The Peddlers -

The Peddlers were an English jazz-rock/soul trio from Manchester that issued a clutch of singles on Philips during the mid-1960s, followed by three albums and further singles on CBS between 1967 and 1969.

In 1972, the band teamed with the London Philharmonic Orchestra for the album Suite London on Philips. A live album of mostly pop covers followed on EMI in 1974. Drummer Trevor Morais later teamed with producer/keyboardist Rupert Hine and bassist John G. Perry in the jazz-rock/funk band Quantum Jump, which issued two albums in 1976/77 on the Electric Record Company.

Members: Roy Phillips (keyboards, vocals), Tab Martin (bass), Trevor Morais (drums, 1964-72), Paul Johnston (drums, 1972-76)

Background

The Peddlers formed in Manchester in April 1964 as the Song Peddlers, a trio comprising drummer Trevor Morais (b. October 10, 1944; Liverpool), bassist Tab Martin (b. December 24, 1944; Newcastle upon Tyne), and keyboardist–singer Roy Phillips (b. May 5, 1941; Parkstone, Poole, Dorset). Morais played in the beat scene with Faron’s Flamingos and Rory Storm & The Hurricanes, where he succeeded Ringo Starr on drums.

Martin gained notoriety for his upright technique on a Gibson EB-2, a style he adopted after training in classical bass. Phillips, a multi-instrumentalist (keyboards, vocals, guitar), served in multiple early 1960s groups, including The Saints, The Soundtracks, and The Tornados, known for their 1962 global hit “Telstar.”

The three musicians coalesced under the guidance of manager Alan Lewis, initially performing as the Song Peddlers before shortening their name. Their debut single, a brisk reading of the 1924 operetta piece “Rose Marie” backed with Phillips’ original “I’m Not Afraid,” appeared on Philips in July 1964. That November, they issued a rare early version of “Let the Sun Shine In,” predating its popularization via Hair.

1964–67 Singles

The Peddlers released six singles and one EP on Philips between July 1964 and March 1967. Their early output paired Roy Phillips originals with standards from the Great American Songbook, reimagined through the trio’s soul–jazz lens. This sequence laid the foundation for their later CBS period.

July 24, 1964 | BF 1352
A. “Rose Marie” – 1924 operetta number by Rudolf Friml & Herbert Stothart, with lyrics by Oscar Hammerstein II and Otto Harbach; made famous by Nelson Eddy and Jeanette MacDonald in the 1936 MGM musical film.
B. “I’m Not Afraid” – original composition by Roy Phillips.

November 1964 | BF 1375
A. “Let the Sun Shine In” – early UK cover of the Galt MacDermot–James Rado–Gerome Ragni number from Hair (written 1960, debuted off-Broadway in 1967); The Peddlers’ version predated all cast renditions.
B. “True Girl” – original composition by Roy Phillips.

April 2, 1965 | BF 1404
A. “Whatever Happened to the Good Times” – original composition by Roy Phillips.
B. “Song for the Blues” – original composition by Roy Phillips.

December 3, 1965 | BF 1455
A. “Over the Rainbow” – Harold Arlen–Yip Harburg song from The Wizard of Oz (1939), originally sung by Judy Garland.
B. “You Must Be Having Me On” – original composition by Roy Phillips.

July 15, 1966 | BF 1506
A. “Adam’s Apple” – original composition by Roy Phillips.
B. “Anybody’s Fool” – original composition by Roy Phillips.

November 25, 1966 | BF 1530
A. “I’ve Got to Hold On” – original composition by Roy Phillips.
B. “Gassin’” – group original credited to Phillips, Tab Martin, and Trevor Morais.

March 31, 1967 | BF 1557
A. “What’ll I Do” – 1923 torch song by Irving Berlin, written for The Music Box Revue.
B. “Delicious Lady” – original composition by Roy Phillips.

Philips EP, July 1966 | BE 12594
A1. “If You Live” – original composition by Roy Phillips
A2. “I Love Paris” – Cole Porter standard from the 1953 musical Can-Can
B1. “Little Ole Me” – original composition by Roy Phillips
B2. “Georgia on My Mind” – 1930 ballad by Hoagy Carmichael and Stuart Gorrell; popularized by Ray Charles in 1960

Freewheelers

The Peddlers released their debut album, Freewheelers, in 1967 on CBS.

The album presents their distinctive Hammond-organ trio format as a lens for interpreting material drawn from 1930s jazz standards, mid-century showtunes, and recent soul-pop covers. Most tracks are reworked ballads and torch songs, rendered in stark, noir-toned arrangements with theatrical vocal phrasing and minimalist rhythmic backing.

Roy Phillips plays Hammond organ and sings in a baritone croon that defines the group’s tone, supported by Trevor Morais on drums and Tab Martin on bass. The trio format creates open, spacious arrangements driven by rhythmic organ swells and cinematic pacing.

Phillips contributes one original (“Empty Club Blues”), while the remainder consists of covers spanning four decades of film, Broadway, and soul repertoire. The group reconstructs each with a moodier sensibility and stripped-back instrumentation, often altering tempo and phrasing for dramatic effect.

Slowed and brooding takes dominate Side A, where “Stormy Weather” and “Smile” unfold in stretched cadences beneath low-register vocal lines and somber organ. “Girl Talk” adds harmonic tension with cycling modulations and unresolved cadences. Side B includes tighter, rhythm-forward readings of “You’re the Reason I’m Living” and “Sneaking Up on You,” each retaining their soul roots but darkened by the trio’s restrained attack. Their rendering of “What Now My Love” emphasizes finality and fatalism with a slow, processional pulse and descending figures.

A1. “Time After Time” (2:29) — originated in 1946 for the film It Happened in Brooklyn; first recorded by Frank Sinatra
A2. “Girl Talk” (2:45) — written in 1965 for the film Harlow; first cut by the Neal Hefti Orchestra, then Tony Bennett
A3. “Who Can I Turn To? (When Nobody Needs Me)” (3:06) — from The Roar of the Greasepaint – The Smell of the Crowd (1964); first sung by Anthony Newley
A4. “Stormy Weather” (3:37) — 1933 Cotton Club standard; first sung by Ethel Waters, later covered by Billie Holiday
A5. “Smile” (2:58) — theme from Chaplin’s Modern Times (1936); lyrics added in 1954, first sung by Nat King Cole
A6. “Empty Club Blues” (3:00)

B1. “You’re the Reason I’m Living” (3:08) — 1963 single by Bobby Darin, self-written; reached No. 3 on Billboard
B2. “Ain’t No Big Thing” (2:36) — written and first recorded by Gerald Sims in 1966; also cut by The Radiants
B3. “Sneaking Up On You” (2:40) — first recorded in 1966 by Ted Taylor; same year version by The Apollas
B4. “Pentathlon” (2:28)
B5. “What Now My Love (Et Maintenant)” (2:40) — 1961 French ballad by Gilbert Bécaud; English lyrics by Carl Sigman; early versions by Shirley Bassey, Sonny & Cher, Herb Alpert
B6. “Lover” (2:42) — 1932 Rodgers & Hart number for Love Me Tonight; early recordings by Jeanette MacDonald, Peggy Lee

Sessions occurred in mid-1967 at CBS Studios, London, with producer Mervyn Conn and engineer Keith Grant.

Freewheelers features cover design by John Hays with photography by Peter Akehurst. The front presents the band in subdued lighting, seated with pensive expressions that match the album’s nocturnal tone.

CBS promoted the album with “You’re the Reason I’m Living” (b/w “Nine Miles High”), issued in November 1967 (CBS 3055). An earlier single, “Irresistible You” (b/w “Murray’s Mood”), appeared in September (CBS 2947).

Live at the Pickwick

In 1967, Philips issued Live at the Pickwick, a document of The Peddlers at the famed club Great Newport Street.

The album captures The Peddlers in a raw nightclub setting, recorded at London’s famed Pickwick Club on Great Newport Street. Backed only by bass and drums, Roy Phillips delivers a set of standards and obscurities in their moody Hammond-trio style, alternating between sparse torch ballads, jazz vocals, and rhythm & blues.

Roy Phillips plays organ and sings throughout, supported by Tab Martin on bass and Trevor Morais on drums. The open trio format grants space for slow ballads to unfold in elongated cadences, while faster pieces favor churning ostinatos and pulsed phrasing. The band’s blend of jazz timing, theatrical dynamics, and minimalist instrumentation shapes each performance.

Phillips contributes two originals (“Gassin’,” “Outplay”), while the rest consists of standards and songbook material drawn from musical theater, early jazz, and 1960s soul-fusion. Spoken introductions by BBC DJ Peter Murray frame each side and enhance the club atmosphere.

The performance balances contrasting moods: “Misty” and “What’ll I Do?” unfold in slow, suspended phrasing with tender organ voicings; “I Wish I Could Shimmy Like My Sister Kate” and “Walk on the Wild Side” lean on rhythmic propulsion and vamping bass. “Gassin’” stretches over six minutes with long organ improvisations, while “El Pito” shifts suddenly into a dirge-like “Georgia On My Mind.” Phillips treats every song as an emotional monologue, stretching phrases and slowing momentum for dramatic tension.

A1. “Peter Murray Introduction” (0:56)
A2.1. “El Pito (I’ll Never Go Back To Georgia)” (1:02) — originated in 1965 by the Joe Cuba Sextet; written by Jimmy Sabater and Joe Cuba
A2.2. “Georgia On My Mind” (3:58) — written in 1930 by Hoagy Carmichael (music) and Stuart Gorrell (lyrics); first recorded by Carmichael
A3. “Back In Your Own Back Yard” (2:56) — written in 1925 by Dave Dreyer (music), Al Jolson and Billy Rose (lyrics); first recorded by Ruth Etting (1928)
A4. “Gotta Travel On” (3:29) — arranged in 1958 by Lazar, Ehrlich, Clayton, and Six from traditional folk origins; first hit by Billy Grammer
A5. “Misty” (4:01) — composed by Erroll Garner in 1954 (instrumental); lyrics by Johnny Burke (1955); first vocal by Dakota Staton (1957)
A6. “I Love Paris” (3:26) — written by Cole Porter for the 1953 musical Can-Can; first recorded by Lilo in the original cast
A7. “What’ll I Do?” (3:00) — written by Irving Berlin in 1923; first recorded by Carl Fenton’s Orchestra (1924)
A8. “You Are My Sunshine” (3:23) — written in 1939 by Jimmie Davis and Charles Mitchell; first recorded by the Pine Ridge Boys

B1. “Peter Murray Introduction” (0:37)
B2. “Gassin’” (6:41) — original by Phillips, Martin, and Morais; first recording
B3. “Over The Rainbow” (4:18) — written by Harold Arlen (music) and Yip Harburg (lyrics) for The Wizard of Oz (1938); first recorded by Judy Garland
B4. “I Wish I Could Shimmy Like My Sister Kate” (2:02) — 1922 jazz number by Armand J. Piron; first recorded by his New Orleans Orchestra
B5. “Some Day You’ll Want Me To Want You” (6:24) — written in 1944 by Jimmie Hodges; first recorded by Elton Britt; hit version by Vaughn Monroe (1945)
B6. “Walk On The Wild Side” (4:02) — written by Elmer Bernstein (music) and Mack David (lyrics) for the 1962 film Walk on the Wild Side
B7. “Outplay” (1:17) — original by Roy Phillips; first recording

Sessions occurred live in 1967 at the Pickwick Club, Great Newport Street, London, with Philips producer Mervyn Conn. Introductions by BBC presenter Peter Murray were recorded on-site.

Live at the Pickwick features a simple documentary-style cover with a monochrome photo of the band performing in situ. Design credits are unlisted.

Three in a Cell

The Peddlers released their second studio album, Three in a Cell, in 1968 on CBS.

The album expands their repertoire with a broader selection of jazz ballads, stage songs, and orchestral standards, arranged in their signature trio format and reinforced on select tracks with strings. The material spans showtunes, torch songs, and early jazz, punctuated by four new Roy Phillips compositions that mirror the emotional weight and harmonic depth of the covers.

Roy Phillips leads on vocals and Hammond organ, with Tab Martin on bass and Trevor Morais on drums. Keith Mansfield provides string arrangements on key ballads, softening the trio’s usual stark contours and adding lush undercurrents to the album’s more sentimental selections.

Phillips wrote four of the eleven tracks (“Nobody Likes Me,” “I’m a Boy In Love,” “Just a Pretty Song,” “Lost Continent”). The remainder consists of interpretations of Broadway, jazz, and songbook standards from composers such as Cole Porter, Jule Styne, and Bob Dorough. One additional track, “Prime of My Life,” is credited to Richard Jacques.

“Comin’ Home Baby” opens with rhythmic vocal phrasing over clipped organ riffs and pulsed bass, shifting between quick vocal cycles and lingering instrumental breaks. “Basin Street Blues” and “Ebb Tide” follow slower trajectories, built on swaying rhythms and sustained harmonies. “On a Clear Day” and “People” gain a swelling theatricality with orchestral enhancement, while “In the Still of the Night” unfolds in a solemn, chromatic descent, led by organ suspensions. Phillips’ originals follow the same emotional contours, with “Lost Continent” in particular unfolding over gradual dynamic swells and a stately closing cadence.

A1. “Comin’ Home Baby” (2:33) — originated in 1961 as an instrumental by the Dave Bailey Quintet; lyrics added by Bob Dorough; vocal hit by Mel Tormé (1962)
A2. “On a Clear Day You Can See Forever” (2:46) — written in 1965 by Alan Jay Lerner and Burton Lane for the Broadway musical On a Clear Day You Can See Forever; recorded by John Cullum, then Barbra Streisand (1966)
A3. “Basin Street Blues” (3:21) — composed in 1928 by Spencer Williams; first recorded by Louis Armstrong & His Hot Five
A4. “Nobody Likes Me” (3:00)
A5. “I’m a Boy In Love” (3:15)
A6. “People” (3:20) — written by Jule Styne and Bob Merrill for the 1963 musical Funny Girl; popularized by Barbra Streisand (1964)

B1. “In the Still of the Night” (3:05) — written by Cole Porter for the 1937 MGM film Rosalie; first performed by Nelson Eddy
B2. “Ebb Tide” (2:58) — composed by Robert Maxwell (1953); lyrics by Carl Sigman; first vocal hit by Frank Chacksfield, later popularized by The Righteous Brothers (1965)
B3. “Just a Pretty Song” (3:26)
B4. “Lost Continent” (3:14)
B5. “Prime of My Life” (2:50)

Sessions occurred in late 1967 at CBS Studios, London, with producers Cyril Smith and Mervyn Conn and engineer Mike Ross. String arrangements by Keith Mansfield enhance selected tracks.

Three in a Cell features a front cover designed by John Hays with photography in muted tones, showing the band in a stark cell-like environment matching the album title’s mood.

The Peddlers followed with the March 1969 standalone single “That’s Life” (b/w “Wasting My Time”).

Birthday

The Peddlers released their third studio album, Birthday, in January 1970 on CBS.

The album marks their most stylistically diverse and expansive work to date, blending folk protest, Chicago blues, orchestrated ballads, and original jazz-rock experiments. It pairs familiar standards with four new Roy Phillips compositions and two band originals, including their longest studio track. The sequencing moves from tightly arranged covers to side-length improvisation, culminating in a reflective coda.

Roy Phillips handles vocals, Hammond organ, piano, and acoustic guitar. Tab Martin plays electric bass, and Trevor Morais contributes drums and percussion. The trio arranged all material collectively, with Phillips providing instrumental direction across multiple keyboard layers and textures.

Phillips penned four songs: “Southern Woman,” “Girlie,” “Lockshen Pudding” (with the full band), and “Birth.” Additional originals include “City Living” by Anthony Richard. The covers span four decades: a Seeger folk anthem, a Dixon blues standard, a Webb orchestral ballad, and a Mercer/Bloom swing-era tune.

The album opens with a slow, reverent version of “Where Have All the Flowers Gone,” paced with sparse harmonic voicings and long rests between verses. “Little Red Rooster” features clipped organ riffs over a staggered shuffle rhythm, while “By the Time I Get to Phoenix” slows to half-speed and suspends each phrase with minor-key detours. “Lockshen Pudding” occupies all of Side B’s core, a ten-minute suite that alternates between modal organ passages, pulse-driven bass figures, extended solos, and tempo-shift interludes. “Birth” closes the album with a lyrical theme that rises from stillness to radiant climax.

A1. “Where Have All the Flowers Gone” (4:10) — written by Pete Seeger in 1955; first recorded by Seeger in 1960; popularized by The Kingston Trio (1961)
A2. “Little Red Rooster” (3:15) — written by Willie Dixon in 1961; first recorded by Howlin’ Wolf; later a UK No. 1 for The Rolling Stones (1964)
A3. “Southern Woman” (2:20)
A4. “By the Time I Get to Phoenix” (3:10) — written by Jimmy Webb in 1965; first recorded by Johnny Rivers; major hit by Glen Campbell (1967)
A5. “Girlie (P.S. I Love You, Girlie)” (6:30)

B1. “Day In-Day Out” (2:20) — composed in 1939 by Rube Bloom and Johnny Mercer; first recorded by Bob Crosby & His Orchestra
B2. “City Living” (2:20)
B3. “Lockshen Pudding” (10:45)
B4. “Birth” (4:05)

Sessions occurred in 1969 at I.B.C. Studios, London, with producer Cyril Smith and engineers Mike Claydon and Ted Sharp. The Peddlers handled all arrangements internally.

Birthday features a stark photo cover with minimal text, reflecting the album’s mood of inward reflection and studio intimacy. Design and photography credits are unlisted.

“Birth” first appeared in August 1969, backed with the non-album “Steel Mill.” CBS promoted Birthday with “Girlie” (b/w “P.S. I Love You Girlie”).

Three for All

The Peddlers released their fifth album, Three for All, in November 1970 on Philips.

The album expands their repertoire with seven cover selections spanning Broadway, film, R&B, and big band standards, offset by five originals linked to Roy Phillips. Compared to Birthday, this set emphasizes showtune arrangements, syncopated funk rhythms, and soul-inflected vocal phrasing.

Roy Phillips handles lead vocals, organ, and piano across all tracks, supported by Tab Martin on bass and Trevor Morais on drums. Graham Tyson adds string effects on A2. The trio maintains taut rhythmic interplay throughout, with Phillips’s phrasing alternating between clipped staccato and soaring crescendos.

Phillips wrote or co-wrote three tracks (“Working Again,” “Thank God,” “Son”) and shares authorship with Don Black and Denis King on two others. The rest consists of covers from multiple eras: 1930s Porter and Rodgers & Hart; 1950s Ray Charles; 1960s Monkees; and two new 1970s pieces tied to Love Story and the musical The Young Abe Lincoln.

“Working Again” builds on a clipped mid-tempo pulse with octave organ figures and a call-response vocal pattern. “Son” layers descending chord changes over a slow march rhythm with gospel inflections. Their version of “Last Train to Clarksville” swaps jangly guitar for organ vamps and stacked harmonies. “In the Summertime” strips the skiffle feel for a tighter, offbeat funk frame. “Love for Sale” and “My Funny Valentine” adopt modal chord voicings and spotlight Phillips’s control of phrase elongation and tonal shading.

A1. “Last Train to Clarksville” (3:42) — originated as a 1966 single by The Monkees, written by Tommy Boyce and Bobby Hart
A2. “Whole Lot of Sunlight” (3:35) — from The Young Abe Lincoln (1970), written by Judd Woldin and Robert Brittan
A3. “My Funny Valentine” (3:19) — introduced in Babes in Arms (1937) by Rodgers and Hart
A4. “In the Summertime” (4:20) — originated as a 1970 single by Mungo Jerry, written by Ray Dorset
A5. “This Little Girl of Mine” (2:35) — originated as a 1955 single by Ray Charles
A6. “Son” (3:00)
B1. “Love for Sale” (2:57) — introduced in The New Yorkers (1930) by Cole Porter
B2. “Working Again” (4:47)
B3. “Tell the World We’re Not In” (2:45)
B4. “Love Story” (4:00) — originated as a 1970 film theme by Francis Lai; lyrics by Carl Sigman
B5. “String of Pearls” (2:35) — originated as a 1941 instrumental by Glenn Miller, written by Jerry Gray and Eddie DeLange
B6. “Thank God” (4:30)

Sessions occurred in 1970 at I.B.C. Studios, London, with producer Cyril Smith and engineer Mike Clayton.

Three for All features print design by Howards Printers (Slough) Ltd.

Suite London

The Peddlers released their sixth album, Suite London, in May 1972 on Philips.

The album marks their most ambitious studio project: a thirteen-part suite composed by Roy Phillips and orchestrated by Peter Robinson. Framed as a musical portrait of London, it trades the trio’s jazz-pop roots for a fully scored, through-composed structure that merges vocal pieces, instrumental interludes, and symphonic transitions. The sequence flows without breaks, guided more by atmosphere and internal logic than narrative or genre.

Roy Phillips handles all vocals and keyboards, with Tab Martin on electric bass and Trevor Morais on drums. Surrounding them is a full orchestra conducted by Martyn Ford, including over 40 string players and a full wind, brass, and percussion section. Tony Walmsley contributes electric guitar on select tracks. Phillips’s vocals alternate between hushed phrasing and declarative passages, while the orchestration supplies dynamic contrast, harmonic layering, and timbral shifts that expand the trio’s sonic palette.

Roy Phillips wrote all 13 core tracks. Several revisit key motifs in altered form (“This Strange Affair – Reprise,” “A Year and a Day – Metamorphosis”). Some tracks remain instrumental, while others feature brief sung sections or spoken fragments. Movement titles suggest urban introspection, reflection, and temporal contrast. The CD reissue adds six unrelated tracks—later studio material in an funk–R&B style.

“This Strange Affair” sets the suite’s tone with a suspended, modal theme voiced in piano and strings, followed by vocals that frame the emotional arc. “Sequence of Thought” introduces rapid harmonic modulations and alternating orchestral textures. “Did She” layers Hammond lines over a slow backbeat with clipped phrasing. “In Juxtaposition” features short metric contrasts and dissonant chord voicings. “Under London Lights” opens into a rising progression shaped by overlapping lines. “I Have Seen” anchors the album’s second side with a dramatic, slow-building crescendo. “Impressions – Movements 1, 2 and 3” unfolds in linked funk-inflected instrumental sections. “A Year and a Day – Metamorphosis” closes the album with expanded textures and revisited motifs in a sustained coda.

A1. “This Strange Affair” (4:11)
A2. “Raining in London” (1:40)
A3. “Sequence of Thought” (3:02)
A4. “Did She” (2:16)
A5. “In Juxtaposition” (1:13)
A6. “Under London Lights” (2:58)
A7. “River Lives” (2:44)
B1. “I Have Seen” (5:03)
B2. “Impressions – Movements 1, 2 and 3” (2:47)
B3. “A Year and a Day” (2:14)
B4. “This Strange Affair – Reprise” (2:47)
B5. “This Is It” (2:09)
B6. “A Year and a Day – Metamorphosis” (4:56)

Sessions occurred in 1972 at I.B.C. Studios, London, produced by Peter Robinson with engineers Bill Price, Mike Clayton, and Chris Michie. Suite London features sleeve design by the Bloomsbury Group.

CD bonus tracks:
14. “Manah” (3:11)
15. “Have You Ever Been to Georgia” (3:00)
16. “Back Alley Jane” (4:25)
17. “Nothing Sacred” (3:45)
18. “Sing Me an Old Song” (2:49)
19. “It’s So Easy” (5:22)

‘Live’ in London

The Peddlers released their seventh and final album, ‘Live’ in London, in 1974 on EMI.

The album captures their cabaret-era setlist in a live concert performance from late 1973. Structured around well-known soft ballads and contemporary standards, the set showcases the group’s Hammond-led reinterpretations of chart hits and musical classics, delivered with orchestral flair and lounge-style pacing.

Roy Phillips sings and plays organ, backed by Tab Martin on bass and Paul Johnston on drums. All three are uncredited on the sleeve. Their arrangements emphasize smooth rhythmic flow, close vocal phrasing, and slow-building instrumental breaks.

The set consists almost entirely of covers from 1940s Broadway through early 1970s pop and soul. Only “Aretha,” a Roy Phillips original, deviates from the repertoire of familiar hit material. The band’s version of each track relies on live trio interplay rather than studio overdubs or extended instrumentation.

A1. “If Everybody in the World Loved Everybody in the World” (2:40) — originated as a 1971 single by Barry Worth
A2. “He Ain’t Heavy, He’s My Brother” (5:50) — originated as a 1969 single by The Hollies, written by Bobby Scott and Bob Russell
A3. “Oh What a Beautiful Mornin’” (3:35) — introduced in Oklahoma! (1943) by Rodgers and Hammerstein
A4. “You’ve Got a Friend” (4:47) — written by Carole King; recorded by both King and James Taylor in 1971
A5. “On a Clear Day You Can See Forever” (4:47) — title song from On a Clear Day You Can See Forever (1965), written by Burton Lane and Alan Jay Lerner
B1. “My Way” (5:44) — French original “Comme d’habitude” (1967); English lyrics by Paul Anka for Frank Sinatra (1969)
B2. “Me and Mrs. Jones” (3:32) — originated as a 1972 single by Billy Paul, written by Gamble, Huff, and Gilbert
B3. “Bridge Over Troubled Water” (7:30) — title track of Simon & Garfunkel’s 1970 album, written by Paul Simon
B4. “Aretha” (3:46)

The concert occurred in London in November 1973, recorded by Bill Price and produced by Cyril Smith.

Discography: