tastes nice If you don’t get to try the cream Look at that hound dog shaking hairs All over my limousine The more you get, the more you want And it ain’t human not to take Honey, only goes to money And the more you got, the more you make Two four six - that’s eight The more you get, the more you want Just ask a rich man not to take Honey, only goes to money And the more you got, the more you make, now To keep that turnstile turning ‘round my gate Joe Buckaroo got a penthouse suite With an ex-directory ‘phone Five more rungs I’ll be super-lungs ‘Cause I’m next one in line for the throne I got all the signs and affluence Of what you might call, a man of means Keep on pushing them ten-buck kits In the back of my slot machine The more you get, the more you want If you ain’t got none, that’s a shame ‘Cause honey, only goes to money And the more you got, the more you gain Keep on a track, like a train That’s right MUSIC PLAYED ON, THE (1965) (Tony Colton/ Ray Smith) Recorded on Parlophone (R 5355) by The Night-Timers Featuring Herbie Goins. My world has fallen apart And I sit there breakin’ my heart But as though nothin’ was wrong The music still played on They danced; they crowded the floor Jus the same, the same as before And although you are gone The music still played on Now I Have lost your love and my will to live You have told me goodbye But I just wanted to die But the music played on As though nothin’ was wrong As though you’d never gone Now I Have lost your love and my will to live You have told me goodbye But I just wanted to die But the music played on an’ on As though nothin’ was wrong As though you’d never gone I walked out into the night With the stars still shinin’ bright But as though nothin’ was wrong The music still played on

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The music played on It played on and on As though you never walked away baby As though you had never gone The music played on…. MUSIC TO THE MAN (1973) aka as recorded by HH&F: TAKING MY MUSIC TO THE MAN (Tony Colton/ Ray Smith) Recorded by Teresa Brewer with Heads Hands and Feet. The A-side, ‘Another Useless Day’, was composed by Chas Hodges (see above). Recorded in 1973 at Advision Studios. Also recorded by Jerry Lee Lewis for his 1973 album recorded with members of HH&F THE COMPLETE LONDON SESSIONS. I keep taking my music to the man And he still says he don’t understand And what’s puzzling me Is that it’s so plain to see He only finds what he thinks he knows He doesn’t know I’d give it him for free He doesn’t know I’d give it him for free I keep taking my love to the man And he still says he just don’t believe And what I don’t understand Is that he warms to my hand He only feels what he wants to feel He doesn’t know he’s feeling it for me He doesn’t know he’s feeling it for me I keep taking my music to the man And he still says he don’t understand And what’s puzzling me Is that it’s so plain to see He only finds what he thinks he knows He doesn’t know I’d give it him for free He doesn’t know I’d give it him for free I keep taking my love to the man And he still says he just don’t believe And what I don’t understand Is that he warms to my hand He only feels what he wants to feel He doesn’t know he’s feeling it for me He doesn’t know he’s feeling it for me

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N________________________________________________ NEGOTIATIONS IN SOHO SQUARE (1967) (Tony Colton/Ray Smith) Recorded by The Tremeloes. Ray Smith plays acoustic guitar on this track. Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do Doodlie-do-do-dum-dum-dum Negotiations in Soho Square Began one evening in the cool night air Two young people meeting just by chance A conversation leading to romance They would share Negotiations in Soho Square Brought two young strangers A love affair Bah-bah As music drifted from the late night show The boy and girl without a place to go Sat together just to pass the time And found a love as good as you will find Anywhere Negotiations in Soho Square Brought two young strangers A love affair Bah – bah Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do Doodlie-do-do-dum-dum-dum They go to London Town to see the sights And in the magic of the Soho lights The Tudor mansion and small green park Heard the softly spoken words that Sparked an affair Negotiations in Soho Square Brought two young strangers A love affair Bah – bah Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do Doodlie-do-do-dum-dum-dum Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do Bah-bah-bah-be-doodlie-dum-dum-bah-be-doodlie-do-do...... NEXT MILESTONE, THE (1969) (aka HOW FAR) (Tony Colton/Ray Smith) Guitar: Albert Lee; vocals: Tony Colton; guitar: Ray Smith; drums: Pete Gavin. Available on some compilation CDs of British blues. A different version was also made as part of the Poet & The One Man Band sessions - available via Ray Smith. How far - how far To the next milestone How far - how far To the next milestone How long - how long Before I reach my home Well I can see the light burnin’ On the rise across the hill I can see the light a-burnin’

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On the rise across the hill You keep the lamplight burnin’ I’ve almost had my fill Keep on Well, how far - how far To the next milestone How far - how far To the next milestone How long - how long Before I reach my home How long, well how long Must I keep rollin’ on Well how long, a-how long Must I keep rollin’ on Work my fingers to the bone For just another stepping stone NICK KNACK (1967) (Tony Colton/Ray Smith) Recorded by Zoot Money’s Big Roll Band. Ray Smith plays acoustic guitar on this track. This old man He hadn’t had any He played nick knack Went and got his money back He bet on a race and the dog came home He dropped in a bar had a drink for the road Oh Nick knack paddy-whack Give a dog a bone This old man got rollin’, rollin’ stoned Now this old man he had seven He played nick-knack Jumped back sugar-shack He danced and he sang like a young boy grown He banged on a drum And he blew on a slide-trombone Nick knack paddy-whack Give a dog a bone This old man got rollin’, rollin’ stoned This old man he had eleven He played bulldog, leapfrog Give a dog He jumped and he hopped And he skipped and he sat Until he could fight any man or beast or cat Nick Knack paddy-whack Give a dog a bone This old man got rollin’, rollin’ stoned Now this old man he’s in heaven He drunk pink gin, Micky Finn, anything He’s so full of wine He was not quite sane Out of his mind And he’s high on the pink champagne Nick knack paddy-whack Give a dog a bone Now this old man got rollin’, rollin’ Nick knack paddy-whack Give a dog a bone

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Now this old man got rollin’, rollin’ He got rollin’ (Nick knack paddy-whack) Don’t you know he got rollin’ stoned (Give a dog a bone) He never went home (Now this old man got rollin’, rollin’) Couldn’t stand his wife (Nick knack paddy-whack) So he spent all his monies on a bottle of gin (Give a dog a bone) A bottle of anything (Now this old man got rollin’, rollin’) He got so drunk (Nick knack paddy-whack) Don’t ya, don’t ya, don’t ya, know (Give a dog a bone) That he got so drunk (Now this old man got rollin’, rollin’) He couldn’t go home Got thrown in jail (Nick knack paddy-whack) Ah-ha (Give a dog a bone) NO ONE’S EVER GOING TO LOVE YOU (1967) (Tony Colton/ Ray Smith) Soulful ballad in the theme of Michael Bolton, written for Ray’s wife JoJo. Ray Smith, double-tracking: vocal. No one’s ever gonna love The way that I, I love you No one’s ever gonna hold you The way that I, have held you In your life Darling it was magic Darling you were (you were classic) Born to run with me All the other loves I have had Fade away No one’s ever gonna love The way that I, I love you No one’s ever gonna hold you The way that I, have held you In your life Darling it was magic Stay with me And we will ride the stormy weather What may be No one’s ever going to love The way that I love you No one’s ever gonna please you The way that I can please you In your life Darling it was magic NORD EXPRESS (1974) (Ray Smith/Tony Colton) Never before released re-constituted Poet And The One Man Band track. First issued 2013. Tony Colton: lead vocal; Ray Smith: twelve-string guitar; James Burton: lead electric guitar (double tracking); Ronnie Tutt: drums; Max Bennett: bass. Recorded at A&M Studios California. I must’ve crossed the border Sometime in the night I remember someone asking me to pay Place I just came from Ain’t worth remembering There’s nothing left behind but the day And I’m passing through the flatland Heading south toward the sun I ain’t sure where I’m going - I won’t stay Flatlands never break my eyes of anything’s new Last one I can think about Is you

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And the Nord Express keep on rollin’ Click-clack on my sleeping car is sending me to sleep And the Nord Express keep on rollin’ Guess I’ll wind up wherever this old train sets me down And there I’ll keep ‘Til it’s time for me to leave She must’ve gave me something Something I can’t keep There’s a game I never learned to play She took me in, gave me comfort for a while Deeper than that I cannot say Passing through the flatland Heading south toward the sun I ain’t sure where I’m going - I won’t stay Flatlands never break my eyes of anything’s new Last one I can think about Is you And the Nord Express keep on rollin’ Click-clack on my sleeping car is sending me to sleep And the Nord Express keep on rollin’ Guess I’ll wind up wherever this old train sets me down And there I’ll keep ‘Til it’s time for me to leave ‘Til it’s time for me to leave ‘Til it’s time for me to leave Time for me to leave Time for me to leave NOT A GREAT TALKER (1965) (Tony Colton/Ray Smith/Roberts) Recorded by The Riot Squad on PYE 7N 15869 B. The A-side was ‘Nevertheless’. Members included Graham Bonney: lead vocals; Ron Ryan: guitar & vocals; Mike Martin: bass; Mark Stevens: keyboards; Mitch Mitchell: drums; Bob Evans: Saxophone. They were managed by Larry Page and later (with line-up changes) by Joe Meek. Mitch Mitchell of course went on to be the drummer with The Jimi Hendrix Experience. I know I’m not a great talker (talker) Well, when I’m with you Two words keep repeating over (over) Love you (love you) While I’m talkin’ to you girl (talkin’ to you) While I’m talkin’ to you You say things I wanna hear girl (hear girl) That you’re gonna stay by my side And we’re meant for each other I know (I know) I know That you’re for me girl (that you’re for me girl) When you’re talkin’ to me When I’m talkin’ to you girl (talkin’ to you girl) Talking to you Never more will I wander (wander) ‘Cause my heart is where you are And we’ll stay - here together Love you (love you) Well I’m talking to you girl (talking to you girl) Well I’m taking to you

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NOTHING GO WRONG (1968) (Tony Colton/Ray Smith) Pre-Poet & The One Man Band unreleased demo. Feeling low down Walking alone Suddenly into my head I hear this song Grabbed my guitar And all night long I work on a tune And the words came later on If only the world could be Trouble and problem free Life would be easy and long Nothing so strong Nothing be wrong Nothing go wrong Nothing be wrong Nothing go wrong Nothing be wrong Nothing would go wrong Yeah, yeah, yeah, yeah, yeah, yeah If only you and I could see Eye to eye, we would be Lovers in ecstasy gone Nothing so strong Nothing be wrong Nothing go wrong Nothing be wrong - yeah Nothing would ever - go wrong Ahhhh If only the world could be Trouble and problem free Life would be easy and long Nothing so strong Nothing be wrong Nothing go wrong Nothing be wrong Nothing go wrong Nothing be wrong Nothing would go wrong Yeah, yeah, yeah, yeah, yeah, yeah Now If only you and I could see Eye to eye, we would be Lovers in ecstasy gone Nothing so strong Nothing be wrong Nothing go wrong Nothing be wrong Nothing would ever - go wrong…….

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NOW YOU’VE HURT MY FEELINGS (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared on both the UK (on Verve) and US (on Paramount) releases of the self-titled 1969 album – the only album the band released. (Do-do-doo, do-do, do-doooo) (Do-do-doo, do-do, do-doooo) You’re in love with him (di doo, di-doo, di dum di doo) You might have told me (told me, told me, told me, told me, told me) Knowing how I am (doo-do, di-doo, di-ah-doo-oo) Why hold it from me Baby say goodbye now (Ahhhhhh....) Sorry I deceived you (...ahhhhh...) Is there any reason (...ahhhhh...) I should not believe you (...ahhhhh...) The fact you lied Now you’ve hurt my feelings The fact you tried Now you’ve hurt my feelings You knew I’d understand (Ahhhhh - di doo, di-doo, di dum di doo) Why write me letters (letters, letters, letters, letters, letters) You could have just come by (...ahhhhh... di doo, di-doo, di dum di doo) And told me better Baby say goodbye now (Ahhhhh...) Sorry I deceived you (...ahhhhh...) Is there any reason (...ahhhhh...) I should not believe you The fact you lied Now you’ve hurt my feelings - yes you did The fact you tried Now you’ve hurt my feelings Now you’ve hurt my feelings Now you’ve hurt my feelings Now you’ve hurt my feelings Now you’ve hurt my feelings (Bow-ba-ba-bow-bow-owww) (Bow-ba-ba-bow-bow-owww) (Bow-ba-ba-bow-bow-owww)

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O________________________________________________ ONE WOMAN (ON MY MIND) (1973) (Tony Colton/Ray Smith/Albert Lee/Chas Hodges/Pete Gavin) From the 1973 album OLD SOLDIERS NEVER DIE. Also released as the A-side of a 45 rpm single (B-side: ‘Dirty Heather Weather Road’) on Atlantic K10292 in the UK and ATCO 45-6923 in the US. Recorded at Island Studios, September 1972. The lead vocals on this track are: Tony Colton, Albert Lee & Ray Smith. The overall album line-up is - vocal: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. Long time since I had the taste The real taste of tea Hey Mamma, don’t you worry Bring some home for me Too many people Too many faces I can’t think of a name I’ve acquired the taste of American grass And half-cut Champagne It’s been a long time since One woman rested on my mind Long time One woman rested on my mind And it’s too long to make the changes Too much to make the rhyme It’s been a long time Long time Long time One woman rested on my mind Sitting down here in New York City Got a beer can in my hand Fourteen kinds of drunken people Shaking my caravan Up on 52nd Street They’re running out of air Hey there Dr. Cohen Baby Your jabs ain’t gettin’ me nowhere It’s been a long time since One woman rested on my mind Long time since One woman rested on my mind And it’s too long to make the changes Too much to make the rhyme Long time Long time Whoa long time One woman rested on my mind Yeah – oh! No no! Oh! It’s been a long time since One woman rested on my mind Long time since One woman rested on my mind And it’s too long to make the changes Too much to make the rhyme

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It’s been a long time A long time A long time One woman rested on m-m-my mind On my mind Oh! Oh! ONLY THE LONELY ARE BLUE (1968) (Tony Colton/Ray Smith) Recorded on Polydor by Dennis Lotis (born 8th March 1925) a South African-born British singer, actor and entertainer, whose popularity was greatest in the 1950s. He became one of the most successful acts on the British variety circuit, also appearing frequently on BBC radio. He appeared in his first Royal Variety Performance in 1957, and that year was voted Top Male Singer in the Melody Maker annual poll. He also worked as an actor appearing on stage and in films. He continued his career as a singer, appearing on Six-Five Special and Thank Your Lucky Stars, and in the 1960s recorded for the King and Polydor labels. This world is full of the sad clowns The people who think that they feel down Those who complain when they just feel low They think they’re sad But they really don’t know Coz Only the lonely are blue Only the dreamers are sad Only the real hurts are true Only the people who know how I feel losing you Are blue Young men who lie when they hurt love The young girls who cry of their first love The people who sigh when they feel no pain They think they’re sad but it’s not just the same Coz Only the lonely are blue Only the dreamers are sad Only the real hurts are true Only the people who know how I feel losing you Are blue La-la, la-la-la, la-laaaa La-la, la-la-la, la-laaaa La-la, la-la-la, la-laaaa La-la, la-la-la, la-laaaa

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P________________________________________________ PEDRO (1968) (Tony Colton/Ray Smith) An unreleased (presumed lost) track from the Poet And The One Man Band sessions. PAPER CHASE (1972) (Tony Colton/Michael Lee Smith) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Michael Lee Smith is no doubt Ray Smith for some reason composing under a pseudonym. Sad November And I don’t feel like dancing Tie up the maypole Wind will tangle with chains Park is empty And all the loose ends flying No love to hide And I don’t feel like games I see that funny smile Written on your face The pieces flying Like a morning paper-chase Paper chase I watch them slowly drifting down And they’re all out of place And I could never rebuild them now To the smile on a face I have no mind For brush or paints Sad December And I don’t feel like painting With only charcoal And I need colour-chains I see that funny smile Written on your face The pieces flying Like a morning paper-chase I follow them Like footprints And I try to retrace And like a blind man, seeking miracles And in my stumbling pace I feel to find your hiding place PETE MIGHT SPOOK THE HORSES (1971) (Tony Colton/Ray Smith/Pete Gavin) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; harmony: Ray Smith. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. Shine Shine on sunshine Shine Shine on sunshine They say up on Sugar Loaf We’re louder than the guns

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Get your axes ready Pete might spook the horses with his drums Shine Shine on sunshine Shine Shine on sunshine I’m waiting for the piano tuner But he never, ever comes Get your axes ready Pete might spook the horses with his drums Shine Shine on sunshine Shine Shine on sunshine They say up on Sugar Loaf We’re louder than the guns Get your axes ready Pete might spook the horses with his drums Shine Shine on sunshine Shine Shine on sunshine PLEASE ME, SHE’S ME (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared on both the UK (on Verve) and US (on Paramount) releases of the self-titled 1969 album – the only album the band released. The US version clipped off the organ intro. She rode me by in a flat-top car Pretty woman She looked to me like the morning star Pretty woman Long golden hair blew behind her in the air (Ahhhhhhhhh.....) I breathed a sigh as her perfume drifted back (...ahhhhhh....) On the breeze (Please me, she’s me) (Please me, she’s me) (Please me, she’s me) Please me, (please me) she’s me (she’s me, she’s me) Please me, (please me) she’s me (she’s me, she’s me) She rode me by on a palomino pony She looked to me like a beautiful Shoshone Graceful as the wind (Ahhhhhhhhh.....) Brown golden skin (...ahhhhhh....) Blue summer eyes she looked like she would cry But see Please me, she’s me (Please me, she’s me) (Please me, she’s me) (Please me, she’s me) Please me, (please me) she’s me (she’s me, she’s me) Please me, (please me) she’s me (she’s me, she’s me) Break me down And they make me quiver (...oowee-oowee-oowee-oowee-owee-owee-yeah) Shake me down And they make me shiver (...oowee-oowee-oowee-oowee-owee-owee-yeah) Break me down And they make me quiver (...oowee-oowee-oowee-oowee-owee-owee-yeah) Shake me down And they make me shiver (...oowee-oowee-oowee-oowee-owee-owee)

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(Ahhhhhhhhhhhhhhh) (Ahhhhhhhhhhhhhhh) Please me, she’s me Please me (me....), she’s me (she’s me...) (Oooooo-ooooo-ooooo) (Oooooo-ooooo-ooooo) Please me, she’s me Please me, she’s me Wah-wah-wah-wah-wah-wah-wah Wah-wah-wah-wah-wah-wah Wah-wah-wah-wah-wah-wah-wah Wah-wah-wah-wah-wah-wah Please me (Please me, she’s me) (Please me, she’s me) Please me, (please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me Please me, (...please me, she’s me...) she’s me (...please me, she’s me...) (...please me, she’s me...) (...please me, she’s me...)....... PRECIOUS STONE (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. Share your love like treasure Share your love like gold Share your love like treasure Love is a precious stone Drink your love like water Taste your love like wine Drink your love like water Love is a precious vine Hear your love like music Sing your love like a song Smell your love like roses Love - never do you no wrong Feel your love like velvet Touch your love like rain Feel your love like velvet Love never causes you pain See your love like sunshine Feel your love like wine See your love like sunshine

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Love is the precious vine Hear your love like music Sing your love like a sound Smell your love like roses Love - never do you no wrong Hear your love like music Sing your love like a song Smell your love like roses Love - never do you no wrong Drink your love like water Taste your love like wine Drink your love like water Love is a precious vine Share your love like treasure Share your love like gold Share your love like treasure Love is a precious stone

Q – None

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R________________________________________________ RECAPTURE THE THRILL OF YESTERDAY (1968) (Tony Colton/Ray Smith) Recorded by Zoot Money & The Big Roll Band. It appears on the album Transitions. Ray Smith plays guitar and sings harmony with Zoot Money on this track. Also recorded by Dantalian’s Chariot for the prospective 1967 album Transitions but not issued until the re-named Chariot Rising in 1996. Recapture the thrill of yesterday No, you never will Try as you may You’re passing by a place And just pretend you happened to drop in for a moment Or two Yeah You know the kind of thing ‘Cause every now and then you must have had it happen To you Yeah When just by coincidence Things at the time Go real fine You meet a girl and fall in love Taste of wine You dance the night away The girl begs you please, please, please stay But never try to Recapture the thrill of yesterday No, you never will Try as you may With the passing time The memory in your mind will yield up all sense of Elation You itch to go to burn You know you must return and finally yield To temptation When you arrive You can’t believe But for the name The place is the same The floor is empty and the whole mood Has changed You spend the night alone Sadly you make your way home But everybody tries to Recapture the thrill of yesterday Yesterday But no, they never will Try as they may You see them walking round Their heads are hanging down The sad faces so Diisillusioned The things they knew before Are not here anymore They can’t understand their Confusion The many fools

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Who never learn They just don’t belong But still hold on A day of splendour is a Nostalgic song Open a bygone dream Nothing but time in between Forever trying to Recapture the thrill of yesterday Oh why don’t they understand No, they never will Try as they may You’ve got to hear me people Or it’s too late Recapture the thrill ...... RED NUMBER 9 (1965) (Tony Colton/Ray Smith) An unreleased (at the time) outtake by Georgie Fame & The Blue Flames. It is included on the now hard to come by 1998 3-CD set Georgie Fame - The In Crowd. Hard up and gamblin’ I’m hittin’ the wheel Somebody said to me Stick one more time Put your bet on red number nine Little old lady Stood by my side Said to me again son Try this time Put your bet on red number nine The wheel it started turning I put up my last dime She said Son now you’re learning And everythin’ gonna turn out fine Sure enough, that wheel Came to a stop And then before I could turn around Hold tight The man said - it’s red number 9 Dice The wheel, it started turning And I put up my last dime She said Son now you’re learning And everything gonna turn out fine Sure enough, that wheel Came to a stop And then before I could around Hold tight The man said - it’s red number 9 Dice – I won!

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RHYME AND TIME (1972) (Albert Lee) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Also included on the 2013 download album WIZZ KIDS. An outtake is included on the 2014 download album EVERYBODY’S HUSTLIN’. Lead vocal: Albert Lee. I am the traveller I live for today And I carry my wealth in my hands Asking you only The right to be lonely And live out my life as I can When I was young I would dream of a time When the flowers would not cease to bloom Now my days are growing cold And I know it’s the end of my rhyme And time Has passed me by I am the minstrel I’ll give you a melody With these old grey withered hands Brushing the dust from these strings I will sing of a time when my thoughts Were single grained When I was young I would dream of a time When the flowers would not cease to bloom Now my days are growing cold And I know it’s the end of my rhyme And time Has passed me by RIDE OUT ON THE MORNING TRAIN (IN THE CALIFORNIA DEW) (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared on both the UK (on Verve) and US (on Paramount) releases of the self-titled 1969 album - the only album the band released. On the album this track segues straight into ‘Twilight Zone’. Hear the whistle blow Gonna ride a dream Gonna head for some place I’ve never seen Well I might make for Chicago (Chicago) That’s where it’s at Got my suitcase packed as cargo (cargo) And that’s where I sat And I say Ride out on the morning train in the California dew Ride out on the morning train in the California dew And the train went Whoo-hoo-whew Whoo-hoo-whew Whoo-whoo-hoo-whoo-hoo-whew Whoo-hoo-whew See the tumbleweed Blowing down the track Gonna head for Maitland Might never come back Or I might make Colorado (Colorado)

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Get a cowboy hat Got my suitcase and my rifle (rifle) Hanging on the rack And I say Ride out on the morning train in the California dew Ride out on the morning train in the California dew And the train went Whoo-hoo-whew Whoo-hoo-whew T’ Georgia Whoo-whoo-hoo-whoohoo whew Whoo-hoo-whew California dew Now you were just a dream You are just the words In the song I sing There’s a streetcar ‘round the corner (corner) Pushing rubbish in a sack And the cleaner’s got a Hoover (Hoover) Sucking at my hat And I say Ride out on the morning train in the California dew Ride out on the morning train in the California dew And the train went Whoo-hoo-whew Whoo-hoo-whew Whoo-whoo-hoo-whoo-hoo-whew Whoo-hoo-whew Now ride the train Hey Heard tell you’re fast Albert Lee ROAD SHOW (1972) (Albert Lee) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Also included on the 2013 download album WIZZ KIDS. A live version is also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. You said you had some place you had to go And though I searched my head I couldn’t quite see why although You took my comfort and protection away You’re not sayin’ I hope you are aware Or is it just that you don’t care Am I just another road show Can’t you wait for the next one to blow Want you to know Waiting on you to come home The boy’s yours too He needs your loving not just a loving Thank you son You can tell him Only so much for only so long Knows you’re the kind Say you’ve made up your mind But are you really so sure You don’t sound so certain this time I’m waiting on you to come home You said you had some place you had to go And though I searched my head

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I couldn’t quite see why although You took my comfort and protection away You’re not sayin’ I hope you are aware Or is it just that you don’t care Am I just another road show Can’t you wait for the next one to blow Want you to know I’m waiting on you to come home Ohhh-ohhhh RUN PONY RIDER (1966) (Tony Colton/Ray Smith) Tony Colton solo. Released June 1966 as 7N 17117, the third of three singles recorded for Pye in the mid-1960s. A-side: ‘I’ve Laid Some Down In My Time’. You’re a hundred and ten to one Ranking outside her But I’d be very glad if you run So get up astride her And you better run pony rider You better run pony rider I don’t wanna be on my own I got a one-nighter But I wanna see you run home With no-one beside you You better run pony rider You better run pony rider Ride your pony Yeah Run pony rider Run pony rider You better run pony rider You better run pony rider You had better not let me down Don’t let them hide you You can run-a-me to the ground If you don’t fight it You better run pony rider You better run pony rider Well I’m not a man to bet on trash And know I’m an outsider And I’m putting down all my cash So get up astride her You better run pony rider You better run pony rider Pony rider - yeah Run pony rider Yeah Run pony rider You better run pony rider…..

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S________________________________________________ SACKFULL O’ GRAIN (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared only the US (on Paramount) release of the self-titled 1969 album - the only album the band released. She came in, the wrong way out Turned me round, like a roundabout Had me tied, like a ball and chain B’fore I knew, it was all in train If I knew then what I don’t know now I think I’d bow She took my hand and let me fly Before I learned how to ride She came in, the wrong way out B’fore I knew, what it was all about Hung my past, on the washing line Left my dreams, just to buy some time She spread my seed like a sackfull o’ grain She took my name Good lord, man, what have I done B’fore I learned how to run Run! She came in, the wrong way out B’fore I knew, what it was all about Hung my past, on the washing line Left my dreams, just to buy some time She spread my seed like a sackfull o’ grain She took my name Good lord, man, what have I done B’fore I learned how to run Run! SAFETY IN NUMBERS (1972) (Tony Colton/Michael Lee Smith/Earl ‘Bud’ Lee) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Also included on the 2013 download album WIZZ KIDS. Michael Lee Smith and Earl ‘Bud’ Lee are no doubt Ray Smith and Albert Lee for some reason composing under pseudonyms. A live version is also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. Don’t leave him out there on his own The boy don’t stand a chance He’s disconnected from the ‘phone Look at him, he can’t even dance There’s safety in numbers Take a look at me There’s safety in numbers Let’s all go by free My soul is drifting from my knees Honey take a look and see (Take a look and see) My thoughts go faster than my mind Look at me I can’t keep time There’s safety in numbers Take a look and see There’s safety in numbers Let’s all go by free Don’t leave him out there on his own The boy don’t stand a chance (No he don’t stand a chance)

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He’s disconnected from the phone Look at him, he can’t even dance There’s safety in numbers Take a look at me There’s safety in numbers Let’s all go by free SEA AND SAND (1970) (Johnny Harris/Tony Colton/Ray Smith) Recorded by Shirley Bassey for her 1970 album Something. The track was released as the first single off the album. In the choir of the ocean air Are you here; were you ever there In the yellow shifting sand In a dream I held your hand I run to the sea And I reach for the sand Just to hold in my hand To believe your love I stand with the waves Rushing in on the tide With my arms open wide And I feel your love I recall you in the sea and sand Crying eyes and a reaching hand Touching spray from my brow Are you near; where are you now I call to the sea To the wind, to the rain Bring him back, come again For I need your love I turn to the sky And I search with my eyes For a sign you were mine And I see your love And then the ebb tide brings a small piece of your driftwood in its hand And you get washed up on the beaches of my long forgotten sand And I go searching down the long deserted shore lines of my mind Lighting fires with the pieces to pass away the time I run to the sea And I reach for the sand Just to hold in my hand To believe your love I stand with the waves Rushing in on the tide With my arms open wide And I feel your love I call to the sea To the wind, to the rain Bring him back, come again For I need your love I turn to the sky And I search with my eyes For a sign you were mine And I see your love I run to the sea And I reach for the sand

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Just to hold in it my hand To believe your love SELF DISCIPLINE (1966) (Tony Colton/Ray Smith) Recorded by Zoot Money’s Big Roll Band on Columbia - B-Side to ‘Let’s Run For Cover’. Drinkin’ every night because I’m feelin’ down Got to find a way to bring myself around (Ahhh...) I’ve been acting like a fool - I think I’d better get a - (...ahhh) (Better get a lesson in...) Self-discipline (Better get a lesson in - self-discipline) (Better get a lesson in - self-discipline) Better do some thinking or I’m gonna find I’ll be drivin’ myself right out of my mind (Ahhh..) I must pull myself together - what I’ve gotta do is - (...ahhh) (Better get a lesson in...) Self-discipline (Better get a lesson in - self-discipline) I can hear you say that (Better get a lesson in...) I wanna hear you (...self-discipline) Man I’d better start puttin’ myself a-wise ‘Cause I ought to be better organized (Ahhhh...) I’m gonna wind up in a mess oh yes a mess - I’d better get - (...ahhh) (Better get a lesson in...) Self-discipline - ah (Better get a lesson in - self-discipline) Ow yeah (self-discipline) (Better get a lesson in...) Alright (...self-discipline) I’ve been losing all my personality - listen Let’s start somethin’ good so you’ve got so see I’m a gonner if I don’t wake up and get myself a - (Better get a lesson in..) That old self-discipline - ah-ha (Better get a lesson in...) Listen to me (...self-discipline) I can hear you sing now (Better get a lesson in...) What’s that thing (...self-discipline) Alright I’d better get me some self-discipline - yes sir –ah

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SEND ME A WIRE (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; harmony: Chas Hodges. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. An outtake is included on the 2014 download album EVERYBODY’S HUSTLIN’. Put out the smoke, put out the fire On a clear day you won’t get much - higher Baby send me a wire Pack up a roll, tie up your bootlace Let’s-a roll Jack, you won’t get no higher Baby send me a wire Baby jump, jump on the fire – yay I’d like to know I’d like to see I’d like to know what you’re doing Is it money Is it for free Come on an’ be Come on an’ be my ruin Put out the smoke, put out the fire On a clear day you won’t get much - higher Baby send me a wire Baby jump on the fire Jump – jump on a flier and fly Eagle flies to the sky Whoa – right on I’d like to know I’d like to see I’d like to know just what you’re doing Is it a sonny Look like me - yay Come on an’ be Come on an’ be my ruin Put out the smoke, put out the fire On a clear day you won’t get much higher Baby send me a wire Baby make me feel higher Put out the smoke, put out the fire On a clear day you won’t get much - higher Baby send me a wire SILVER MINE (1971) (Tony Colton/Ray Smith/Albert Lee) Issued as a single, the B-side of ‘Warming Up The Band’, and later included as a bonus track on the reissued album TRACKS - as TRACKS PLUS. It is also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. Said that they found gold in El Dorado I’ve been punching cows in Abilene The barroom piano player sings it takes time To make a silver mine Meanwhile I’m playing Rose Marie Dancehall burlesque queens’s a dime a dozen What Lillie Langtry wouldn’t do for me

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The barroom piano player sings it takes time To make a silver mine Meanwhile I’m playing Rose Marie I’m down in Louisiana And I’m working my piano With my baby, my buckshot on my knee I’m heading for Savannah There’s a gold strike in Montana Play the Yellow Rose Of Texas, yes siree Said that they found gold in El Dorado I’ve been catching cows in Abilene The barroom piano player sings it takes time To make a silver mine Meanwhile I’m playing Rose Marie I’m down in Louisiana And I’m working my piano With my baby, my buckshot on my knee Panhandle Pete they call me And I come from Sacahomie Ain’t no dirty long-haired Injun gonna get me Said that they found gold in El Dorado I’ve been catching cows in Abeline The barroom piano player sings it takes time To make a silver mine Meanwhile I’m playing – in break time To make a silver mine Meanwhile I’m saying Rose Marie SOFT WORD SUNDAY MORNING (1973) (Tony Colton/Albert Lee/Ray Smith) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. Lead vocal: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. Like happy endings, you are - set in your ways Did you never have a sad one of your own Nothing much seems certain these days You know I need, and it’s a long way home I write you love songs on - hotel note-pads I bare my feelings and you - read between the lines How many times have you - lost my meaning You know I need you, in a time of trouble Let’s put it down to a soft word Sunday morning Flowers in your humming vase, and oh how it rains Let’s say it’s real and believe in - new day dawnings Listen to the jangle, the love triangle plays Have you seen my new love; she has - all of new loves faces You must have seen her glowing soft in my eyes She has none of your tradition nor - none of your graces And I have the feeling time is on your side Let’s put it down to a soft word Sunday morning Flowers in your humming vase, and oh how it rains Well, let’s say it’s real and believe in - new day dawnings

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Listen to the jangle, the love triangle plays And in the morning light - all will be forgiven You without a ribbon - for your hair SO GLAD (rec. 1971; rel. 2014) (Ray Smith/Tony Colton) Although dating from recording sessions in 1971, this track first appeared on a download album EVERBODY’S HUSTLIN’ in 2014. Vocals: Tony Colton; harmony & gut-string guitar: Ray Smith; electric guitar: Albert Lee; bass: Chas Hodges; drums: Pete Gavin; piano: Mike O’Neill. This is effectively an unused outtake from the 1971 HEADS HANDS & FEET album. Nice of you to show appreciation, you know Well I do it outta dedication and I Still don’t think that you have ever seen The best of me You know I need a rest So glad You have enjoyed me, baby Oh pleased to say I suit your frame of mind So glad, you enjoyed me, baby I can assure you The pleasure really was all mine It’s so nice of you to be so complimentary And even now, it was quite elementary I’d have to say, that You weren’t so bad yourself I need my health So glad You enjoyed me, baby Oh pleased to say I suit your frame of mind I’m so glad, you enjoyed me, baby I can assure you The pleasure really was all mine So glad So glad You enjoyed me, baby Oh pleased to say I suit your frame of mind I’m so glad, you enjoyed me, baby I can assure you The pleasure really was all mine SONG AND DANCE (1972) (Albert Lee) From the album TRACKS - later reissued on CD as TRACKS PLUS with two bonus tracks. Lead vocal: Albert Lee. Also included on the 2013 download album WIZZ KIDS. A live version is also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. Same time At the same place I’ll be You can be sure Dependability That’s my way No sign You start to worry me I could get cold with all possibility Die today I could never find a way That I could keep a hold on you I don’t hear the words to say I don’t mean a thing to you

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Being there Was a song and dance Pity you You never really stood a chance No style That’s what you find in me I could be fine But your interest is my money Meanwhile Back at the ranch I’ll be I can move on With all probability Go to sea I could never find a way That I could keep a hold on you I don’t hear the words to say I don’t mean a thing to you Being there Was a song and dance Pity you You never really stood a chance Same time At the same place I’ll be You can be sure Dependability That’s my way No sign You start to worry me I can get cold with all possibility Die today I could never find a way That I could keep a hold on you I don’t hear the words to say I don’t mean a thing to you Being there Was a song and dance I pity you You never really stood a chance SONG FOR SUZIE (1971) (Tony Colton/Ray Smith/Albert Lee) From the self-titled 1971 album HEADS HANDS & FEET (on US version only). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; backing vocals: the band plus Jerry Donahue (who also arranged) and Ray Osborne. In 1996 a CD of the complete double album was issued by See For Miles Records - a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. A live version is also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. A different take released with Albert Lee on vocals and some Ray Smith orchestral overdubs, on the 2013 download album TRUCKERS MUSIC. I would sing my recitation Of organdie and gown I can feel my hesitation Slowly breaking down A song for Suzie Plays on my mind - oh A poem for Lucy That changes with time

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You will colour my picture By as much as you need I may paint you a little brighter Than you really have been A song for Suzie That plays on my mind - oh A poem for Lucy Changes with time So for Suzie I’m praying For the peace of your mind And for Lucy I’m staying here In the circus of rhyme A song for Suzie (Don’t let your light) Don’t let your light burn down, no A poem for Lucy (Wait till your time) Wait till your time comes round So for Suzie I’m praying For the peace of your mind And for Lucy I’m staying right here In the circus of rhyme A song for Suzie (Don’t let your light) Don’t let your light burn down - no A poem for Lucy (Wait till your time) Wait till your time - time comes round SO USED TO LOVING YOU (1964) (Tony Colton/Ray Smith) B-side of the Decca Tony Colton single ‘Lose My Mind’. Jimmy Page plays on this track. I’ve been so used to lovin’ you What will I do Now that you’re gone I just don’t know I can still carry on I’ve never known Just what it’s like Being alone What will I do Now that we’re through Been so used to lovin’ you I’ve been so used to callin’ your name Won’t be the same I’ll have to find Somebody new Shake you off my mind Will my heart mend How can I start all over again What will I do Now that we’re through Been so used to lovin’ you Been so used to lovin’ you

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SOUTHERN CALIFORNIA (1974) (Tony Colton/Ray Smith) Not actually recorded by HH&F except that a number of the band members backed Don Everly with his recording of this Colton/Smith track for his 1974 SUNSET TOWERS album - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens. Oh I’d like to catch a plane Bound for California Fly across your dateline You weigh heavy on a friend of mine Oh I think I’d need a change From Smallwood Oklahoma And the sound of the Creole band Or the thrills of the candy man Southern California Oh I want to be a star Southern California Please remain the way you are Fly across your dateline You weigh heavy on a friend of mine Southern California Oh I want to be a star Southern California Please remain the way you are Hitch a ride on a melody train * Tie your eyes to the journey I made Hitch a ride on a melody train Tie your eyes to the journey I made Hitch a ride on a melody train Tie your eyes to the journey I made ….. NB: this final section reprises words and music from ‘Melody Train’ (see above) STAR OF THE SHOW (1966) (Tony Colton/Ray Smith) Recorded by Zoot Money’s Big Roll Band on Columbia. Ray Smith acoustic guitar on the track. Been around a long time Working with my band Playin’ music people just didn’t understand Getting’ nowhere and wonderin’ why But I found out later on When someone said why don’t you try Singin’ this song And it goes La-la-la--la-la-la La-la-la--la-la-la La-la-la--la-la-la La-la-la--la-la-la La-la-lahhhhh He said You been too far way-out working on a limb For a two-bar freak-out it doesn’t mean thing - no it don’t It must be so they can tap their feet Hum and clap and sing along Don’t keep moving behind the beat When you’re singin’ this song And it goes La-la-la-la-la-la

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La-la-la-la-la-la La-la-la-la-la-la La-la-la-la-la-la La-la-lahhhhh Now I’m on the TV and the radio People come to see me everywhere I go Now I’m big and my name’s in lights Not just a sit-in’ on a blow I’m getting’ paid and workin’ nights As the star of the show I’m singing La-la-la-la-la-la La-la-la-la-la-la Enjoy yourself La-la-la-la-la-la Yeah yeah La-la--la-la-la-la La-la--lahhhhh I’m gonna have to sing it one more time La-la-la-la-la-la La-la-la-la-la-la La-la-la-la-la-la La-la-la-la-la-la La-la-lahhhhh Yakka-yakka-yakka - one more time La-la-la-la-la-la Sing it La-la-la-la-la-la La-la-la-la-la-la..... STRIPES (1973) (Tony Colton/Ray Smith) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. Vocals: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. Oh, Captain Have you no word of command Has your courage failed you In our very time of need Oh Captain There is no-one at the wheel And we are drifting at the mercies Have you Really lost your feel Would you have us all believing That your power is not real Oh, General Is there nothing you can say Will you issue any orders Men are dying here today Oh, General Our guns are loaded with the shells And if we stand here any longer We will All be blown to hell Would you have us all believing We should be thinking for ourselves Oh-oh...

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Oh, General Our guns are loaded with the shells And if we stand here any longer We will All be blown to hell Would you have us all believing We should be thinking for ourselves SUMMER GOLD (1969) (Tony Colton/ Ray Smith) Des Ryan released this Colton/Smith composition on Pye Records in 1969 - the A-side to ‘Carlita’. Musicians: Ray Smith, Albert Lee, Pat Donaldson, Jerry Donahue, Pete Gavin, Mike O'Neil - in effect Poet And The One Man Band. Well the pickaxe on my shoulder Glimpse of steel in the morning sun And the sweat runs in my eyes As my work is almost done Well I’m running short of water And my back is racked with pain As I paved the burning desert And I beg and prayed for rain Well I’ve been working in this Rocky Mountain mine ‘Cause I’ve been told If I see the devil’s daughter I can reach the summer gold But the heat plays tricks upon my mind I see a temptress in the mine She beckons me in a voice so sweet Go and drink the bitter creek She reaches out to take my hand Says I’ll take you from the burning sand If you give me your life and soul And I’ll give you - summer gold She is younger and more beautiful Than all that I would tell And she smiles so soft and gentle As she cast her evil spell Well she makes me feel so restful As she shows me valleys green As she points me to the water In the cold clear-running stream She shows me diamonds That are bigger than my hand could ever hold I’ll behind her lies a fortune In the yellow summer gold But the heat plays tricks upon my mind I see a temptress in the mine She beckons me in a voice so sweet Go and drink the bitter creek She reaches out to take my hand Says I’ll take you from the burning sand If you give me your life and soul And I’ll give you – summer gold Well I walked towards her slowly And I gazed into her eyes But I know that if I drink that poisoned water I would die

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But she taunts me with her beauty And I almost take her hand ‘Til I see the bones of the other fools Who died on the burning sand But I would rather die a poor man Than the devil take my soul So I turned my back and walked away On all the summer gold But the heat plays tricks upon my mind I see a temptress in the mine She beckons me in a voice so sweet Go and drink the bitter creek She reaches out to take my hand Says I’ll take you from the burning sand If you give me your life and soul And I’ll give you - summer gold But the heat plays tricks upon my mind I see a temptress in the mine She beckons me in a voice so sweet… SUN CAME BURSTING THROUGH MY CLOUD (1967) (Tony Colton/ Ray Smith) 45 rpm recorded on Columbia by Dantalian’s Chariot. It was also due to appear on the prospective 1967 album Transitions – which was not issued until re-named as Chariot Rising in 1996. Zoot Money: lead vocals, piano, organ; Andy Somers (later of The Police): guitar, sitar, vocals; Pat Donaldson: bass, vocals; Colin Allen: drums, percussion, vocals - with Nick Newall: flutes, saxophones; Geoff Condon: trumpet, flugelhorn; Ray Smith, Tony Colton: backing vocals. Led by keyboardist and bandleader Zoot Money, they are best remembered for their single ‘Madman Running Through the Fields’. Dull and dreary day Sad and gloomy grey The cold wind blew the north side On the rooftop weather vane The sky was overcast Moving mighty fast But at the very moment I expected falling rain Sun came bursting through my cloud Breaking daylight through the misty shroud You came walking out from within the crowd As I caught your gaze A golden summer haze Seemed to force a clearing In the shadow of the storm Standing face to face All the crowded space Became a dark horizon Round the breaking of the dawn Sun came bursting through my cloud Breaking daylight through the misty shroud You came walking out from within the crowd To the sunlight from the shade To a clearing in the winter glade Taking shelter from the coming raid Do do do do do Do do do do do Do do do do do do do Do do do do do do Sun came bursting through my cloud

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Breaking daylight through the misty shroud You came walking out from within the crowd To the sunlight from the shade To a clearing in the winter glade Taking shelter from the coming raid Do do do do do Do do do do do Do do do do do do do Do do do do do do Sun came bursting through my cloud Do do do do Do do do do do SWEET SOUL SYNCHOPATION (sic) (1977) (Tony Colton/Ray Smith) Decca F 13744 A-side 45rpm by the Otis Waygood Band, produced by Tony Colton. Otis Waygood was originally a 1960s blues band from in Salisbury, Rhodesia (now Harare, Zimbabwe). In 1971 the group travelled to play in Holland, Germany and the United Kingdom, where they settled. In 1976, they added three Caribbean musicians to the line-up and pursued a more reggae-based sound. After several years of playing the British clubs, pubs and concert halls as Otis Waygood, in 1977 they changed their name to Immigrant and their final tour was supporting Tavares, ending up at the Palladium, in London. The group disbanded in 1979. Listen to the sweet soul music, playing in the park I can hear the brass band play (oohhh-oohhh) On and on and on they play (on and on and on they play) Rhapsody and serenade and sweet sensation Mutually-fie and soul in jubilation Sweet soul synchopation Look at all the sweet soul dancers, dancin’ in the dark I can see them dance and sway (oohhh-oohhh) Dancing for their very life (dancing for their very life) Fire their very eyes of sweet temptation Mutually-fie and soul in jubilation Sweet soul synchopation Listen to the sweet soul music, playing in the park I can hear the brass band play (oohhh-oohhh) On and on and on they play (on and on and on they play) Rhapsody and serenade and sweet sensation Mutually-fie and soul in jubilation Sweet soul synchopation Sweet soul synchopation

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SWEET TASTING WINE (1965) (Tony Colton/ Ray Smith) Recorded by Felder’s Orioles on the Piccadilly label (7N 35269) in 1965. Also recorded in 1966 by the Nite People on Fontana TF 747) on which, mistakenly, only Tony Colton is credited as composer. Both are correctly credited on the Orioles version. Cast your spell, on me Oh you sweet tasting wine Help me lose, the black memory Of that girl, on my mind Ahhhh-ahhhh Take away, take away the taste Of her lips, of her lips on mine Don’t you leave, one single trace Oh you sweet, oh you sweet tasting wine Ahhhh-ahhhh I said, I said, babe Ahhhh-ahhhh I want you to take away all the hurt That I’ve had, I’ve had for so long Then rid me, rid me of this love And then all, I’ve taken right off since she’s gone From my mind Ah but slowly, slowly, slowly, slowly, slowly Ah sweet wine Oh for the healing, it takes such a long, long time Whoaw you sweet tasting wine (ahhhh-ahhhh) Sweet tasting wine (ahhhh-ahhhh) I want sweet, sweet, sweet tasting wine (ahhhh-ahhhh) I want sweet tasting wine (ahhhh-ahhhh) I love you wine (ahhhh-ahhhh) I want my wine (ahhhh-ahhhh) Sweet, sweet tasting wine (ahhhh-ahhhh) I want sweet, sweet tasting (ahhhh-ahhhh) Baby, I want sweet tasting wine

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T________________________________________________ TAKING MY MUSIC TO THE MAN (1973) aka as recorded by Teresa Brewer: MUSIC TO THE MAN (Tony Colton/Ray Smith) From the 1973 album OLD SOLDIERS NEVER DIE. Recorded at Island Studios, September 1972. The lead vocals on this track are: Chas Hodges & Albert Lee. The overall album line-up is - vocals: Tony Colton; lead acoustic guitars/mandolin/keyboards/vocals: Albert Lee; acoustic guitar/bass guitar/vocals: Ray Smith; bass/fiddle/vocals: Chas Hodges; drums/percussion/vocals: Pete Gavin. Backing vocals: the band plus Jerry Donahue (who also arranged), Jim Donnelly, David Swarback, Jackie Linton, Linda Lewis, Linda Peters, Norma Winston, Pam Sulicon, Sylvia King and Barrie St. John. Orchestra arranged and conducted by Johnny Harris. Produced by Tony Colton. I keep taking my music to the man And he still says he don’t understand And what’s puzzlin’ me Is that it’s so plain to see He only buys what he thinks he knows And he doesn’t know I’d give it him free He doesn’t know I’d give it him free I keep taking my love to the woman And she still says she just don’t believe And what I don’t understand Is that she warms to my hand She only feels what she thinks she feels And she doesn’t know she’s feeling it for me No, she doesn’t know she’s feeling it for me Oh I keep taking my music to the man And he still says he don’t understand And what’s puzzlin’ me Is that it’s so plain to see He only buys what he thinks he knows He doesn’t know I’d give it him free No, he doesn’t know I’d give it him free I keep taking my love to the woman And she still says she just don’t believe And what I don’t understand Is that she warms to my hand She only feels what she wants to feel She doesn’t know she’s feeling it for me No, she doesn’t know she’s feeling it for me Whoa baby Rock on, Albert TAKIN’ SHOTS (1974) (Tony Colton/Ray Smith) Not actually recorded by HH&F (but could have readily fitted on to OLD SOLDIERS NEVER DIE) except that a number of the band members backed Don Everly with his recording of this Colton/Smith track for his 1974 SUNSET TOWERS album - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens. As I look around from my outpost on the hill There ain’t much single sight of my platoon Just a row of empty helmets and ammunition shells Guess they all got up and run for ’elp Ain’t there anybody out there, takin’ shots anymore Did they all give up and go to fight their own private war Ain’t there anybody out there, takin’ shots anymore Am I left here on my own Is that Ruby on the ‘phone I ain’t home If I wave my white flag and I surrendered would you know it

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Would I prove that our position to hypnotic sense to call In my cause I have wandered, from the subject to the point In my time I have changed, both my reason and my mind Ain’t there anybody out there, takin’ shots anymore Did they all give up and go to fight their own private war Ain’t there anybody out there, takin’ shots anymore Am I left here on my own Is that Ruby on the ‘phone I ain’t home Ain’t there anybody out there, takin’ shots anymore Did they all give up and go to fight their own private war Ain’t there anybody out there, takin’ shots anymore Am I left here on my own Is that Ruby on the ‘phone I ain’t home TIRABAD (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on US version only). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocal: Tony Colton; backing vocals: the band plus Jerry Donahue (who also arranged) and Ray Osborne. In 1996 a CD of the complete double album was issued by See For Miles Records - a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. Tirabad is a place in Powys, Wales meaning “the abbott’s land”. Staplecross is in East Sussex. The ‘Mary’ in the song refers to Albert Lee’s then girlfriend. Much of the material for the first HH&F album was composed and rehearsed at Farmer Davis’ farm in Tirabad, Wales where the band stayed. The album pictures were taken there. I can’t get much more Than I had I’m halfway to halfway To Tirabad I can’t get much higher Than I’ve been I’m down at the Nissen hut Playing to the forest queen - oh Long way from Staplecross to Tirabad Long way from Staplecross and what we had Don’t God build mountains so tall Your memory’s with me and your Picture’s hanging on my wall You can’t hear Cynghordy From Bow Bells This Black Mountain Sugar Loaf Llandrindod Wells I’m waiting till the Afan Floods the banks And I’ll be out with my harpoon My Tilley lamp - oh Long way from Staplecross to Tirabad Long way from Staplecross and what we had Don’t God build mountains so tall Your memory’s with me and your Picture’s hanging on my wall Well I can’t work much harder Than I toil I’m dosed up and caked up With diesel oil

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I can’t work much harder Than I did You cannot ride pony ‘cross a Cattle grid Long way from Staplecross to Tirabad Long way from Staplecross and what we had Don’t God build mountains so tall Your memory’s with me and your Picture’s hanging on my wall Llandovery high-school Mary Is down at Farmer Davis’ farm I’ll be singing - you win again Down at The Glanbran Arms Do you think the police might catch me By the artwork on my mail I might wind up shaking hands At the county jail..... TRADE WINDS - see: HOMING IN ON THE NEXT TRADE WIND TRAIN TRAIN # 1 (rec. 1966; rel. 1999) (Tony Colton/Ray Smith) A Tony Colton recording (probably a demo) is available on the 2013 download album Rare Mod Volume 5. Also recorded by Zoot Money’s Big Roll Band but not released until 1999 on Were You There - Live 1966. Train, train A-come on train Moving on down the track I got a date With that girl of mine Train, train Come on train A little further on that track I got a date And I gotta get back Train, train, keep a-rollin’ Train, keep a-rollin’ Train, train, keep a-rollin’ Come on train, come on train Train, train Come on train A little further on that track I got a date And I gotta get back Come on, come on train Oh! Train, train, keep a-rollin’ Train, keep a-rollin’ Train, train, keep a-rollin’ Come on train, come on train Train, train Come on train A-movin’ on down the line I got a date With that girl of mine Train, train Come on train Train, train

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Come on train TRAIN TRAIN # 2 (1966) Zoot Money’s Big Roll Band version All right Yeah Come on train Train train, I got a baby Waiting on down the line Come on train I wanna make that girl of mine now Train train, I got a baby Waiting on down the track Come on train Got to make it on back Train train, keep a-rollin’ Well now, train train, keep a-rollin’ Come on, train train, keep a-rollin’ Come on train – oh! (come on train) Train train, I got a baby You got to hear the word I say Come on train Oh - I got to make it today Oh baby! Oh whoa Move on now Move on now Move on now Move on now Roll on now Roll on now Roll on now Roll on now Roll on now Roll on now Roll on along Yeah Well train train keep a-movin’, don’t stop Well train train keep a-rollin’ Oh - Train train keep a-rollin’ Come on, train Train train, now hear what I say I got to make it right today Come on train I got to make it today now Train train, come on Train train, keep a-movin’ Train train, keep a-rollin’ Well train train, come on roll All right now Eh, train train

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TRUCKERS MUSIC (rec. 1978; rel 2013) (Ray Smith) A demo of a Heads Hands & Feet reunion/get-together in 1978, Covent Garden Studios. Vocals: Chas Hodges; bass: Dave Peacock; piano: Albert Lee; lead guitar: Ray Flacke; Ray Smith: acoustic guitar. Released on the 2013 download album TRUCKERS MUSIC. Snow-chains on my back wheels The silver highway I can feel Big Mack’s load is holdin’ And I’m tired and overdue I seen a fire on the last hill I got frost in my shoe still And thinking round in circles Only leads to you Stand on the lake frozen Glider birds ahead supposin’ When I take coffee and rest a time Watch the skyline Snowfall blows the wind Just like rippling waves are landing On the mud-flaps of my chariot I call babe When I reach the view There’ll be two horizons more And I’ll be with you Old church steeples’ distant chime Valleys green and redwood pine I pass a stop called Beaver’s Canyon A new plateau unfolds in my eyes Droning wheels set me ringing This old engine’s got me singing Keep this rolling freedom Is like good old truckers music to my ears Snowfall blows the wind Just like rippling waves are landing On the mud-flaps of my chariot I call babe When I reach the view There’ll be two horizons more And I’ll be with you TRYIN’ TO PUT ME ON (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on both UK & US versions). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocals: Albert Lee and Chas Hodges.

In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. A version is included on the 2013 download album WIZZ KIDS. A live version is also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN. The preacher smiled and in they filed and all I did was grin Uncle Joe and uncle Jack was loaded to the skin Cousin Jane was talkin’ ‘bout the freedom I had lost The only thing about it is it’s legal and its cost Come on Come on Come on You might’ve let me know that You’re trying’ to put me on Come on Come on Come on

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You might’ve let me know that You’re trying’ to put me on The revenuers came and took my still with all my gin My moonshine and the June shine and all my liquid sin They put me in the steel house and they gave me one to nine And all that was doin’ was just tryin’ to get behind Come on Come on Come on You might’ve let me know that You’re trying’ to put me on Come on Come on Come on You might’ve let me know that You’re trying’ to put me on They’re guaranteed to last you and they’re guaranteed to shrink They’re fireproof and they’re waterproof in case you have to sink You’re covered by insurance against theft and petty crime You should’ve seen me demonstrate at Expo ‘69 Come on Come on Come on You might’ve let me know that You’re trying’ to put me on Come on Come on Come on You might’ve let me know that You’re trying’ to put me on Come on Come on Come on You might’ve let me know that You’re trying’ to put me on Come on Come on Come on You might’ve let me know that You’re trying’ to put me on TWILIGHT ZONE (1969) (Tony Colton/Ray Smith) Released under the aegis of Poet And The One Man Band, this track appeared on both the UK (on Verve) and US (on Paramount) releases of the self-titled 1969 album - the only album the band released. On the album the preceding track, ‘Ride Out In The Morning Train’, segues straight into this track. Sweet, soft and low Hear the tumble whistle blow The midnight river queen The yellow strip of moonlight That is dancing on the stream Lonely as a dream Mellow is the music Melancholy theme Fool, why must you be alone Can’t you see you’re in the twilight zone And as the city lights go dwindling down Wander lonely through an empty town And you’re alone In the twilight zone

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U________________________________________________ UNION PACIFIC BIG BOY (rec. 1971; rel 2013) (Ray Smith/Albert Lee) Instrumental with Albert Lee ‘scatting’ - released on the 2013 download album TRUCKERS MUSIC.

V – None

W________________________________________________ WARMIN’ UP THE BAND (1971) (Tony Colton/Ray Smith/Albert Lee/Chas Hodges/Pete Gavin) First recorded by Heads Hands & Feet in 1971. It was also released as a single - included as a bonus track on TRACKS PLUS. The original single plus a live version are also included on the bootleg album HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN.

A number of the band members also backed Don Everly with his recording of this Colton/Smith track for his 1974 SUNSET TOWERS album (and a single) - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens. Dance, dance the moon-dog tonight Oh mama you’re alright Shake, shake your fine tambourine Oh mama you might have me Be bop a lula tonight Oh mama I got stage fright I’ll take you home Kathleen Oh mama you might have me Warmin’ up the band Warmin’ up the band Thank you mama, thank you Give the boys a big, big hand Warmin’ up the band Dance, dance the moon-dog tonight Oh mama, you’re alright Shake shake your fine tambourine Oh mama you might have me Warmin’ up the band Warmin’ up the band Thank you mama, thank you Give the boys a big, big hand Warmin’ up the band Warmin’ up the band WATER ON MY FIRE (1968) (Tony Colton/Ray Smith) Tony Colton with Albert Lee. Paul Williams on vocals. It can be found on the 1993 compilation CD Stars of British Blues. Water Who put water on my fire Water Who put water on my fire Water Come and see my funeral pyre Water Who put water in my wine Water Who put water in my wine Water You come and desecrate my shrine

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Water Who put water on my fire Water Who put water on my fire Water Come and see my funeral pyre Water Who put water in my wine Water Who put water in my wine Water Come and desecrate my shrine WAY YOU REMAIN, THE (1974) (Tony Colton/Ray Smith) Not actually recorded by HH&F except that a number of the band members backed Don Everly with his recording of this Colton/Smith track for his 1974 Sunset Towers album - produced by Tony Colton. The HH&F musicians included Pete Gavin: drums; Albert Lee: lead electric/acoustic guitar plus some bass & piano; Ray Smith: electric/acoustic guitar. They were joined by Buddy Emmons: pedal steel; Joe Osborne: bass; Jean Russell: keyboards/synthesizer. Backing vocals: Wonderlove (Lani Groves, June Williams, Shirley Brewer) plus Stephanie Sprull Jessica Cleaves, Cynthia Bullens. Even now, as I am And us, the way we were Leaving times for you to change I think of you The way you remain Even us, as we were And what we might have been Don’t it all soon change I think of you The way you remain Time and time alone could make a change Making me the way I am Leaving you the way you are Never having made love to you seems strange Leaving you Believing you And leaving you Unchanged Don’t it all seem strange I think of you The way you remain WHAT IN THIS WORLD (1967) (Tony Colton/Ray Smith) Recorded by Simon Dupree And The Big Band Sound. Derek Shulman: vocals; Phil Shulman: vocals, saxophone, trumpet; Ray Shulman: guitar, violin, trumpet, vocals; Eric Hine: keyboards; Tony Randell: drums. Their biggest hit was ‘Kites’ which reached the Top 10 in the UK. They later coalesced into the prog rock band Gentle Giant. Available on the CD pictured. It will always remain as a puzzle to me, baby And I swear I will never be able to see, baby Why you hang on, win or lose When you could be free to pick and chose What in this world did you ever see What in this world made you pick on me For you must’ve known many men better by far, baby Out of one in a million you pick on my star, baby How it ever got so right What in heaven’s name possessed your mind What in this world did you ever see What in this world made you pick on me

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It will always remain as a puzzle to me, baby And I swear I will never be able to see, baby Why you hang on, win or lose When you could be free to pick and chose What in this world did you ever see What in this world made you pick on me What in this world made you pick on me What in this world did you ever see What in this world made you pick on me What in this world did you ever see What in this world made you pick on me WHO IS THE LEADER OF YOUR GANG (1968) (Tony Colton/Ray Smith) Composed and performed for the 1967 film Popdown, directed by Fred Marshal. It is a lighthearted look at Swinging London as seen through the eyes, or to be more precise, camera lens, of a pair of visiting extra-terrestrials played by Zoot Money and Jane Bates. It had no dialogue, apart from an opening and closing narration, and scenes were improvised, largely on the spot. The cast included Diane Keen, Pat Donaldson, Julie Driscoll, Brian Auger, Tony Hicks (of The Hollies), Zoot Money, Don Partridge and Andy Summers (later of The Police) - among many others of the late sixties music scene. WHO IS SHE (1968) (Mario Nascimbene/Tony Colton/Ray Smith) Composed for the soundtrack of the Hammer horror film The Vengeance of She. Tony Colton sings on the single version - the B-side to ‘In The World Of Marnie’s Dreaming’ - Columbia DB 8385. However, the film soundtrack is sung by Robert Field. Who is she A misty memory A haunting face Is she a lost embrace Am I in love with just a theme Or is Ayesha just a dream A mystery Oh, who is she I call her name Across an endless plain She’ll answer me Wherever she may be Somewhere across the sea of time A love immortal such as mine Will come to me Eternally Immortal she Return to me WHO TURNED OFF THE DARK (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. Who turned off the dark Who turned off the dark Who turned on the light and hurt my eyes Who turned round to me and looked surprised To see me crying Who turned off the dark Who lit your new spark

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Who turned off the night to greet the day Who turned round to me and heard me say I was lying Into the shadows of darkness I go seeking peace of mind Hiding the truth in the shield of the night For the night is blind Who turned off the dark, baby Who turned off the dark, baby Who turned off the dark In my silent solitude Someone let the day intrude Breaking up my mood Who turned on the light Who turned off the night I was only sleeping through the rain Woke me up and brought me back the pain You left me dying Who turned off the dark Who lit your new spark Into the shadows of darkness I go Seeking peace of mind Hiding the truth in the shield of the night For the night The night is blind WINDY & WARM (rec. 1968; rel. 1995) (Tony Colton/Ray Smith) Recorded for the unreleased (at the time) album HOME FROM HOME (The Missing Album) – at the time of recording referred to as the “Pirate sessions”). It was issued on CD in 1995 by MCPS c5CD 633 with sleeve notes by Tony Colton. Lead vocals: Tony Colton; rhythm guitar: Ray Smith; lead guitar: Albert Lee; bass/vocals: Pat Donaldson; drums: Pete Gavin; keyboards: Mike O’Neill. Additional musicians for the album - steel guitar: B. J. Cole; guitar/vocals: Jerry Donahue; percussion: Speedy Aquaye. Backing vocals: The Bond Street Midnight Choir which included Linda Lewis, Madeline Bell and Leslie Duncan. Other contributors were John Anderson, Zoot Money, Andy Somers, David Foster, Ray Osborne, Jamba and Tony Ashton. Engineer: Eddie Offord. Producer: Tony Colton. Mellow sounds I hear Bells that ring in my ear Water falling down Tumbling, rumbling around Sounds of the windy and warm Of the cloudy and calm Of the earth I was born Breeze go whispering by Blowing dust in my eye Sunlight dancing beams Throw your light on my dreams Sounds of the windy and warm Of the cloudy and calm Of the earth I was born Of the windy and warm (ahhhh) Of the windy and warm (ahhhh) Of the windy and warm (ahhhh) Ahhhh Shoo be doo be doo Shoo be doo be doo Shoo be doo Shoo be dee dah

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Shoo be doo be doo Shoo be doo be doo Shoo be doo Shoo be dee dah Shoo be doo be doo Shoo be doo be doo Shoo be doo Shoo be dee dah Shoo be doo be doo Shoo be doo be doo Shoo be doo Shoo be dee dah Shoo be doo be doo……. WOMEN’S PRIVILEGE (1968) (Tony Colton/Ray Smith) An unreleased (to date) track from the Poet And The One Man Band sessions. TBA

X – None

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Y________________________________________________ YOU BECAUSE YOU KNOW ME (1971) (Tony Colton/Ray Smith) From the self-titled 1971 album HEADS HANDS & FEET (on US version only). The album was recorded at Advision Studios, London, November 1970 to February 1971. Album line-up - vocals: Tony Colton; guitar/dobro/vibes/moog synthesizer/vocals: Albert Lee; guitar/vocals: Ray Smith; bass/banjo/fiddle/vocals: Chas Hodges; piano/organ/vocals: Mike O’Neill; drums/percussion/vibes/vocals: Pete Gavin. Produced by Tony Colton. On this track - lead vocals: Tony Colton & Albert Lee. On the US album the immediately preceding track ‘Look At The World It’s Changing’ segues straight into this track without a break. In 1996 a CD of the complete double album was issued by See For Miles Records – a reissue company; it has been deleted and copies are now very hard to obtain and are expensive. The years went down Collecting in your corners and your grace I rarely see your face Seldom see your eyes Even as they rain How sad we change Like other liars I see tinderbox companion for my rhyme How tall your sadness shines High above them all Catch me when I fall And least of all You because you know me You who have shown me You because you meet me You ‘cause you teach me The years went down And we forever show a distance in our pace I rarely see your grace You the way you are Me the way I am You understand You because you know me You who have shown me You because you meet me You ‘cause you teach me Do do dun do do do dun do do do dun do Do do do do do do Do do do do Do do do do do Do do dun do……. YOU’RE WRONG THERE, BABY (1966) (Tony Colton/Ray Smith) One of the three Tony Colton solo singles on Pye, released as 7N 17046 in March 1966. B-side: ‘Have You Lost Your Mind’. Accompaniment directed by Johnny Harris. If you think I’m just gonna let you Keep on doing wrong And if you think I ain’t gonna get you Better you think on ‘Cause you’re wrong there, baby You’ve been taking me for a fool and You been doing wrong ’Cause in fact I’m right as a rule and You been taken on And you’re wrong there, baby Yes you’re wrong there, baby

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‘Cause I caught on Known all along Yeah I caught on Known all along If you think I’m down then forget it ‘Cause if fact you’re wrong If you think I’m just gonna let it Keep on going on Well, you’re wrong there, baby Yes, you’re wrong there, baby ‘Cause I caught on Known all along Yeah I caught on Known all along Better take notice of what I’m gonna say to you girl ‘Cause you’re a fool And you’re wrong, baby Well, I’m gonna tell you Doing me wrong And I’m gonna get you, baby, I bet I’m not a fool I’m right as a rule Get up, move it Get up, move it Get up, move it Get up, move it A-oow! You’re wrong there, baby YOU’VE GOTTA BELIEVE IT (1968) (Tony Colton/Ray Smith) Recorded by Sharon Tandy on Atlantic 584194. Ray Smith, who with Tony Colton also produced the recording, describes this as their ‘Phil Spector’ moment! You’ve you got to believe it (you must believe it) I’m half out of my mind (out of my mind) Though I’ve lied to you before (lied to you before) But you gotta believe me this time (time) You’ve got to believe it (you must believe it) There’s just no other way (just no other way) I know it’s hard to find a reason why (hard to find a reason) And it’s hard to find the words to say (words to say) You must try Simply because I am asking you What else can I say You must believe it Because I say it’s true You’ve must believe it ‘Cause I’ve been loving you You’ve you got to believe it And the only test is time For a while you might as well hold on now If only for the peace of your mind You must try Simply because I am asking you What else can I say You must believe it Because I say it’s true

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You must believe it ‘Cause I’ve been loving you You’ve you got to believe it Got to believe it You must believe me Only test is time Baby please believe me Baby please Baby please believe me ...

Z - None

The HEADS HANDS & FEET LYRIC LIST was first issued January 2014. Updated September 2014

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