Rick Shea & The Losin’ End at Maui Sugar Mill Saloon, 10-16-24 Concert Review

Rick Shea has a regular gig at the Maui Sugar Mill Saloon in Tarzana, performing on the third Wednesday of each month. Titled “Swingin’ Doors,” this music series also features a special guest artist performing a set. If you live in Los Angeles and haven’t made it out to one of these shows yet, I highly recommend making the effort, because not only is the music great, but the venue has a relaxed vibe, there are always good choices of IPAs on tap, and there is no cover. And if you need any more enticement, there’s a free parking lot. Yes, I’m serious. A free parking lot in Los Angeles is rarer than a winning lottery ticket, but there it is.

Last night just after 8:30, Rick Shea & The Losin’ End took the stage and eased into the first set with a cool, somewhat laid-back blues number, “Sweet Little Mama,” drummer Dale Daniel using brushes on this one. “I’m standing in the shadows/All I ever had is gone.” Tony Gilkyson had planned to go fishing last night, so Stephen Patt sat in on guitar, and on accordion for some songs, such as the second song of the set, “Big Rain Is Comin’ Mama.” That was followed by a particularly good rendition of “Shelter Valley Blues.” Sometimes both the crowd and the musicians know when things are going just right, and such was the case with that song last night. They started to rock with a fun rendition of “Hold On Jake” that featured some good stuff on guitar, first by Rick and then by Stephen. Bass player Jeff Turmes then took over lead vocal duties on “Early Train,” a cool, slow number. “Summer’s coming and I love someone.” That was followed by “The Starkville Blues” and then a cover of Hank Williams’ “Honky Tonk Blues,” which was delivered as a slow, glorious blues number, featuring some particularly nice work on guitar. The band wrapped up the set with one of my personal favorites, “Trouble Like This.” It’s a beautiful, captivating song, and last night Stephen delivered some really pretty guitar work on it. “And I’ve seen trouble like this before.” The first set ended at 9:12 p.m.

Lisa Finnie & Friends

The special guest at last night’s show was Lisa Finnie & Friends. Those Friends included John McDuffie on pedal steel, so I knew before they even started that we were in good hands. The band also included Dylan Thomas on electric guitar and backing vocals, John Palmer on drums, and Art Stucco on bass. Lisa Finnie was on lead vocals and acoustic guitar. At 9:35 p.m., she said, “Hi, everybody,” and then went right into the first song, “The Way To Love,” with John Palmer playing both drums and harmonica, not an easy task. And I wondered briefly what was kept in that Close Encounter Of The Third Kind metal lunch box on the shelf behind him. “This is my first full gig out since before the pandemic,” Lisa told the crowd. You might also know Lisa Finnie from her radio program, for in addition to being a talented singer/songwriter, she hosts “The Dylan Hours” on 88.5 FM. “So Much Better” began with just vocals and acoustic guitar, and found the drummer again delivering some nice harmonica work, but this time without playing drums simultaneously. Lisa Finnie then covered a Rick Shea song, “Cold And Lonely Shadows,” delivering a really nice rendition, Dylan and John McDuffie providing backing vocals. She followed that with “River Of Love,” a song she had recorded for The Sound Of My Own Tune: An Artists’ Tribute To Patty Booker, which was released early this year. Then “In My Dreams” had a wonderful and very cool haunting sound. After that one, she mentioned that it was about a woman who died trying to access her lover’s house through the chimney. She followed that with “Slow Burn.” The lines “And I wonder if you know how much I dream about your kiss/If I told you now, would we fall into love’s dark abyss” stood out for me. “This is a dancing song,” Lisa told the crowd when introducing “Till The Cows Come Home,” indicating the three or four feet of space on the floor in front of the stage. No one attempted it. The set also included the beautiful “Lynda Says,” a newer (and very cool) song titled “Take Me Early,” the bluesy (and even cooler) “Take The Low Road” (one of my personal favorites), and “Ball And Chain.” The band’s encore was a good rendition of the Staple Singers’ “Why Am I Treated So Bad,” featuring some wonderful harmonizing. The set ended at 10:36 p.m.

"Goodbye Alberta"

At 10:52, Rick Shea & The Losin’ End were back on stage. Rick said, of Lisa Finnie’s set, “It was like a spell cast over the room.” He then joked, “And we’re here to break that spell.” They opened the second set with “Goodbye Alberta,” with Stephen on accordion. That was followed by a fun rendition of “Blues Stop Knocking At My Door,” Stephen on electric guitar for that one. Jeff then sang lead on “Why You Turned Out So Weird,” a great song with kind of a funky edge. Afterward Jeff said, “I want to dedicate that one to JD Vance, public figure,” playing on the whole “weird” thing that Tim Walz started a while back.  “Nelly Bly” followed, and then “Mexicali Train,” with Stephen on accordion. I always love hearing that song, and it’s particularly good with accordion. Stephen remained on accordion for “Juanita (Why Are You So Mean),” that song thriving on the presence of accordion. That was followed by another of my personal favorites, “Mariachi Hotel.” Jeff took another turn at lead vocals on “Don’t The Moon Look Real,” from his Five Horses, Four Riders album. Stephen played accordion on that one too, then switched back to electric guitar for “Sweet Bernardine.” In Rick’s introduction to that song, he mentioned being from San Bernardino, and how that city is on the news for all the wrong reasons. There was a nice jam at the end. The second set ended with a couple of covers, the first being “Mathilda,” which was a hit for Cookie And His Cupcakes in 1959. And fittingly, Rick Shea & The Losin’ End wrapped up the show with a good cover of Neil Young’s “The Losing End (When You’re On).” The show ended at 11:50 p.m.

Set List

Set I

1. Sweet Little Mama
2. Big Rain Is Comin’ Mama
3. Shelter Valley Blues
4. Hold On Jake
5. Early Train
6. The Starkville Blues
7. Honky Tonk Blues
8. Trouble Like This

Lisa Finnie & Friends Set

1. The Way To Love
2. So Much Better
3. Cold And Lonely Shadows
4. River Of Love
5. In My Dreams
6. Slow Burn
7. Till The Cows Come Home
8. Lynda Says
9. Take Me Early
10. Take The Low Road
11. Ball And Chain
12. Why Am I Treated So Bad

Set II

1. Goodbye Alberta
2. Blues Stop Knocking At My Door
3. Why You Turned Out So Weird
4. Nelly Bly
5. Mexicali Train
6. Juanita (Why Are You So Mean)
7. Mariachi Hotel
8. Don’t The Moon Look Real
9. Sweet Bernardine
10. Mathilda
11. The Losing End (When You’re On)

"Big Rain Is Comin' Mama"

"Early Train"

"The Way To Love"

"The Way To Love"

"Cold And Lonely Shadows"

"Cold And Lonely Shadows"

"Goodbye Alberta"

"Blues Stop Knocking At My Door"

"Juanita (Why Are You So Mean)"

Maui Sugar Mill Saloon is located at 18389 Ventura Blvd., in Tarzana, California.

One last photo:

Amanda Anne Platt & The Honeycutters: “The Ones That Stay” (2024) CD Review

Amanda Anne Platt & The Honeycutters, based in Asheville, North Carolina, are known for delivering excellent music in the folk and country realms, with a focus on lyrics. They create songs that seem to reconnect us to that larger sense of humanity and to ourselves individually, beautiful and powerful songs of ache and joy and truth. The band’s new album, The Ones That Stay, features mostly original material, written by Amanda Anne Platt. There are some repeated images and ideas among these songs, working to create a sense of the album as a whole rather than as a collection of isolated thoughts or experiences. Adding to that is the inclusion of bits of banter and studio sounds on several tracks, including a buzz or hum at times, which also gives these songs a feeling of immediacy, of being created in the moment. The band is made up of Amanda Anne Platt on vocals and acoustic guitar, Matt Smith on electric guitar and pedal steel, Rick Cooper on bass, Evan Martin on drums and backing vocals, and Kevin Williams on keys.

The album opens with “Mirage,” the track beginning with a bit of banter, “What do you guys think about one more,” before the pretty work on keys gets things started. Then Amanda Anne Platt comes in, the song’s first lines setting a scene: “Smoky hotel restaurant/Somewhere in New England/A waitress asks me what I want/And I tell her I’m still thinking/When I’m sober, all my words taste like copper pennies.” One thing that is striking, and wonderful, about this song is that the moment when she sings about stepping outside, the song takes on more life, developing a nice rhythm. It is like the music itself thrives on that breath of fresh air. This is a gorgeous, moving song, with a heartfelt vocal performance and some good work on pedal steel. And it provides the album with its title in the lines, “It’s such a windy world out there/And everybody keeps on blowing away/I try to tell myself that I don’t care/But I learn to love the ones that stay.” While it might be a cold world, this song offers its own warmth. Scott McMicken plays acoustic guitar on this track. That’s followed by “Clean Slate,” its first line, “Tonight I’d like to do some drinking,” delivered in a straightforward  manner, striking in its honesty. “With all the innocence of children/With all the careless wrath of war/It’s our own mystery we’re killing/And we may never ever know what for.” On this one, Kevin Williams plays both mandolin and organ. This track also features Mark Platt on harmonica. “Close your eyes and we all disappear/And there is nothing more, there is nothing more that I can do/But there is music.” There is hope and optimism in the delivery of the music, in that rhythm, in the guitar and the organ.

As “Window Pane” begins, there is the sound of birds. This track features an absolutely beautiful vocal performance. The opening lines are compelling and memorable: “I wrap this memory in barbed wire/So I won’t pick it up again.” This track has an interesting atmosphere, one that places the focus on the voice, and it is like everything is coming from the same place, from a place of memory. “And I cry for the child that I’ve been.” As the drums begin to pick up, that rhythm catches us in its movement, propelling us to some beautiful space. “And I’m coming home again/I’m coming home again,” Amanda Anne Platt then sings. Ah, is that where each of us is headed? This track contains some pretty work on pedal steel. And those backing vocals come to us like a soothing voice gliding down from the mountains to let us know things are going to be okay. Scott McMicken provides the harmony vocals. “And I lost my mind/When I saw we were on, on the losing side.” There are moments when Amanda Anne Platt’s delivery reminds me of Patty Griffin. Then “Forever,” like the first track, contains just a bit of the sounds from the recording studio, including laughter and a counting off. Here she sings, “And the only thing that holds it all together/Is nothing lasts forever.” I love lyrics like that, lines that can be applied to many things, to whatever it is we are experiencing. Because, really, we all do that with music anyway, don’t we? There is a bit of laughter at the end too.

This album features songs with great opening lines. Take “Big Year,” for example. Its first couple of lines, “It’s been a big year/I hope the next one can be smaller,” grabbed me. And soon she sings, “And I’m laughing back tears/But I can’t hold ‘em off forever/After all this stormy weather/I’ll be drying out for years.” Hell, I couldn’t hold them back even for the length of those lines. It feels good to let them out, letting the music take them from me. We’ve all had years like this, haven’t we? What’s also interesting about those lines is the use of the word “laughing,” coming after a track that ended with a bit of laughter. Again, things like that connect the songs. This is another gorgeous song. Interestingly, here she uses a line that was in “Clean Slate” too, “With all the innocence of children,” helping to make this album feel like one piece, rather than a group of unrelated tracks. There is just a hint of laughter at the start of “Forget Me Not Blue,” reminding us of the very process of recording these songs, which adds to the real, human feel of the tracks. “I knew I’d cry, I knew he’d hold me/Wasn’t ready to believe the things he told me/And everyone must be the star of their own movie.” That reminds me of Ken Kesey, who told folks, “Always stay in your own movie.” This is a song to help us through troubling times.

“The Lesson” is a song in which music plays an important part, the first verse finding her hanging out at an open mic, “Laughing with my friends at a table in the back.” A  later verse is about “a song your parents used to love/It meant something to them back when you were young/It comes on the radio, a wild and lonely blessing.” And as for repeated images and ideas, this song also mentions innocence in the line “Sweet innocence in a world gone crazy.” This track features some nice touches by Mark Platt on harmonica. There is some studio banter in the background at the end. That’s followed by the album’s only cover, “On The Street Where You Live,” which was written by Alan Jay Lerner and Frederick Loewe. This rendition has a sweet, relaxed country vibe, and this track too features some nice stuff on harmonica by Mark Platt. Scott McMicken plays acoustic guitar, and both he and Greg Cartwright provide additional work on percussion.

As “Pocket Song” begins, we hear a child talking. And then Amanda Anne Platt sings, “I came here to be teachable, so teach me/I know it seems the lessons seldom ever reach me,” lessons being another repeated idea in the material. “So if my arms can no longer reach you/And my smile can’t find you where you live/There’s a pocket in my heart where I always keep you.” This is a sweet and pretty country number. In the second half, there is a nice instrumental section featuring piano. “Saint Angela” follows, this song counted off at the beginning. This is another moving number, one of the disc’s highlights, and it features some interesting percussion. Scott McMicken is on percussion here. “A ring on my left hand, and I’m loosening my grip on so many things I thought I’d need.” And check out these lines: “There in her grief, there’s a moment of peace/Oh, to be young and helpless again.”  Those lines are repeated a couple of times, and in fact, are the closing lines of the song. This track also features some excellent work on guitar.

The opening lines of “The Muse Of Time” make us think of a wedding: “Are you old, are you new/Are you borrowed, are you blue.” And then Amanda Anne Platt sings, “Are you something I could hold onto/Or just one more thing that I’d be scared to lose.” And with those lines she has us firmly in her grasp, and can lead us where she will. As the song kicks in for the chorus, it takes on a strong country rhythm. This track contains a really nice instrumental section as well. The album concludes with “Empty Little Room,” its first lines mentioning a lesson: “Then they learn the lesson/If it’s painful, let it be/I’m tired of all this guessing.” It’s a beautiful song of letting go. “Daddy, don’t you worry/If you ain’t feeling so strong/You’ve got the world on your shoulders/If it’s heavy, let it fall.” Sometimes we need a reminder that we can walk away from the past. After all, “Morning’s coming soon.” As the album began with a bit of banter, so it ends.

CD Track List

1. Mirage
2. Clean Slate
3. Window Pane
4. Forever
5. Big Year
6. Forget Me Not Blue
7. The Lesson
8. On The Street Where You Live
9. Pocket Song
10. Saint Angela
11. The Muse Of Time
12. Empty Little Room

The Ones That Stay was released on August 9, 2024 on Mule Kick Records.

Silver Convention: “Get Up & Boogie: The Worldwide Singles” (2024) CD Review

In March of this year, Omnivore Recordings released a special expanded edition of disco band Silver Convention’s 1975 debut album, Save Me. Two months later, the label put out Get Up & Boogie: The Worldwide Singles, which contains most of the singles that Silver Convention released in the band’s six-year career, just over an hour of music. This release includes liner notes written by Joe Marchese.

This collection opens with the single edit of “Save Me,” the group’s first single and title track from the first album. It is a fun disco tune with a good rhythm, basically everything you want from a disco number. As I mentioned in my review of the expanded edition of the album, there aren’t a whole lot of lyrics to this song, or to most of the band’s songs for that matter, but that’s fine. There is an undeniable joy to this song. That’s followed by another song that was included on that first album, “Fly Robin Fly,” one of my personal favorites from that disc, with its catchy rhythm and equally catchy vocal line and its great use of strings. It won’t take you long to learn all the lyrics to this one, and there is a good chance you’ll find yourself singing along. “Fly, Robin, fly/Fly, Robin, fly/Fly, Robin, fly/Up, up to the sky.” On this disc, we get the stereo single long version.

“Tiger Baby” was also included on the band’s first album, and is another of that record’s highlights, in part because of its playful nature, with those deep tiger growls, but also because it contains some excellent vocal work. This one is also seriously catchy. The version included here is single radio edit. Then we get the first of this collection’s songs that was included on the band’s second album, Get Up And Boogie. The song, “San Francisco Hustle,” invites us to “Come and dance.” And though it’s a slower number, it’s still a good song to groove to. We return to music from the first album with “(There’s) Always Another Girl,” which on the album was titled “Always Another Girl.” This one has more lyrical content than the previous tracks, including brief spoken word passages, helping it to stand out.

“Fancy Party” is a total delight, with some funky and delicious work on bass. This one was included on Madhouse, the band’s second 1976 album. It too contains more lyrics than the collection’s first few tracks. “Look, there comes a teacher dressed up like a clown/Over there’s a preacher wears a silver gown/And the ragged beggar there is the mayor of this town/Fancy party, funky ball.” This one will get you dancing and smiling and forgetting the world’s troubles. That’s followed by the special disco edit of “I Like It,” a song that was included on the first album. This version was originally released in the UK in 1975, and was featured as a bonus track on this year’s expanded edition of Save Me.

The fun continues with “Get Up And Boogie,” which was used as the title track for the band’s second album. Here we get the single version, which is listed as “Get Up And Boogie (That’s Right).” This song was a big hit for the band, reaching #2 on the Billboard Hot 100. Like a lot of the band’s songs, there are very few lyrics. In fact, all the song’s words are contained within its title. On the LP, that song is the lead track, and is followed by “No, No, Joe.” Here it is likewise followed by “No, No, Joe,” a cool number with a funky element. “No, no, Joe/The party’s over and I gotta go/No, no, Joe/Oh no, you shouldn’t turn your lights down low/Mama won’t like it.” This is another highlight.

“Dancing in the aisle/On a 747,” the band sings at the beginning of “Dancing In The Aisles,” and I can’t help but think of that scene from A Very Brady Sequel when the Bradys sing “Good Time Music” on the plane. Until the flight attendant makes the announcement, “Would those of you dancing and singing in the aisles please sit down and shut up.” That scene is fun, and so is this song. This song was included on Madhouse, where it is titled “Dancing In The Aisle.” Here it is listed as “Dancing In The Aisles (Take Me Higher),” as it was on the single. On the LP, the song is followed by “Everybody’s Talking ‘Bout Love,” and so it is on this compilation. It begins with a spoken word section: “You know everybody’s talking about love these days/It’s just an everyday word/Turn on the radio and hear it/Buy a magazine and you read it/Why then is it so hard to find love in real life?” And the way they sing, “Love, love/Love, love” is adorable.

“Summernights,” which was used as the title track to the band’s first of two 1977 albums, finds them singing “Dancing in the streets,” which of course reminds us of the Martha And The Vandellas song. This song does have that carefree feeling of summer nights. “Summer nights, so sweet as wine/Summer nights, filled with music.” That’s followed by “Telegram,” which was also included on the Summernights album. Their vocal work on this one might remind you of ABBA, and this song, perhaps more so than the others, takes us back to a different time. Do young people even know what a telegram is? “Please forgive the things I said, stop/Didn’t mean to make you sad, stop/Operator, I’ll pay any rate/If my message will not be too late.” The version here is the single version, which is quite a bit shorter than the album version. Also included on Summernights was “Hot Shots,” which has a good, funky vibe, and features some great stuff from the string section. This single version is also significantly shorter than the album version.

“Spend The Night With Me” is a song that was included on the band’s final studio release, Love In A Sleeper, released in 1978. The version here is the promo single short version, approximately two minutes shorter than the album track. This is another totally catchy number, a pop song that features an excellent lead vocal performance, plus the addition of male vocals (that’s Jerry Rix). It also contains a nice lead on guitar. This is cheerful, enjoyable song, another of the disc’s highlights. It’s followed by “Café Au Lait,” which was not included on any of the band’s albums. It was released as a single in Germany. It’s a fun number, and it also has a bit more going on than many of the band’s songs. It’s one I hadn’t heard before, and I am seriously digging it. This compilation concludes with “Get It Up,” yet another fun number. This song was included on Love In A Sleeper, and it is a total delight. How was this one not a hit?

CD Track List

1. Save Me (Single Edit)
2. Fly Robin Fly (Stereo Single Long Version Edit)
3. Tiger Baby (Single Radio Edit)
4. San Francisco Hustle (Single Version)
5. (There’s) Always Another Girl
6. Fancy Party (Single Version)
7. I Like It (Special Disco Edit)
8. Get Up And Boogie (That’s Right) (Single Version)
9. No, No, Joe (Single Version)
10. Dancing In The Aisles (Take Me Higher) (Single Version)
11. Everybody’s Talking ‘Bout Love (Single Version)
12. Summernights
13. Telegram (Single Version)
14. Hotshot (Single Version)
15. Spend The Night With Me (Promo Single Short Version)
16. Café Au Lait
17. Get It Up

Get Up & Boogie: The Worldwide Singles was released on May 31, 2024 through Omnivore Recordings.

Little Richard: “Right Now!” (1973/2024) CD Review

Even though I’ve been a fan of Little Richard’s work since my childhood, Right Now! is an album I knew nothing about for a long time. It followed his 1972 record The Second Coming, which was released on Reprise Records and re-issued by Omnivore Recordings in 2020. But this one was not on Reprise, but rather on the United label, with no liner notes or information accompanying the record. It has now finally gotten a deserved re-issue, this time with liner notes (written by Bill Dahl), but there is still a general lack of information regarding the musicians who back Little Richards on this album. It was released on vinyl as part of Record Store Day back in April, and then made available on CD. The material is a mix of covers and original numbers. The re-issue contains no bonus tracks.

The album opens with “In The Name,” an original number that begins with some cool work on keys, first seeming to announce it as a rock tune, then getting a bit into the blues, before Little Richards’ vocals come in. Interestingly, this is a song he also recorded for his 1971 record King Of Rock And Roll, which was also re-issued by Omnivore Recordings in 2020, that disc containing a second version of the song. This 1973 rendition is wonderful. In addition to cool work on keys, this track features some good guitar work and some nice stuff from the horn section. Little Richard mentions himself in the lyrics, singing, “She said, ‘Little Richard, I’m moving on.’” That’s followed by another original composition, “Mississippi,” this one rocking and grooving from the moment it starts. There is a strong and prominent rhythm, and I love the way those keys are rocking. In this one, Little Richard sings, “You know people come from miles all around/To hear my music when the sun goes down/We rip it up on a Saturday night.” Well, apparently, this record was recorded at night, and of course those lines contain a nod to one of his earlier rock and roll hits, “Rip It Up.” This track is great fun. If you want to rip it up, no matter what day of the week it is, this is a good choice of songs to play.

Little Richard slows things down a bit with the soulful gem “Don’t You Know I,” also one of his original songs. “Don’t you know I/Don’t you know I’ll always care.” This track is completely wonderful, containing a great, raw vocal performance. At moments, he seems at the edge of losing his voice. But that could never happen, could it? There is a delicious gospel element to his performance. “I’m singing this song to you.” Then we get the album’s first cover, “Chain Of Fools,” which was listed as “Chain, Chain, Chain” on the original release of this album, and so here is listed as “Chain, Chain, Chain (Chain Of Fools).” Little Richard delivers an excellent, lively rendition, featuring a driving, forceful beat and some strong backing vocal work. It gets good and loose toward the end, just before fading out.

The energy is high on “Gerald Jones” (a song it is assumed Little Richard meant to call “Geraldine Jones,” since that seems to be what he’s singing over and over), with some of the lyrics shouted out in that glorious way Little Richard did so well. This track also contains a good lead on guitar. “Call me Geraldine Jones/I know how to get along/Now some people think that I’m a Playboy bunny/They look at me and they say that I’m funny.” Oh yes, this is another fun one. The band is jamming, and by the end, Little Richard seems again at the edge of losing his voice. “Don’t touch me, honey/Don’t you ever touch me.” That’s followed by the second of the album’s covers, Otis Redding’s “(Sittin’ On) The Dock Of The Bay.” Little Richard delivers a rendition that pops and moves, featuring some good percussion. Though he sings about “Sitting here, resting my bones,” it doesn’t seem he’s resting at all here. And he is certainly not “wasting time.” Sure, he may be seated by the bay, but there is no introspection here. Little Richard is, as usual, pumped full of energy, and rocking everything he touches. I love that brief instrumental section in the middle. This one feels like it fades out prematurely.

Little Richard takes us firmly into the blues with a cover of “Chains Of Love.” Here he is determined to slow down, even giving direction to the drummer at the beginning, “Relax yourself, drummer.” He delivers such a cool vocal performance on this one. “Tell me what are you going to do/Are you going to leave me/Are you going to make, make me cry?” And check out that guitar work. Everything is working so well here. I’m digging that bass line. And I love how the band is given the space to really dig in. At more than eight minutes, this is the album’s longest track. It’s also one of the best. He then wraps up the album with an original tune titled “Hot Nuts,” which starts with some cool, funky work on drums. “Yeah, yeah, yeah, yeah, yeah,” Little Richard says in reaction to that rhythm, and his delivery is surprisingly gentle there. But don’t worry, soon he is belting out lyrics. You might expect this song’s lyrics to dip into the delightfully dirty, but it doesn’t, not really, though there are hints. “You get a nut/A red hot nut/You’d better get it while you can.” And is “peanut man” some kind of euphemism? Either way, this is a fun number to close out the album.

CD Track List

1. In The Name
2. Mississippi
3. Don’t You Know I
4. Chain, Chain, Chain (Chain Of Fools)
5. Gerald Jones
6. (Sittin’ On) The Dock Of The Bay
7. Chains Of Love
8. Hot Nuts

This re-issue of Right Now! was released on April 26, 2024 through Omnivore Recordings.