Incense & Peppermints / Wake Up… It’s Tomorrow by The Strawberry Alarm Clock
The Strawberry Alarm Clock are best known for releasing one of the defining records of 1967 & the psychedelic Summer of Love with the US chart-topping 45 ‘Incense And Peppermints’, but this west coast psych pop band were far more than one-hit wonders.
Incense And Peppermints (apologies for the poor quality but this is a rare performance)
Tune In via Cherry Red Records release a 2CD set comprising of The Strawberry Alarm Clock’s first two albums – Incense & Peppermints and Wake Up… It’s Tomorrow + three bonus single tracks.
Curse Of The Witches from Wake Up… It’s Tomorrow
Incense And Peppermints/Wake Up… It’s Tomorrow comes with a 16 page booklet featuring a new essay on the band that, with quotes from the leading players, examines the cult that surrounds The Strawberry Alarm Clock and includes the story behind that iconic single and details of the band’s exploits on the road with the likes of the Beach Boys and Buffalo Springfield.
This Tune In Records release comes with a superb master tape sound quality and the booklet includes some rare photos.
The Strawberry Alarm Clock Incense And Peppermints/Wake Up… It’s Tomorrow track listing:
1. THE WORLD’S ON FIRE
2. BIRDS IN MY TREE
3. LOSE TO LIVE
4. STRAWBERRIES MEAN LOVE
5. RAINY DAY MUSHROOM PILLOW
6. PAXTON’S BACK STREET CARNIVAL
7. HUMMIN’ HAPPY
8. PASS TIME WITH THE SAC
9. INCENSE AND PEPPERMINTS
10. UNWIND WITH THE CLOCK
11. THE BIRDMAN OF ALKATRASH
12. NIGHTMARE OF PERCUSSION
13. SOFT SKIES, NO LIES 14. TOMORROW
15. THEY SAW THE FAT ONE COMING
16. CURSE OF THE WITCHES
17. SIT WITH THE GURU
18. GO BACK (YOU’RE GOING THE WRONG WAY)
19. PRETTY SONG FROM PSYCH-OUT
20. SITTING ON A STAR
21. BLACK BUTTER, PAST
22. BLACK BUTTER, PRESENT
23. BLACK BUTTER, FUTURE
24. TOMORROW (SINGLE MIX)
25. SIT WITH THE GURU (SINGLE MIX)
Incense & Peppermints/Wake Up… It’s Tomorrow by The Strawberry Alarm Clock is reissued as a 2CD release on Tune In Records via Cherry Red.
A Strange Affair - The Sixties Recordings by John's Children
John’s Children were a quintessential cult 1960s Mod/Psych band, controversial, sharply dressed and subsequently the stuff of legend.
The band were fronted by Andy Ellison (later with Jet and Radio Stars) and boasted Marc Bolan within their ranks during their short life.
A Strange Affair includes John’s Children entire releases between 1966 and 1970.
This all-encompassing collection includes: two singles original released on EMI’s Columbia label: ‘The Love I Thought I’d Found’ and ‘Just What You Want – Just What You Get’;four singles for The Who’s Track Records: ‘Desdemona’, the legendarily withdrawn ‘Midsummer Night’s Scene’, ‘Come And Play With Me In The Garden’ and ‘Go-Go Girl’; as well as their ‘mock-live’ album Orgasm! which was belatedly issued on the US label White Whale in 1970.Along with Andy Ellison’s subsequent solo singles ‘It’s Been A Long Time’ (Track), ‘Fool From Upper Eden’ (CBS) and ‘You Can’t Do That’ (SNB); and three tracks recorded by pre-John’s Children band The Silence. All this plus a raft of rare and previously unissued alternative versions and mixes.
This 2-CD set release by Grapefruit Records via Cherry Red Records of A Strange Affair – The Sixties Recordings by John’s Children has been compiled with help from Andy Ellison with detailed sleeve-notes by their manager Simon Napier-Bell.
SINGLES & RARITIES
1. THE LOVE I THOUGHT I’D FOUND
2. STRANGE AFFAIR
3. JUST WHAT YOU WANT – JUST WHAT YOU’LL GET
4. BUT SHE’S MINE
6. REMEMBER THOMAS À BECKET
7. MIDSUMMER NIGHT’S SCENE
8. SARA, CRAZY CHILD
9. COME AND PLAY WITH ME IN THE GARDEN
10. GO-GO GIRL
11. JAGGED TIME LAPSE
12. ARTHUR GREEN (credited to Andy Ellison)
13. IT’S BEEN A LONG TIME (Andy Ellison solo)
14. FOOL FROM UPPER EDEN (Andy Ellison solo)
15. ANOTHER LUCKY LIE (Andy Ellison solo)
16. YOU CAN’T DO THAT (Andy Ellison solo)
17. CORNFLAKE ZOO (Andy Ellison solo)
18. HELP! (Andy Ellison solo)
19. CASBAH CANDY (Andy Ellison solo)
20. HIPPY GUMBO (Andy Ellison solo)
21. DOWN DOWN (by The Silence)
22. COLD ON ME (by The Silence)
23. FORGIVE ME IF I’M WRONG (by The Silence)
24. MUSTANG FORD
25. NOT THE SORT OF GIRL YOU TAKE TO BED
26. SALLY WAS AN ANGEL (Vocal)
DISC 2: ORGASM + BONUS TRACKS
1. KILLER BEN
2. JAGGED TIME LAPSE
3. SMASHED! BLOCKED!
4. YOU’RE A NOTHING
5. NOT THE SORT OF GIRL
6. COLD ON ME
7. LEAVE ME ALONE
8. LET ME KNOW
9. JUST WHAT YOU WANT – JUST WHAT YOU’LL GET
10. WHY DO YOU LIE
11. STRANGE AFFAIR (Alternative Mix)
12. BUT SHE’S MINE (Alternative Mix)
13. THE LOVE I THOUGHT I’D FOUND (First Version)
14. DESDEMONA (“Why do you have to lie” Version)
15. REMEMBER THOMAS À BECKET (Alternative Version)
16. MIDSUMMER NIGHT’S SCENE (Alternative Version)
17. SARA, CRAZY CHILD (German Single Version)
18. JAGGED TIME LAPSE (Alternative Version)
19. IT’S BEEN A LONG TIME (Andy Ellison solo, Stereo Mix)
20. YOU CAN’T DO THAT (Acetate Version, Andy Ellison solo)
21. HIPPY GUMBO (Marc Bolan Vocal)
22. NOT THE SORT OF GIRL YOU TAKE TO BED (Alternative Version)
23. SALLY WAS AN ANGEL (Instrumental)
24. COME AND PLAY WITH ME IN THE GARDEN (Instrumental)
25. THE PERFUMED GARDEN OF GULLIVER SMITH (Instrumental)
26. MIDSUMMER NIGHT’S SCENE (Alternative Mix)
This 2-CD set release by Grapefruit Records via Cherry Red Records of A Strange Affair – The Sixties Recordings by John’s Children was released on 25th November, 2013.
Humble Pie’s Performance: Rockin’ The Fillamore has been described as one of the world’s greatest live albums receives a 4 CD release from Universal, with a mix supervised by surviving members of one of rock’s first supergroups, Peter Frampton and Jerry Shirley.
When Steve Marriott left the Small Faces to launch a new band in 1968, expectations were high. Marriott teamed with 18-year-old guitarist Peter Frampton, who had recently left pop band The Herd. Both Marriott & Frampton were looking to step away from the limelight of pop adulation and create something that would be taken more seriously and allow more self expression in their music.
Along with bassist Greg Ridley from Spooky Tooth, and a 17-year-old drummer named Jerry Shirley, who Steve Marriott had previously used as a session musician, Humble Pie was formed and found success with their own brand of hard rock blues. The band included three great singers and offered each the space to write. Humble Pie recorded four albums and released several singles before achieving its breakthrough in the United States with 1971’s double-live album, Performance: Rockin’ the Fillmore.
Drawn from four shows played over two consecutive nights at Bill Graham’s legendary Fillmore East, Performance captured a red-hot band firing on all cylinders, distilling the crowd-pleasing heavy blues-rock style that had come to dominate the Brit foursome’s repertoire, and which would help to lay the foundation for the sound that would soon become known as heavy metal. Performance caught on in a big way with American listeners, hitting #21 on the U.S. album chart and becoming the Pie’s first Gold album.
Now, for the first time, Omnivore Recordings, in conjunction with Universal Music, have gathered all four shows from Humble Pie’s historic Fillmore East stand in this lovingly packaged four-CD box set. No editing or resequencing took place – just the four sets exactly as they were played on May 28 and 29, 1971. The seven tracks that comprised the original album are joined here by 15 previously unissued performances – including the never-before-heard complete first set from May 28.
“My God, it just took my breath away,” Shirley said of hearing the new mixes by engineer Ashley Shepherd. “You feel like you’re sitting in the Fillmore East, five or six rows back. In the quiet bits, you could hear a pin drop, and in the loud bits, you can almost feel the room shaking. And all four shows caught Steve at the absolute zenith of his powers. It’s astonishing. I’m only sorry that he, Greg, and Dee aren’t around to enjoy it with the rest of us.”
Frampton also praises the vastly improved audio quality, and was especially happy to revisit the material that wasn’t used on the original LP. “It’s like a breath of fresh air after listening to one particular version,” he says. “The beauty of it is that you get three other completely different performances of most of the songs. And it’s great to hear Steve’s banter from all of the shows. We’ve lived with [imitates Marriott] ‘It’s really been a gas!’ for 40-odd years, and now there’s more.”
The deluxe compilation was produced by Peter Frampton and Jerry Shirley with A&R coordination from Bill Levenson and Cheryl Pawelski containing detailed liner notes by Tim Cohan.
Humble Pie’s Performance: Rockin’ The Fillamore 4 CD Box Set Track Listing:
05/28/71 Friday, First Show
1. Four Day Creep 3:51
2. I’m Ready 8:20
3. I Walk On Gilded Splinters 27:07
4. Hallelujah (I Love Her So) 6:16
5. I Don’t Need No Doctor 8:40
05/28/71 Friday, Second Show
1. Four Day Creep 3:45
2. I’m Ready 8:42
3. I Walk On Gilded Splinters 27:19
4. Hallelujah (I Love Her So)* 5:26
5. Rollin’ Stone* 16:55
6. I Don’t Need No Doctor* 9:13
05/29/71 Saturday, First Show
1. Four Day Creep 3:55
2. I’m Ready 8:40
3. I Walk On Gilded Splinters 26:11
4. Hallelujah (I Love Her So) 5:59
5. Stone Cold Fever* 6:08
05/29/71 Saturday, Second Show
1. Four Day Creep* 3:50
2. I’m Ready* 8:44
3. I Walk On Gilded Splinters* 27:53
4. Hallelujah (I Love Her So) 5:33
5. Rollin’ Stone 12:27
6. I Don’t Need No Doctor 7:34
One Vowel Away From The Truth - Groovy Uncle featuring Suzi Chunk
Following on from 2011’s “Play Something We Know!” and last year’s “Girl From The Neck Down” (which introduced Cardiff- based soul “singist” Suzi Chunk to an enthusiastic audience), the Groovy Uncle project now presents us with their latest offering “One Vowel Away From The Truth”. Mood wise this is a wonderfully crafted light and shade affair and possesses none of the disappointing characteristics often found on many a “tricky” third album. Once again, songwriter Glenn Prangnell is joined by Suzi C to share lead and backing vocal duties on what is the first true Unc ‘n’ Chunk release where they are more than ably supported by musical chums old and new.
“I Know Where The Sun Shines” (with Miss Chunk on lead vocal) kicks in the front door with this Beat-tastic number and if you close your eyes this could be Dusty live at the Cavern backed by The Mojos! Glenn’s turn on the next couple of sunshine pop tracks – “Neptune Girl” and “The Money Shot”(featuring Peter White on keyboard) – are infectious, fun and melodic. “When I Saw Love”allows us to hearGlenn and Suzi duet for the first time to great effect. It’s a haunting ballad complete with a lovely French horn solo from Neil Mitchell but is also lyrically intriguing as this is not quite the straightforward boy/girl love song that it seems. This is a stalker’s letter to his (or her) prey: “I didn’t shed a single tear, I swear/Anyway how would you know, you couldn’t see me there…” Next up is a jaunty, sideways look at boredom in Everytown- ” I need a conversation but I wont get it from him/The man who wears a tracksuit but goes nowhere near a gym” – “Memory” is reminiscent of a Move track sung by Carl Wayne with a nod to “Help!” era Beatles. “Brand New Badge” gives Suzi the chance to give it some ballsy attitude: “Man, you just been pigeon-holed!”
Back in Everytown, Grimfordshire on an “Ordinary Day”we’re faced with chancers, racists and grotesques yet the humour remains: “There’s a fellow on the corner and I think he is a racist/I know his brother pretty well he was a big fan of Oasis/But I’m not inclined to agree/I’ve a mind of my own and your hate isn’t mine/I’ve got my beady eye on you”. Very Kinks this one andthe lead guitar work from Bruce Brand is sublime.
“Must Have”is a slinky, sexy number withhorn section courtesy of John Littlefair and Suzi gives a suitably sultry vocal performance. The melancholic “November” sees former Singing Loin Rob Shepherd guesting on mandolin while “It’s Not Like Me” chugs along very nicely, thank you. “Consider It Done” features Roan Kearsey-Lawson on vibes which sits perfectly as the icing on the cake for this Dusty-esque ballad and Suzi’s lead vocal will break your heart (again). “Me And My Fair Weather Friend” is the tragi-comic tale of a sad Alpha male with a girl’s name (never revealed) and bad tattoos (“something profound in Chinese” ). This track (and several others) features the trumpet playing of John Whitaker which works perfectly. Jon Barker (formerly of The Daggermen, Buff Medways, Graham Day and The Gaolers, The Kravin’ A’s and many more) joins the line-up for the Small Faces inspired number “I’m Nearly Mad About You”. A big tune with Suzi back at the mic. Prangnell wanted a “Thanks For Listening” type of song to close the album when he remembered the 1967 hit “Thank U Very Much”by The Scaffold and decided to write an updated version. He came up with the beautifully sarcastic and funny “Human Scaffold”and, in common with it’s musical ancestor, the song is a list of things for which we should all be “thankful”: “Thank you for the Big Society and making sure we never walk alone/Thank you for the awesome and amazing things I’m capable of doing on my phone/Thank you for the handy hints you find on tins, I never would have done it on my own”.
Recorded entirely on analogue equipment at Sandgate Sound Studios in Kent and released on their own Trouserphonic label, “One Vowel Away From The Truth” is clearly a well crafted team effort. As well as the aforementioned musicians, there is the rock solid, authentic drumming of Mole Lambert, crucial to the sound throughout. See also the tasteful, adept bass playing of Nick Rice. Everyone works together, nobody shows off and egos are left in the bins provided. The sleeve art alone deserves a special mention: a Hanna-Barbera style cartoon of the band by Darryl Hartley with design and layoutby Arthole Retrographics.
Any one of the 14 tracks featured on this album could easily become your Earworm du jour. You can buy the CD album from www.groovyuncle.co.uk or download it from iTunes.
The Orb are currently amidst a 25 year anniversary UK Tour promoting their current retrospective 4 CD box set, History Of The Future – The Island Years.
It seems almost incomprehensible that it’s now 25 years since Alex Paterson took his first giant steps under the banner of The Orb. Caught in the escalating rush of acid house and armed with dream-realising new technology, Alex, and whoever else was on his flight path at the time, started pumping their inherent sense of mischief into panoramic soundscapes with heavyweight beats, taking the live electronic experience to new levels.
A quarter century later, the world is a much different place after technology progressed further, changing the way music was created and heard as the next century got under way. By then, The Orb had already charted a fearlessly wayward course, while unleashing one of the most uncompromisingly innovative bodies of work of the last century, no sound too extreme or source too cheeky.
This is why we’re gathered here today – to mark The Orb’s Silver Jubilee with a collection of landmarks from their first two decades, plus a bunch of extra treats. When Alex took those first, tentative steps 25 years ago he was in the throes of the second revolution to erupt in his life after punk‘s big bang. Acid house opened up a new form of anarchy, using machines before they were changed to protect the innocent. There was always attitude in the Orb’s ambience, as Alex declared more than once, “we’ve got the same attitude as punk rock.”
After Alex and first Orb partner Jimmy Cauty’s initial dalliances in Cornwall, the first major statement under The Orb name was 1989’s A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Universe, among early releases on Alex and Youth’s W.A.U. Mr Modo label.
Tellingly, this set starts with a high definition declaration of dance floor domination with the thunderous Orbital Dance Mix of the track which appeared on July, 1990’s A Huge Ever Growing Remix EP.
This key track in Orb lore appears here in three different incarnations, also including 1991’s Aubrey Mix Mk II ambient version from 1991’s Aubrey Mixes: The Ultra World Excursions, with crashing waves and clucking chickens lashing the pivotal melody. The live version shows how the track could also be cranked into the ultimate, all-going-off set closer. When it provided their 20 minute Peel session in December, 1989, it became the most requested in the show’s history.
The follow-up, Little Fluffy Clouds, (which started life in Alex’s bedroom at the infamous Coach House he was then sharing with Youth), was created at that magical time when sampling technology offered new oceans of possibilities (which turned into a Pandora‘s Box of litigation as claims rained in after these first innocent flurries of exploration).
1990’s Little Fluffy Clouds kicked off with English country narrative from Face The Facts presenter John Waite before the famous Rickie Lee Jones promo interview snippet which came with her Flying Cowboys album. Demonstrating the unlikely sources which separated the genuinely creative from mindless plagiarism, the beats hail from a Harry Nilsson track, introduced by Ennio Morricone harmonica. Coldcut, who’d been developing their own strain of underground sonic science, are here with their aptly-titled Heavyweight Dub Mix.
Next single from 1991’s Adventures Beyond The Ultra World was psychedelic reggae outing Perpetual Dawn, here heard in its Solar Youth version and the first of Andrew Weatherall’s cataclysmic pair of Ultrabass remixes, underpinned by Jah Wobble‘s chest-rattling bass.
Blue Room itself is a stratospheric epic with long-time mucker Steve Hillage’s ether-surfing guitar, Miquette Giraudy’s ghostly synths plus sirens, NASA astronauts and disemboided vocal, again underpinned by Jah Wobble’s inimitable Earth’s core-shaking basslines.
Clocking in at a second below the 40 minute limit imposed by chart compilers Gallop, Blue Room was released as a twelve-inch single on June 8, reaching number eight as the longest single to make the charts. It’s here in three versions – the single edit, live and Excerpt 605 on the rarities disc.
U.F. Orb was unveiled to the media at London’s Planetarium. It came as a shocked but air-punching triumph when the album invaded the charts at number one. It continues its mighty presence on this collection with Majestic and Close Encounters appearing in disc two’s remixes.
Close Encounters showed how The Orb could deliver floor-destroying techno, working with Glasgow titans Stuart MacMillan and Orde Meikle, aka Slam, who‘d recently started their Soma label while running the raging inferno of their Slam club. If the original version was dominated by the astonishingly crowd-levitating groove, disc two’s ambient version brings out myriad other subtleties.
Disc three captures the sonic splendour of the live Orb show around this time, drawn from Trekkoner, Copenhagen and Woodstock 2 in 1993-94, hotwiring singles and album highlights with the spontaneous combustion of the duo‘s live mixing, which meant every gig was different. They were also playing a song called Assassin – 1992’s next single. Originally a fluid slab of astral funk draped in radioactive sonic worms, it became a prime example of an Orb piece spreading its wings live in various directions, appearing here as single edit and in two different live incarnations.
1993 saw angry grey streaks appearing in the little fluffy clouds, manifesting as the dark side of The Orb in mid-1994’s abrasive Pomme Fritz (The Orb’s Little Album), fired by rekindled punk spirit with anger often the energy.
Released in July 1994, Pomme Fritz sparked hostility everywhere from record company to press, although it still made number six in the UK charts (though not this set!).
With slate wiped clean, The Orb could move on and make their under-rated masterpiece Orbus Terrarum. This double-album epic of astonishing complexity, breadth and depth continued Alex’s exploring of a, “collage of noises that had never been heard before in that sort of music”, venturing into avant garde, musique concrete and classical realms, shot with the wildest dub.
With bassist Simon Phillips and percussionist Nick Burton also still around, The Orb set off on the album’s orchestral dub voyages, including the supremely evocative Oxbow Lakes, here in its album version.
Alex could now reflect on “two years of pretty hard labour” which had seen everything change, including record company, management and musical collaborators. There was still pressure to set their controls for the heart of the charts as Orbus Terrarum had just scraped the top 20 while there hadn’t been a huge single, so it came as another surprise when Toxygene reached number four in the singles chart in February, 1997; The Orb’s highest placed single yet. As a result, mothership album Orblivion sold well too.
The hit came with a beautiful slice of Orb-lore. During the ‘90s, The Orb trotted out remixes for a galaxy of artists, from Primal Scream to Robbie Williams, even a U2 knock-back, as Alex stuck to his motto, “you get an Orb track with bits of song on it.” Jean Michel Jarre’s 1977 hit Oxygene was a hugely-influential electronic landmark. To celebrate its 20 year anniversary, the French composer had created a sequel called Oxygene 7-13, The Orb were called to remix Oxygene 8. The composer was not too pleased remarking, “It’s not that I didn’t like it, but I wanted the first wave of remixes to be linked with Oxygene’s theme and textures.’ Alex simply took his remix, retitled it ‘Toxygene’ [after being out-voted on ‘Toxic Genes’] and released it as first single from the album it had just found a home in, a hit in its own right. The single was released in a pink box containing two CDs with mixes inclusing Ganja Kru’s drum ’n’ bass workout (included here).
Orblivion featured a more streamlined Orb with Alex, Thomas and Andy, plus Steve Hillage, Miquette Girady and tour DJ Lewis Keogh. The object of the exercise this time seems to be how much fun they can have bending melodies and beats into new dimensions. After the ambient exploits of the previous two albums, the vibe around Orblivion was that The Orb were back in a funky mood, without trying to lead or start new trends because they’d already done that.
Next single was Asylum, a pulsing electro beast co-written with tour DJ Lewis Keogh, riding a gently squelching riff draped in lazy steel guitar and Detroit techno melody. The track is here in its album version.
After the unfettered creativity of the Orblivion phase and top five success of the single, darker clouds were again gathering again towards the end of the century. Although recorded through 1999, the delightfully multi-hued Cydonia got caught up in internal record label reshufflings, meaning it wasn’t released until 2000. Named after the area of Mars where the Viking space craft photographed a Sphinx-like face, Cydonia remains one of the most diverse and overlooked items in the Orb arsenal.
The core team of Alex, Andy Hughes, Thomas Fehlmann, Simon Phillips and Nick Burton was joined by Fil de Gonidec [another old Killing Joke mucker], Sabrettes’ Nina Walsh and Freaky Realistic singer Aki Omori, who unleashed her sepulchral vocals on a traditional Vietnamese melody for first single, Once More.
Meanwhile, Nina co-wrote and sang some of Alex‘s old lyrics on second single Ghostdancing, whose lustrous, hallucino-sheened future pop inevitably incurred flak for daring to venture near traditional song forms. This was easily dismissed by Alex: “This may be but they were ORB pop songs,“ while adding that, “Ghostdancing is probably one of the best Orb tunes we’ve ever done.” Disc two features the spectral textures of Mark Pritchard’s sumptuously deep remix.
There we have it: all aspects of the Orb in one boxset: the singles which took them to mass success, remixes which kept the underground happy, the kind of live show which blazed a trail for others to take dance music to the stadiums, plus some of the amazing videos which accompanied most of the singles assembled here.
The Orb – History Of The Future: The Island Years
Disc One – The Singles Collection
Disc One – The Singles Collection
01: A Huge Ever Growing Pulsating Brain That Rules From The Centre of the Ultraworld: Loving You – Orbital Dance mix (Alex Paterson and Jimmy Cauty)
02: Little Fluffy Clouds Single version
03: Perpetual Dawn, Solar Youth mix
04: Blue Room, 7” version
05: Assassin, 7” version (Alex Paterson, Kris Weston and & DJ Lewis)
06: Oxbow Lakes, Album version
07: Asylum, Album version
08: Toxygene, Album version
09: Once More, Album version
10: Ghost Dancing, Album version
Disc Two – Remixes and Rarities
01: A Huge Ever Growing Pulsating Brain That Rules From The Centre of the Ultraworld: Loving You Aubrey Mix Mk II (Alex Paterson and Jimmy Cauty )
02: Little Fluffy Clouds, Coldcut Heavyweight Dub mix
03: Perpetual Dawn, Andrew Weatherall Ultrabass 1 mix
04: Blue Room, Excerpt 605
05: Majestic, Heavy Mix (The Orb and Youth)
06: Close Encounters, Smile, You’re On Camera mix (The Orb and Slam)
07: Assassin, Another Live mix
08: Toxygene, Ganja Kru mix
09: Once More, Mark Pritchard mix
Disc Three – Live In Copenhagen & Woodstock
01: Towers of Dub, Live @ Trekkoner Sunset Gig, Copenhagen ‘93
02: Little Fluffy Clouds, Live @ Trekkoner Sunset Gig, Copenhagen ‘93
03: Blue Room, Live @ Trekkoner Sunset Gig, Copenhagen ‘93
04: Star 6 & 7 8 9, Live @ Trekkoner Sunset Gig, Copenhagen ‘93
05: Valley, Live @ Trekkoner Sunset Gig, Copenhagen ‘93
06: Assassin, Live at Woodstock 2, USA ‘94
Disc Four – DVD
01: Little Fluffy Clouds, Promotional video
02: Perpetual Dawn, Promotional video
03: Assassin, Promotional video
04: Oxbow Lakes, Promotional video
05: Pomme Fritz, Promotional video
06: Toxygene, Promotional video
07: DJ Asylum, Promotional video
08: Once More, Promotional video
09: Blue Room, Top Of The Pops ‘92
10: Toxygene, Top Of The Pops ‘97
11: Little Fluffy Clouds, Live from T In The Park
12: Perpetual Dawn, 10” TV advert
The Orb – 25 Anniversary UK Tour Dates
6th Nov Gloucester, Guildhall
8th Nov Bridport, Electric Palace
9th Nov Nottingham, Marcus Garvey Centre
10th Nov Holmfirth, Picturedrome
13th Nov Exeter, Pheonix
14th Nov Bournemouth, Old Firestation
15th Nov Hebden Bridge, Traders
16th Nov Dublin, Button Factory
17th Nov Buckley, Tivoli Venue
24th Nov Cambridge, Corn Exchange
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