Surf Rock Instrumental Review: The Fathoms-Hard To Fathom

Release Date:  August 8, 2025

Label: Musick Recordings

Website

After an astounding eighteen-year hiatus, the return of this Boston-based band, The Fathoms, with a new album, Hard To Fathom, is a special occasion for surf instrumental fans. The album features eight tremendous tracks that cover all the sub-genres that make surf instrumental so enjoyable to listen to, marking a significant return to the music scene. 

Featuring lead guitarist Frankie Blandino, Rob Amaral, Sax Gordon, and the return of the original Fathoms rhythm section of Johnny Sciascia on bass and Stan Kozlowski on drums, this reunion is a complete circle for the band. Their previous work has left a lasting impact on the surf instrumental genre, and their return is highly anticipated.

 

The time they spent apart had no impact on them, based on what I heard.

 

The title track “Hard To Fathom” begins with power and conviction, followed by some smooth as silk tremolo, then the saxophone announces its entrance, albeit softly, in the background in comparison to the primary instrument’s strengths; however, it would eventually rise in volume in the mix. They could not have announced their return with a better sound.

 

“The Right One” is a country-flavored number that is a big step away from the opener. However, you will find that each track is a separate entity as the band uses all of their experience to keep your interest right until the end. Eclecticism is the rule of the day. The sax returns once again, offering more of its distinctive sound, and there is some excellent picking going on continuously as the drums and bass hold down the foundation. These flavorful twists in sound reminded me of the late great Danny Gatton’s music.

 

“Funny Farm” features a drum intro as it transitions into a different playing style. It is that retro ’60s sound, complete with the recognizable organ, that instantly transports you back to a time when all the sitcoms were on TV. There is some good string bending going on here that gives it that offbeat sound.

 

“Giddy Up” returns to the surf instro straight away with some biting licks, rapid drum rolls, and twang to give it the western feel. They circle back and forth with pinpoint precision as the sax adds its sauce to the musical stew. This is another eclectic mixture with many transitions worthy of note.

 

“Sea of Glass” transports you to a deserted island in the sun, where the tempo evokes a sense of warmth and smooth waves of sound gently caress your consciousness. The music sweeps you away as it cleverly paints the necessary scenes in your mind. There is a nice blend of acoustic and electric guitar, and good layering of each instrument. This was one of my favorites for all-around musicianship.

 

“Escape From Wormtown” will bring Davie Allan to mind and The Ventures’ track “2000 Pound Bee” with that definitive fuzztone sound. There is an air of mystery created in this musical atmosphere, like a scene in a James Bond movie. The steady bottom end is their rock to count on as each instrument is added to the mix. A good rhythm guitar melds well to complete their sound, then towards the finish line, a shift in sound again and a fade out.

 

“End of the Trail” is their ode to the Spaghetti Westerns. I envisioned a scene from The Good, The Bad, and the Ugly in my mind’s eye with this picturesque auditory experience. The guitar is the narrator here, and it sings the song so well. There is a surprising transition to the fuzztone, and then the drums sound like a call to arms to march into battle as the sun sets on the final scene.

 

“Planet of Rain” is the curtain closer on this cinematic journey of sound. And it’s off with a bang, just the way it all started with some rapid playing from all positions. The retro Shadows sound permeates your surroundings. If Hank Marvin were listening, he would be smiling. Cymbals play an essential role in different segments, once again proving how important the drums are in every song. They are the engine that drives this locomotive down the tracks.

 

Hard To Fathom is a superb recording and a fantastic return to form after a protracted absence. Let’s hope this is the beginning of another chapter in the history of one of the greatest surf instro bands of all time.

 

Besides a download and CD, it is available in excellent “Jazz master” colors splatter vinyl LP as well. I have the vinyl on the way!

 

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

August 11, 2025

Tracks:

1. HARD TO FATHOM 03:32

2. THE RIGHT ONE 02:49

3. FUNNY FARM 02:20

4. GIDDY-UP 03:03

5. SEA OF GLASS 03:44

6. ESCAPE FROM WORMTOWN 03:06

7. END OF THE TRAIL 05:24

8. PLANET OF RAIN 03:11

Surf Rock Review: The Fuzziyama Surfers-Nagahama / Chanbara Ogin EP

Release Date: August 2025

Website

After their debut album Wild Echizen (Otitis Media Records, 2022), The Fuzziyama Surfers from Japan’s megapolis Nagoya are back with a small CD. The four-track EP was successfully launched at the Surf Guitar 101 Festival in Long Beach, California, in August 2025. This marked the band’s inaugural live performance on American soil. Following this, the silver disc will only be available in their homeland.

We know today that surf music was smuggled into Japan many decades ago by the secret agent Mr. Moto. There, he handed the electronic circuit diagrams over to the custodians of the three-string long-necked lute. This led to the electrification of plucked instruments in the Far East, and “Eleki” was born. The rest is history.

 

Fuzziyama is, as electric guitar players will immediately notice, a portmanteau of "Fujiyama" and "Fuzz Box". The latter is an essential distortion device used to create sawing sound effects on the guitar. Here, this marvelous thing is equated with the sacred mountain of the Japanese.

 

The band’s mastermind and composer is Masumi Fujio, who is known to everyone in the scene as “Fuzzio”. He already rocked with the “surfin’ instrumental band” The Windows and did his finger exercises diligently. He has long deserved a place in the “Nippon Guitars” hall of fame. No one else in the Far East plays “Misirlou” more in tune across the frets than he does.

 

In any case, the artwork for his new sound carrier, designed by Chiaki (the band’s second guitarist) using the two-color duplex process, is a success. The reduction in color makes it stand out from other record sleeves. But what’s even more striking is that the Fuzziyama Surfers have a female drummer.

 

It is said that Karen Carpenter from the Carpenters is the reason why there are comparatively many female drummers in Japan. During their successful 1974 tour (see Live at Budokan), a woman was seen drumming for the first time in Japan, triggering a boom that continues to have an impact today.

Nakkie from the Fuzziyamas is currently one of the best live drummers on the scene. Her playing swings, which is so crucial to surf beat. Through her personality and her spontaneous screeches, she also brings a lot of energy and vitality to the band.

 

This blood-pressure-increasing stage sound is captured unadorned on all of the band’s recordings. The following four tracks were frantically taped in spring 2025 in Geru Matsuishi’s earthquake-proof recording studio on the outskirts of Japan’s “motor city”, Toyota.

 

(1)“Nagahama” (長浜) means “long beach” in Japanese and possibly refers to the location of the band’s first guest performance in the US. Unusually for surf music, the piece begins with a piano chord progression, which immediately calls to mind the forgotten oldie “Nut Rocker” by B. Bumble and the Stingers. Although the piano was a vital element of early style-defining surf bands such as the Bel-Airs and the Challengers, it is reviled in the genre today and has largely been replaced by the organ. The fast-paced interludes in “Nagahama” even evoke progressive rock, revealing that the composer is a “child in time” who floats in deep purple spheres.

 

(2) “Oh! Showgatsu” (お正月) is a traditional Japanese lullaby sung to young children on New Year’s Eve. Shōgatsu, the turn of the year, is one of the most important holidays in Japan. However, a night’s sleep is not on the cards here. The band pulverizes the bedtime song with an unbridled “lock’n’lol” attitude.

 

(3) “Chanbara Ogin” (チャンバラお銀) is a nod to Kagerō Ogin, a female ninja character from a light-hearted Japanese soap opera who is adept at cheating and poisoning. “Chanbara” is the Japanese genre term for samurai films. Not entirely inappropriately, the track has a spaghetti western feel. However, the guitars remain as sharp as the blade of a katana longsword.

 

(4) Things continue to be martial in “Kita-Kaze” (キタカゼ). The title means “North Wind”, but also refers to the eponymous Japanese Tier IX destroyer of the Imperial Japanese Navy. The Second World War ship has long since been scrapped, old rivalries have blown away in the wind, and a pacific friendship has developed between Americans and Japanese people.

 

Japan may well be the main factor why the surf music community is global today. Bands like the Fuzziyama Surfers are continuing the instrumental rock tradition that Takeshi Terauchi and the Blue Jeans started so gloriously in the early ’60s.

 

Although their EP has only four tracks, it introduces you to a wide range of Japanese popular culture. Want more? This sample CD is meant to whet your appetite for the band’s upcoming LP. You could say it’s the miso soup before the sashimi.

 

Jimmy Dee, Staff Writer at Surf Music and Art

Tracklist:

01. Nagahama (長浜)

02. Oh! Showgatsu (お正月)

04. Chanbara Ogin (チャンバラお銀)

05. Kita-Kaze (キタカゼ)

 

 

 

Surf Rock Review: Magnatech! - 312 Magnatech Fans Can’t Be Wrong

Release Date: July 17, 2025

Magnatech! Facebook Page

Label: Constituent Records

Guest Review by Jimmy Dee 

The advantage of being a one-man band is that you know exactly what’s going on with your “fellow musicians”; the disadvantage is that no one is there to restrain you if you go over the top.

 

Magnatech is the one-man music project of Dutchman Johannes B. Verhoef, and as soon as he plugs in his electric guitar, he’s unstoppable. On his seventh album, 312 Magnatech Fans Can’t Be Wrong, eighteen bombastic bangers ripple through the grooves, delivering an up-tempo surf guitar sound submerged in the breakwater noises of a cranked-up tube reverb. The solo entertainer doesn’t have to listen to bandmates telling him to turn his guitar down during rehearsal. This is surf, man!  

 

The title of the album alludes to the slogan of the 1962 hit collection Elvis’ Golden Records – Volume II. While Elvis Presley had “50 million fans”, who were clearly not wrong, Magnatech has at least “312”. This figure may also refer to record sales. Be that as it may, the borrowed title is an understatement that suggests this artist should not be underestimated.

 

The industrious sound tinkerer Verhoef plays all the instruments himself and has developed a multi-track recording process that faithfully recreates the sound of an early-sixties combo gone off the rails. His dedication to his craft is evident in every note, and how he achieves this is his well-kept secret.

 

As with all Magnatech releases, the new album is strongly conceptualized, full of eclectic ideas and associative playfulness. It exhibits the eccentric whims of a pronounced sentimentalist. The titles of the instrumental pieces are not only intended to evoke images and inspire the listener’s imagination; the artist himself has attached strong associations to them, mainly relating to the everyday culture of past decades or old films, as well as to current affairs (“On the Waves of Disinformatia”).

 

The artist has an unusual penchant of naming songs after famous people as a mark of admiration. With “Ladi Geisler”, he pays homage to the German jazz and studio guitarist Ladi Geisler, whose “Knackbass” was a decisive influence on the irresistible sound of the Bert Kaempfert Orchestra. However, there is no trace of this in the recording. Instead, a renowned name contributes to the fascination of an artistic vision.

 

Gimmicky noises such as whip cracking, rescue sirens, muezzin prayers, flies buzzing, and cows mooing are used by Verhoef to enhance the multidimensional stereo listening experience and add variety to the soundscape. These unconventional sounds are a testament to his experimental approach – only Pink Floyd used more of them.

 

Although Magnatech has primarily leased the surf genre, surf culture itself is often only featured marginally, such as in emergencies (“Surf Ambulance”), on days of penance (“Surf Apostle”), or concerning water shyness (“The Water’s Too Cold To Surf”). Didn’t Jack O’Neill invent the wetsuit in 1952?

 

The music itself is far more reckless, appearing to be played with bold impetuosity. In almost every song (four of which have already been released on the 2024 EP Tanzkapelle) Verhoef strums the strings masterfully in a mandolin style that is so characteristic of surf music. Alongside the dominant guitar thunderstorm, there is often little room for dynamic variation among the accompanying instruments. The programmed drums are rigid, and drum rolls sometimes resemble the noise techno of Rotterdam gabber.

 

Undoubtedly, the unbridled energy of surf music was given preference over composed pieces. The album features many exciting melodic approaches. However, sometimes the voice leading is not rounded off and leads nowhere on the fretboard. Not even a nimbly inserted drum roll can disguise this. As a result, much remains piecemeal. A track like “Camazotz” (named after the fearsome bat god of the Mexican Maya people) could almost have become a modern classic of the surf genre.

 

Special mention must go to the rhythmically accelerated instrumental cover of Kyu Sakamoto’s Asian ballad “Sukiyaki”, with which the singer from Kawasaki achieved the first – and, to date, only – Japanese number one hit in the US in 1963.

 

As a true whizz kid, Verhoef didn’t even outsource the artwork. Left to his own devices, he designed the album cover himself. To this end, he used AI-generated images depicting him as a pig mafia boss. Magnatech fans will find the pointed pig ears amusing. They are undoubtedly helpful for a loud listening experience.

Track List:

01. Surf Apostle

02. Desolation Angels

03. Surf Ambulance

04. Lilith

05. Camazotz

06. Anna Loos

07. Our Mother Anatolia (türk savaş marşı)

08. Agent Fruitfly

09. Aurora Borealis

10. Ladi Geisler

11. La Lupiada

12. Sukiyaki

13. On the Waves of Disinformatia

14. Lago di Constanza

15. Manchuria

16. Holy Cow!

17. La plus belle fille du village

18. The Water’s Too Cold To Surf

Surf Instro Review: The Dirty Licks- Shelf Break

Release Date:  April 1, 2025

Label: Independent

Website

The Dirty Licks are:

Jeffrey Locke - Drums

Fernando Gomez - Bass

Sarah Hayes - Guitar

Mike Panico - Guitar

Anyone who likes rock would be attracted to a band with the name The Dirty Licks. Then, if it's guitar-based instrumentals and surf, that's even better for some of us.

Shelf Break is the band's most recent release, and it cooks right along, offering a varied sound and style within each of the six tracks. This album is a testament to their growth and experimentation. What I found most impressive was their ability to change tempos and the quick transitions within those changes. Considering the track run times, it keeps your interest from start to finish. I also enjoyed how they stayed within the realm of surf instro and explored sub-genres, focusing on melodicism.

 

“Helen Highwater” kicks things off with a good melody, then it quickly increases (get used to that) the tempo with all instruments joining the party. The twin guitar attack is strong going into the transitions, and there are several (another trademark of their sound). It's an energetic opener that sets the tone for what's coming next.

 

“Fez Dispenser” is a play on words for the legendary Pez Dispensers, I am thinking.  This one starts with quick riffs and driving drums and bass. Suddenly, there is a change to a slower tempo, focusing on their innate abilities to hook you in with melody. It works. In under two minutes, they have many transitions. This is something that consistently impressed me. This keeps your attention without pause. One of the changes was a brief bass solo, followed by a return to the original riff and a swift conclusion. You're getting used to the quick transitions, starts, and stops by now.

 

“Cowboys and Aliens” is a testament to the band's versatility, evoking a western atmosphere with its twangy guitar and rapid tempo changes.  The consistent rhythm section provides a solid foundation, allowing the guitar to take flight with sharp licks. The band's unpredictability, with sudden transitions and returns to the main melody, keeps the listener engaged and excited.

 

“Ayah Zein” is the only cover on this album, and they do it very well. This time, some glissando and tremolo effects come into play. These two factors, which are a primary reason we listen to surf instro, are what give it that special appeal. They are on fire from beginning to end. The back end holds steady as the guitar's notes glide over the beats, then a Middle Eastern feel takes hold two minutes in (which is what you expect based on the track title). This is a complex composition that ends in a flash. You are left feeling that this band could go in any direction they choose at the drop of a hat.

 

The title track “Shelf Break” features those tight bass and drums, and the guitars come in to answer the call once again. There are some rapid exchanges, like a gunfight with a reserve of ammunition. They consistently demonstrate their explosive potential throughout this album. Then another short-lived bass solo to remind you how important it is. It was like a day at the races of guitars, then another sudden end.

 

“Enchilada Pinata” closes out the album with another nod to a sub-genre, and this time on the Latin end of the spectrum. Of course, you expected that based on the track title. Some flashes of glissando arrive, then a return to the main melody. The fast-moving tempo ends suddenly once more.

 

Shelf Break is a solid release packed with a punch on every track. What sets it apart is the band's unique ability to blend the energy and focus of surf rock with a transitory nature that keeps the listener on their toes. The album is an exciting and colorful journey, making it a highly recommended listen for all fans of surf rock instrumental music.

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

July 17, 2025

Tracks:

1. Helen Highwater 03:44

2. Fez Dispenser 03:23

3. Cowboys and Aliens 04:18

4. Ayah Zein 02:51

5. Shelf Break 03:05

6. Enchilada Pinata 02:44

Surf Rock Review: The Reventlos - Essential Reventlos/ Songs Of The Golden West

Essential Reventlos adequately covers all the genres that the group explores, fitting snugly in the surf-instro genre. What the group sounds like is a continually changing and evolving instrumental barrage of surf, instro, rock, and country. This is a brief general description of their sound. The recording is characterized by its hard, raw edge. It's a very appealing sound and works well with the type of tunes that the group performs.

Judging by the titles of the tracks, the boys are endeavoring to introduce you to various incarnations of a Reventlo. Dominated by quick-changing, razor-sharp musicianship, they offer non-stop audio pleasure. If you enjoy a lot of different sounds all on one CD, you will Love this. You are likely to hear several changes within a single song. This is an impressive debut that leaves you wanting more.

This group takes something intangible, such as music, and shapes and molds it into a tangible entity. I know this sounds weird, but it's not hard to envision this while listening.  The debut CD of The Reventlos, Songs Of The Golden West, is impressive, leaving you wanting more. It's remarkable due to the band's musical prowess and diversity.

Songs Of The Golden West is excellent. It's well-polished with precise and perfect sound. I have a hard time fathoming how these guys put together such a masterpiece of instrumental jewels like this CD. You can hear echoes of the golden west, but it's much more far-reaching than that. It's unrelenting, thundering, and high-powered diversification that clarifies the sound of The Reventlos on this outstanding effort.

If there is one instrumental CD that you buy this year, choose this one. This is what it's all about.  I can't think of one genre or sub-genre that the group doesn't cover under the umbrella of surf-instro on this session. Of course, they go above and beyond the confines of any one style or sound. It's a perfect example of incredible raw power showcasing superior musicians in their element of choice. I had to sit and listen to this one again after the first time to make sure it was really that good. It is.

I don't want to put any unnecessary pressure on the group, but I must say this: This effort will be arduous to surpass. I hope I'm one of the first to receive a copy of the next CD, that's for sure. If I were to rate this CD on a scale of 1 to 5, it would earn six stars. Okay, enough gushing.

This group reminds me of another instrumental giant, The Hellecasters. Ever hear of them? They are a group of session musicians from the Austin area. They play amazingly complex instrumental country-rock numbers at breakneck speed. This is the level of expertise that The Reventlos are on. You understand where I'm coming from by now, so get the CD!

Keith "MuzikMan" Hannaleck

January 07, 2000

Tracks:

Essential Reventlos:

01. Death of a Reventlo

02. Reventlo Hayride

3. Planet Reventlo

04. Two Roys

05. Over the Falls

06. Pass the Cow (I think I'm Chet Baker)

07. El Pendejo

08. Persephone

09. Andromeda Sex Lounge

10. Western Stars

11. (Theme from) Maj Wood

12. Girl from Colonet

13. Meet Mr. Recently

14. King Kong

 

Songs Of The Golden West:

01. Fun Zone

02. Spahn Ranch Rodeo!

03. Haunted Valley

04. Stan Orlow

05. Crawl To The Reventlos

06. Mondo Reventlo

07. Groove, Part 1

08. Hey Andy

09. Crankheads of Elsinore

10. Greed and Lust

11. Oildale Girls

12. Veronica

13. 2227-A Pomona Avenue

 

Surf - Rock Review: The Torpedoes - Good For The Country

http://www.thetorpedoes.com/

The Torpedoes, a power trio of surf enthusiasts with heavy-laden guitars, are a force to be reckoned with. Their unique blend of surf and rock, as showcased on Good For The Country, is a refreshing departure from the norm and a testament to their innovative sound.

It's hard to tell where they fall. The guitar progressions I heard are on the fringes of alternative rock, yet the port from which they carry out each mission is undoubtedly anchored in the surf!

The unconventional methods of groups like this have pushed an entire genre to the edge of creating an entirely new type of music. It has become so inviting and so aurally pleasing that I crave more. 

One striking aspect that caught my attention immediately was the distinct appearance of the three members of this trio. In contrast to the typical surf group aesthetic, each member exudes a unique style.  The guitar player, 'Big B', has a rock star/hippie look, the bass player, Jason Brown, could easily be mistaken for a Stray Cats tour member, and the drummer, Brandon Watson, resembles a jazz musician from the 50s. This visual diversity adds an intriguing layer to the band's persona.

One aspect that I rarely discuss but was impossible to ignore is the unique way The Torpedoes present themselves. The most notable track, "Theme From The Ipcress File (A Man Alone)", is a testament to their style.

With 17 tracks of crunching primitive power, Good For The Country is potent, high intensity, and outright gripping. It's like a wave of energy from the murky deeps, slashing and snapping at you, leaving you exhilarated and wanting more. 

Keith "MuzikMan" Hannaleck

April 1999

Tracks:

01. Manta Ray  

02. The Hornet  

03. Interplanetary  

04. Spanish Main 

05. Nebula 33-7  

06. Green Light  

07. Half-Pipe

08. The Mummy 

09. Midnight Surfer (Ode to Mark Foo)  

10. Gyro-scopic Control 

11. Theme From The Ipcress File (A Man Alone)

12. Secret Agent In Berlin  

13. The Naked Spur  

14. Stockyard-250  

15. Torpedo

16. Tarantula  

17. The Snake

Surf-Rock-Western Instro Review: Cadillac Hitmen-The Assassin

The Cadillac Hitmen's album, The Assassin, is a fantastic blend of surf and Western influences blaring through loud and clear. The unique combination of these two genres, catchy hooks, and slick guitar licks make this effort a gem.

 I have listened to this repeatedly and hear more with each listen.

I appreciate the diversity of the musicians. The transition from fast riffs on electric guitar to nice and smooth acoustic rhythmic guitar is impressive. It sounds just delightful, right out front or in the background. 

Those changes are perfect for the Western sound, which they can incorporate with the surf instro.

The more I listen to various surf groups, the more eclectic the music can be. The talent involved in making such an excellent album is truly commendable. This is a must for any surf collection. Their new album will be out soon; I can't wait!

Keith “MuzikMan” Hannaleck

April 1999

Tracks:

01. Black Hills  

02. Desert Floor (Mirage)  

03. Fistful Of Amphetamines  

04. Lonestar State Of Mind

05. Eldorado  

06. The Stalker  

07. The Assassin  

08. The Downhill Side  

09. Flowmaster

10. Bullwhip  

11. The Incident At Nacho Grande

Surf Instro Review: The Cocktail Preachers-Nothing Much Happening...

This group, The Cocktail Preachers, hailing from the Chicago area, has put together an excellent debut EP, Nothing Much Happening....

They are successful in covering all sub-genres with an assortment of high-energy, power-packed surf tunes.

The use of the saxophone always creates a different dimension to the music. This is what will separate them from the pack.

There aren't too many surf groups that use the sax. This was too short for me, I enjoyed it, so I wanted more! I look forward to a full-length release.

Look for their work on an upcoming Del-Fi compilation called Surf Monsters, due out in late May.

A lot is happening in Chicago. Perhaps the title refers to the fact that they don't surf in Chicago, so nothing is happening? The future looks bright for the Cocktail Preachers. Somebody sign these guys so we can hear a full-length CD!

Keith “MuzikMan” Hannaleck

2000

Tracks:

01. Deep Deep Space   

02. Albatross Joe   

03. Oxygen  

04. Long Boards Rule   

05. Smokin Tune

Surf Instro Review: The Human Tornados - Self Titled

The group's versatility is a standout feature of this album, covering several types of surf with finesse. 

The crisp sound from the top-notch production assures the listener of the album's professional standards. 

What truly impressed me was the range of the group's sound, from energetic surf to beautiful soundscapes that would be perfect for a soundtrack. 

The first track, "Pugsakuk," immediately captivated me with its unique sound. It set the perfect tone for the album, which I soon realized was a gem from start to finish. This is not just another surf album, but a standout in its genre.

This album is a must-have for any surf music enthusiast. Phil Dirt, the Surfmeister himself, has given it a glowing four-star review. He even compares the group to the legendary Aqua Velvets, a testament to their exceptional talent. This album is a strong contender for the top ten surf albums of the year.

Keith “MuzikMan” Hannaleck

June 2000

Note: In my first few years of reviewing, I had people like Phil Dirt to look to for guidance on what was happening in the community. He was one of many who helped me! Does anyone know if he is still around?

Tracks:

01. Pugsakuk   

02. The Man From N.O.R.K.A.   

03. I Surf In Black   

04. Del Surfin'

05. Incident At Broken Wind   

06. Princess SFWS   

07. Shadow Of The Rangemaster

08. Theme For Young Lovers   

09. Shempin' Surfari   

10. Hotel Loneliness   

11. Petey Kross The Merzey

12.Twister   

13.Wave