Get this crazy baby off my head!


Hans Platz

Hans Platz - Time Stamps - 2013 - Piazza

Timestamps is what german guitarist Hans Platz offers with his debut under his own name. He has been in bands I have never heard before so this is my first meeting with this guys and his music, he plays the guitar on this album and has guests for the other instruments. Well known guests as well. It is an instrumental rock album that comes in the colour of green, nice artwork and interesting liner notes in the booklet is a nice touch. It is eleven tracks dominated by strong guitar lines, no vocals, strong melodies and an excellent production. The sound is very exciting, it goes in green, like an interesting walk through an exciting jungle where there is a lot more to be seen than what first meets the eye. There are a lot of interesting details to be found here, but it is not overly complicated and the songs are quite short and to the point where all eleven songs plays for just over 35 minutes. I wrote no vocals but in the tenth track This is War there are some spoken words within the music just to add a bit more depth or something. I think this is a quality production and a quality album, not being a big fan of the instrumental rock music I find myself not overly excited about the music but I still enjoy listening to it. I think that the fans of the genre could be a bit blown away by this album as it is very interesting and has a lot to offer. I think Platz shows a lot of competence and he shows here that he knows how to make good music. I have enjoyed this album, even though it works best as background music for me. The album shows a lot of strength but it is best on the first half of the album, especially the second track. That track is my favourite of the album, excellent track and very amusing to listen to. You could say that the album starts out well but looses a bit towards the end, not that it ends poorly but it is noticeably less good in the end than in the start. Do you like instrumental rock music? if the answer to that question is yes, then I think you will do yourself a favour to pick it up. © Daniel Kallmalm(4/7) © http://www.hallowed.se/english/music/reviews/2014/hans_platz-timestamps.htm

The Erlanger guitarist Hans Place gathered on his album 'timestamps' world class musicians such as Marco Minnemann (Steven Wilson, Joe Satriani, Aristocrats), Wolfgang Haffner (Passport, Metro, Till Bronner), TM Stevens (James Brown, Joe Cocker, Steve Vai, Billy Joel, John McLaughlin) or Pete Griffin (Zappa plays Zappa) around, and conjures up out of nowhere a virtuoso instrumental album on the table that does not need to shy away from the international comparison. Mixed by Fabio Trentini (produced including the Guano Apes) the songs are presented in a glorious sound garment that expresses and still lets air to breathe. As a purely instrumental album of traditional song structures free, creativity knows no bounds, and the guitar can occupy the space that is denied in her classic bands. Especially because the musicians it is not an album become only for guitarists, bassists, drummers or just people who are interested in unusual rock music will love this album. © Hans Place © http://hansplatz.de/hp/

Excellent guitar playing from Hans Platz aided by musicians that include Mattias IA Eklundh, Marco Minnemann, and Pete Griffin. This is a good example of modern progressive metal rock with symphonic and classical leanings. Hans has created a very different sound with some very original guitar lines and good compositions. Its a very short album but full of quality. Watch out for more from this guy. Read more reviews @ http://hansplatz.de/hp/ and more about Hans @ https://www.facebook.com/hansplatzofficial?fref=photo [All tracks @ 320 Kbps: File size = 80.5 Mb]


1. Birdrange - Hans Platz, Wolfgang Haffner, Fabio Trentini
2. Spanish Race On A Devil's Highway - Hans Platz, Marco Minnemann, Fabio Trentini
3. Pull It Out - Hans Platz, Marco Minnemann, Pete Griffin
4. Father - Hans Platz, Wolfgang Haffner, Fabio Trentini
5. Red Room Nine - Hans Platz, Wolfram Kellner, Pete Griffin
6. Axetasy - Hans Platz, Wolfram Kellner, Fabio Trentini
7. Freak Sauna - Hans Platz, TM Stevens, Wolfram Kellner
8. Deadman - Hans Platz, Simon Michael, Fabio Trentini, Mattias IA Eklundh
9. Timestamps - Hans Platz, Marco Minnemann, Pete Griffin
10. This Is War - Hans Platz, Marco Minnemann, Fabio Trentini
11. Alive - Hans Platz, Wolfgang Haffner, Pete Griffin


Hans Platz - Guitars
Mattias IA Eklundh - Guest Guitar Solo on Track 8
Fabio Trentini, Pete Griffin, TM Stevens - Bass
Marco Minnemann, Wolfgang Haffner, Wolfram Kellner, Simon Michael - Drums


James Armstrong

James Armstrong - Got It Goin' On - 2000 - Hightone

California-based blues guitarist, songwriter, and singer James Armstrong may be small in physical stature, but his guitar playing, original lyrical themes, and singing will leave the most hardened of blues fans convinced of his brilliance. It's fair to say that Armstrong has the music in his blood: he is the son of a jazz guitar-playing father and blues singing mother. Raised in the Los Angeles area, he founded his first group in junior high school. He cites Jimi Hendrix, Robert Cray, Albert Collins, Albert King, and Eric Clapton as inspirational in his development. Highlights from his years in the Los Angeles area -- before moving north to the San Francisco Bay area -- include shows backing Collins, Big Joe Turner and Los Angeles veteran Smokey Wilson. After releasing the critically acclaimed Sleeping with a Stranger in 1995 for the San Francisco-based Hightone label, Armstrong's promising touring career was interrupted by tragedy. One night in April 1997, a robber broke into his home and nearly stabbed Armstrong to death. After weeks in the hospital and months of rehabilitation, Armstrong picked himself up, dusted himself off, and started all over again. In the late '90s and into the new century, Armstrong has hit the blues festival circuit with a passion, and put in a particularly impressive performance at the Pocono Blues Festival in Pennsylvania. By the spring of 2000, Armstrong again entered the studio to record Got It Goin' On an album that showcases Armstrong's delicate guitar stylings and soulful singing backed by Joe Louis Walker's rhythm section and a guest appearance on two tracks by keyboardist Jimmy Pugh of the Robert Cray Band. After his tragic stabbing, Armstrong found he couldn't run his fingers up and down the guitar neck as fast he once was able. He realized that faster isn't necessarily better, and recognized that good blues is more about feeling anyway, citing the slow, powerful, methodic stylings of one of his influences, the late Albert King. While Got It Goin' On showcases Armstrong's evolution as a songwriter since his debut release in 1995, both albums are recommended for blues fans who are tired of the same old themes. "2 Sides," a selection from Got It Goin' On was included in the movie Speechless starring Michael Keaton, but there are plenty of other originals on the release that demonstrate why Armstrong is to be taken seriously as a songwriter who continues to sail into heretofore uncharted lyrical waters. In 1999, Hightone released Dark Night, with Joe Louis Walker and Doug MacLeod taking lead guitar turns on two tracks. © Richard Skelly © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/james-armstrong-mn0000783716

Got It Goin' On is an apt title for this third release from California bluesman James Armstrong. While his previous release, Dark Night, was steeped in a soul/blues vein, this album is a solid, stripped-down blues session. Armstrong's guitar chops (especially on slide guitar) and impassioned vocals continue to gain strength following the horrendous attack on his life in 1997. Making an encore appearance is guitarist Michael Ross, who blends in with the dominant role Armstrong assumes, while the keyboard work is provided by Jimmy Pugh of the Robert Cray Band. The majority of cuts were written or co-written by Armstrong, including the heartfelt ballad "Another Dream," the funky rocker "2 Sides," included in the movie Speechless, and the New Orleans-influenced "Mr. B's." © Al Campbell © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://webcache.googleusercontent.com/search?q=cache:gD8-ou3dlgsJ:www.allmusic.com/album/got-it-goin-on-mw0000619357+&cd=5&hl=en&ct=clnk&gl=ie

Not a groundbreaking album but a hugely enjoyable album,and even though the songs' arrangements usually stick to familiar blues structures, they leave James plenty of room for some stinging solos. James’ “Blues at the Border” abum can be found on this blog. Check out his “Dark Night” album, and his "Sleeping with a Stranger" album is well worth buying. Support great blues rock [All tracks @ 320 Kbps: File size = 118 Mb]


1 Got It Goin' On - D. Mac Leod, D.Amy, F.Brown 4:24
2 Pennies and Picks - R. Lily, James Armstrong, M.Heaney 4:23
3 Another Dream - D. Amy, James Armstrong, J. Brown 5:23
4 2 Sides - James Armstrong 3:48
5 Mr. B's - James Armstrong, J.Hahn 3:30
6 Love Can Make You Do Wrong - D.Steen 4:28
7 Beat Up By Love - D. Mac Leod, R. Lily, James Armstrong, F.Brown 4:33
8 Shut My Eyes - D. Amy, James Armstrong, D. Wilson 3:57
9 Likes Her Lovin' - R.Lily, K.Besbeck, James Armstrong 3:19
10 Lucky Guy - D. Amy, James Armstrong, K.Besbeck 4:17
11 I'll Learn Sometime - S. Brown, R.Lily 3:34


James Armstrong - Guitar (Lead, Slide & Rhythm), Vocals
Michael Ross - Rhythm Guitar solo on "Likes Her Lovin'"
Robert Watson - Bass
Endre Tarczy - Bass on "2 Sides", "Mr.B.s", & "Love Can Make You Do Wrong"
Mike Emerson - Piano & Organ
Jimmy Pugh - Piano on "Beat Up By Love", & Organ on "Pennies And Picks"
Stanley Hale - Drums
David Tucker - Drums on "2 Sides", "Mr.B.s", & "Love Can Make You Do Wrong"


James Armstrong (born April 22, 1957, Los Angeles, California, United States) is an American soul blues and electric blues guitarist, singer and songwriter.He released three albums on HighTone Records and is signed with Catfood Records. His songs have been used in the soundtracks of three films;Speechless, Hear No Evil, and The Florentine. Armstrong's father was a jazz guitarist and his mother a blues singer. Having learned the guitar at a young age, Armstrong formed his first band at school, and was touring the United States in his late teens. Inspired by Albert King and Robert Cray, his musical education included backing musicians such as Albert Collins, Big Joe Turner and Smokey Wilson. Armstrong relocated to the San Francisco Bay Area and, in 1995, released his debut album, Sleeping with a Stranger, on HighTone. However, in April 1997, Armstrong was almost stabbed to death by an intruder at his home. The shoulder injury necessitated months of rehabilitation, which still left Armstrong with limited guitar playing ability in his left hand. He adjusted his playing style, hired a lead guitar player, and realised that playing slide guitar helped to slowly recover his dexterity. His second, introspective, album, Dark Night, was issued in 1998. It incorporated Joe Louis Walker and Doug Macleod playing lead guitar on a couple of the songs.The album track, "Bank of Love", was used in the films Hear No Evil and The Florentine. Armstrong recommenced live performances on the blues festival circuit, with a noteworthy appearance at the 1999 Pocono Blues Festival in Pennsylvania. In early 2000, Armstrong returned to the recording studio to work on his next album, Got It Goin' On. He was aided in the project by utilising Walker's rhythm section, plus a guest appearance from the keyboardist Jim Pugh. In 2001, Armstrong's song "Pennies and Picks" from Got It Goin' On, earned him a W.C. Handy Award nomination for 'Song of the Year'. Armstrong himself was nominated for 'Contemporary Male Blues Guitarist of the Year'. "2 Sides," another song from Got It Goin' On was included in the film soundtrack for Speechless. Armstrong has worked with Albert Collins, Keb' Mo', Coco Montoya, Roy Brown, Chaka Khan, Ricky Lee Jones, Jan and Dean,Mitch Mitchell and Tommy Castro. Armstrong's 2011 release on Catfood Records, Blues At The Border, was his first recording in 11 years.


Living Blues: "... With a skintight band and a well-balanced combination of fire, technical proficiency, and taste, Armstrong continues on his way to the upper echelon of contemporary blues artists."

CBC Radio: “…full of haunting and subtle nuances that point to a life rich with experience, this musician has definitely paid his dues. James plays for and with his audience, extending the reach of the blues to include highly-charged sensuality, yearning, healing and good lowdown fun!”

JazzTimes: "...Demonstrates the kind of flexibility that allows him easily and convincingly shift gears from slow blues... to urban funk... to N’awlins grooves to rousing roadhouse shuffles..."

Tony Russell: "If you define 'blues' by the rigid categories of structure rather than the flexible language of feeling allusion, Robert Cray... Larry Garner, Joe Louis Walker and James Armstrong are a new and uncategorizable breed, their music blues-like rather than blues, each of them blending ideas and devices from a variety of sources – soul, rock, jazz, gospel – with a sophisication beyond the reach of their forerunners".


Terry Silverlight

Terry Silverlight - Wild - 2004 - www.terrysilverlight.com

The versatile studio session drummer Terry Silverlight, a pioneer from fusion's heyday, returns to his fusion roots while also embracing shuffles, funk grooves and bebop on Wild!! (TerrySilverlight.com). Joining him is an all-star cast of New York ringers including guitarists Hiram Bullock and Chuck Loeb, bassist Will Lee, keyboardists Paul Shaffer and Charles Blenzig, tenor saxophonist David Mann and special guest Edgar Winter, who contributes nasty vocals and alto sax on the funky "Brown 'N Serve." They groove in party-time mode on the shuffle blues opener "Sparkey J's," sparked by Bullock's stinging guitar solo, while "Yo" is a surging, uptempo swinger paced by Silverlight's brisk ride cymbal work and highlighted by Lew Soloff's bristling high note trumpet solo. "Insane" is classic, hard-hitting old school fusion-full of challenging heads, stop-time unison lines, daredevil trading of eights and lots of thunderous double bass drum thumping in the tradition of Billy Cobham's early '70s work. Loeb's sizzling, distortion-laced guitar solo on this throbbing drum-heavy number is far more aggressive and dissonant than fans of his recent smooth jazz offerings may be accustomed to, though Will Lee ups the sickness factor here with his own ugly fuzz-bass solo. The title track shifts nimbly back and forth from intense fusion to relaxed swing, as Silverlight adeptly straddles those two worlds. But for all-out drumming bravura, nothing tops "Phantom of Bebopera," which is basically one long drum solo surrounded by orchestral punctuation. Silverlight traverses the kit in muscular fashion on this one, with double bass drum pedal flailing away madly. By © & Bill Milkowski © 1999–2014 JazzTimes, Inc. All rights reserved. http://jazztimes.com/articles/15134-wild-terry-silverlightl

Great fusion with terrific compositions and uptempo grooves by the very underrated composer and drummer Terry Silverlight. Outstanding musicianship on this album from artists including Edgar Winter, Hiram Bullock, Chuck Loeb, Lew Soloff and more. HR by A.O.O.F.C Check out Terry’s “Diamond in the Riff” album [All tracks @ 320 Kbps: File size = 133 Mb]


1 Sparkey J's 5:51
2 Pugnacious 5:04
3 Brown 'n Serve 6:46
4 Windsurfing 7:04
5 Wild 6:20
6 Phantom of Bebopera 4:47
7 Yo 6:23
8 WTC 6:16
9 Insane 6:25
10 Closing 4:38

All tracks composed by Terry Silverlight


Edgar Winter - Alto Saxophone, Vocals
Paul Shaffer - Organ
Hiram Bullock, Chuck Loeb - Guitar
Will Lee - Bass
Terry Silverlight - Keyboards, Drums, Percussion
Charles Blenzig, Mike Ricchiuti - Keyboards
David Mann - Tenor & Soprano Saxophone
Lew Soloff - Trumpet
John Clark - French Horn


Terry Silverlight is a jazz, pop, rock and R&B drummer, composer, producer, arranger and author.Silverlight was born in Newark, New Jersey and grew up in North Plainfield, New Jersey. He made his debut as a drummer on Barry Miles' White Heat album, recorded in 1971 when Silverlight was fourteen years old.That early jazz/fusion album featured Barry Miles's compositions along with performances by guitarists Pat Martino, John Abercrombie (guitarist), and saxophonist/flutistLew Tabackin. Silverlight drummed on several more Barry Miles recordings throughout the 1970s performing alongside Al Di Meola, Vic Juris, Eric Kloss, andRichard Davis. After attending Princeton University, Silverlight moved to Manhattan and embarked upon a studio session career, playing drums on recordings for artists including Billy Ocean, George Benson, Laura Nyro, Stephanie Mills, Freddie Jackson, Anne Murray, Natalie Merchant, Jonathan Butler, Stephen Stills, Mel Tormé, Phil Woods, Tom Jones, Change, Odyssey, jingles, and film scores including You've Got Mail, One Fine Day, My Blue Heaven, Titus, What Planet Are You From? and Frida. Silverlight has authored three drum books; The Featured Drummer, The Stick Bag of Jazz, Funk, Fusion and Gig Bag Series for Drummers: Rhythm & Percussion. All are published by Music Sales Corporation. He has been an educator appearing at clinics including PASIC (Percussive Arts Society), Sam Ash, and Brooklyn College. He taught drums at the Drummers Collective (DCI) in Manhattan from 1981-1985. Silverlight toured worldwide as a member of Roberta Flack's band from 1986–1988, and has toured Japan yearly as a member of David Matthews's Manhattan Jazz Orchestra (MJO) since 1996, having recorded several albums with that group. Simultaneous to his drumming career, Silverlight has written songs, composed, produced, and arranged music for network TV shows including One Life to Live, The Young and the Restless, The Sopranos, All My Children, Beverly Hills, 90210, Melrose Place, CSI: Crime Scene Investigation, NCIS, Smallville, Ghost Whisperer, Strong Medicine, The District, Las Vegas, Sabrina, the Teenage Witch, 7th Heaven, The Shield, Burn Notice, South Beach, jingle products Reebok, Nicorette, Pantene, Crisco, the films Invincible with Mark Wahlberg, Head over Heels with Monica Potter/Freddie Prinze, Jr., Marci X with Lisa Kudrow,Sunshine Cleaning with Alan Arkin/Emily Blunt/Amy Adams, Mad About Mambo with Keri Russell, and songs recorded byNancy Wilson, Les McCann, Carl Anderson, Phillip Ingram (Switch V), Louise Redknapp and Judy Torres. Silverlight has seven solo artist recordings featuring his drumming and original compositions.Four are in the jazz genre:Terry Silverlight,Wild!!,Diamond in the Riff,and Live!, showcasing performances by Barry Miles, Will Lee, Paul Shaffer,Edgar Winter, Hiram Bullock, Chuck Loeb, Lew Soloff, and Bill Evans, among others. Three of the albums are in the pop genre featuring Silverlight's work as a songwriter, producer and arranger: Songwriter Producer: Volumes I & II, Collaborations: Volumes I & II, and Music To Picture.


Maestros Of Cool (Steely Dan Related)

Maestros Of Cool - A Tribute To Steely Dan - 2006 - Esc

There have been many covers of Steely Dan songs, and very few have managed to capture the essence of The Dan’s complex jazz rock sound. Check this blog for some good examples of a few exceptions to this. “Maestros Of Cool” has received a lot of criticism for it’s interpretations of Steely Dan/Donald Fagen songs. One article described it as “a half-hearted” attempt”. I have feen following Steely Dan since 1972 and have heard many cover versions of their songs. “Maestros Of Cool” is in fact, an excellent compilation of Dan tunes. Many of the tunes are available on other albums and the musicianship is outstanding. There are many very different interpretations of the Dan’s songs by artists that include greats like Nathan Haines, David Garfield, Carl Orr, Chuck Loeb, The HR Big Band, the late Cornelius Bumpus who was a brilliant sideman for Steely Dan, and Justin Morell. There is no rubbish here with every artist making a very valid and important effort to cover some of the best jazz rock songs ever written. Three of the tracks are not Steely Dan tracks but are compositions played in a Steely Dan style and are very worthwhile. HR by A.O.O.F.C. [All tracks @ 320 Kbps: 2 x rar files: Part 1 (Disc 1) = 135 Mb, & Part 2 (Disc 2) = 161 Mb]


1. Nathan Haines - Fm (4:38)
2. Stereo - Remember (5:01)
3. Debbie Deane - Any World (4:07)
4. Raw Stylus - 37 Hours (5:23)
5. Nash Kato - Dirty Work (3:36)
6. Pam Bricker - Home At Last (4:55)
7. Tony Gallo - Black Cow (5:38)
8. Groove Thing - The Fez (5:29)
9. David Garfield - Josie (5:38)
10. Carl Orr - Tomorrow's Girls (4:19)
11. Liquid Blue - Rikki Don't Lose That Number (4:43)
12. Jango - Joyful Caravan (4:32)


1. David Garfield - Babylon Sisters (6:22)
2. Chuck Loeb - Maxine (5:25)
3. Don Braden - Kid Charlemagne (6:36)
4. HR Big Band - Pretzel Logic (5:25)
5. Justin Morell - My Rival (4:47)
6. Abebi Stafford - Green Earrings (4:08)
7. Gustavo Assis-Brasil - Aja (7:00)
8. Stolen Van - Caves of Altamira (5:38)
9. Alex Gunia & Philipp Van Endert - Third World Man (6:43)
10. Cornelius Bumpus - Chain Lightning (5:05)
11. Ben Lacy - Hey Nineteen (3:15)
12. Trinity - Steal It Again Dan (10:02)

All tracks composed by Walter Becker & Donald Fagen except "Remember" by John Beasley & Tim Mullane, "Tomorrow's Girls" and "Maxine" by Donald Fagen, "Joyful Caravan" by Steve Le Gassick & Michael Price, and "Steal It Again Dan" by Matthias Krauss, Franz Holtmann, & Stephan "Gudze" Hinz


Chuck Loeb, Michael Landau, Carl Orr, Nash Kato, George Wadenius, Justin Morell, Gustavo Assis-Brasil, Alex Gunia, Philipp Van Endert, Ben Lacy, Franz Holtmann - Guitar
John Patitucci, Lee Sklar, Gudze - Bass
David Garfield, Matthias Krauss, Rob Aries - Keyboards
John Beasley - Keyboards, Vocals
Wayne Wilentz - Piano, Keyboards, Vocals
Debbie Deane - Piano, Vocals
Sean Wayland - Piano
Bill Ware - Fender Rhodes, Vibes
Abebi Stafford - Fender Rhodes
Cornelius Bumpus - Saxophone
Nathan Haines, Don Braden - Tenor Saxophone
Steve Nieves - Saxophone, Vocals
Marco Minnemann,Dave Weckl, Mauricio Zottarelli, Jim West - Drums
Klaudia Salkovic, Damon Albarn, Jules Brookes, Pam Bricker, Tony Gallo, Alex Ligertwood - Vocals


Paul Gilbert & Jimi Kidd

Paul Gilbert & Jimi Kidd - Raw Blues Power - 2002 - Blues Bureau International

In the album notes, Paul Gilbert writes: "My uncle Jimi was a legend of my youth. He lived in Chicago and played fantastic guitar in a variety of rock and blues bands. I lived in a farm house in rural Pennsylvania, so a visit from Jimi was a rare and wonderful thing. When I was 10 years old, he showed me how to mute the strings with my right hand, and how to play the riff in 'Whole Lotta Love'. He also showed me how to use a fuzz-tone and how to control feedback. But most importantly, I got to see him play. I was taking guitar lessons at the time and Jimi was about a million times better than my teacher. Jimi had great vibrato, killer tone and a deep musical sense that came out in every note. Seeing and hearing him play close up was enormously inspiring. Jamming with my uncle is now an incredible experience. We have similarities in our approach to guitar that can only be explained by genetics! At the same time we have pursued different styles for the last 20 years. Jimi has a huge and natural vocabulary of blues and slide guitar, while I followed my teenage passion for heavy metal. On Raw Blues Power we wanted to write and play songs that allowed our styles to meet. Not a compromise, but a trip to a new place that neither of us have gone before! After four days of wild string bending, screaming into microphones and losing a few more decibels of our hearing, I think we got there. So crank up the volume and let Jimi and me take you to our musical family reunion in Las Vegas in the summertime. Kick out the jams brothers and sisters (and nephews and uncles)!" © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/Raw-Blues-Power-Paul-Gilbert/dp/B00005UOH4

There was almost certainly a lot of lip-pooching going on at the sessions for Raw Blues Power, which teams shred virtuoso Paul Gilbert with his uncle and childhood hero, Jimi Kidd, for a disc of blues-rock. The results certainly sound nothing like anything resembling traditional blues, instead gravitating more toward the late 20th century bastardization of the genre as a platform for fast playing. Accepting that as a genre of its own, Raw Blues Power contains some fine dual playing from Gilbert and Kidd. The songs are mostly interchangeable and veer toward power pop at times (such as the anthemic "Freedom"). For Gilbert, late of Mr. Big, the project is surely a step in an interesting -- or at least new -- direction. The record doesn't necessarily push in bold new directions, but it's well played, well produced, and the musicians are clearly having a good time at the gig. © Jesse Jarnow © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/raw-blues-power-mw0000214649

What happens when you pair Racer X/Mr. Big shed master Paul Gilbert with a classic rock/blues guitarist like Jimi Kidd, well you get "Raw Blues Power", with the emphasis on "Power". There are no subtleties here, no shyness, little restraint and no delta blues or otherwise. What you get is gigawatts of testosterone elevating solos by two extremely talented guitarists. These guys are not from the school of minimalists. If it doesn't contain 120 notes per second, it's not worth playing. This is not Eric Clapton and B.B. King or Stevie Ray Vaughan and Albert King. This is Godzilla meets Rodan. Call it what you might, just don't call it "blues". Sit down, strap a seatbelt on, crank it up and blast off. – from ****/5 Pure Rock! By & © deepbluereview on August 30, 2002 © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/Raw-Blues-Power-Paul-Gilbert/dp/B000060O1S

Raw Blues Power is a collaborative Blues rock album by guitarist Paul Gilbert and his uncle Jimi Kidd. Paul Gilbert has sold over three million records in the United States from from his fantastic work with Racer X, Mr. Big and as a solo artist. On "Raw Blues Power", Paul exhibits his diverse playing and writing styles with his uncle and Chicago blues legend Jimi Kidd. Paul returns to his blues rock roots in this great dual guitar showdown which is reminiscent of the days of 70's blues rockers Robin Trower, Johnny Winter and ZZ Top. A great blues rock free for all with some amazing jamming by two guitar greats. Listen to Paul Gilbert’s “King of Clubs” album [All tracks @ 320 Kbps: File size = 105 Mb]


1. Girls Watching - Paul Gilbert, Jimi Kidd 3:46
2. A 180 - Jimi Kidd 3:41
3. Pacific Coast Highway - Paul Gilbert 3:00
4. Good Foot - Kidd 6:29
5. 12 Days of the Blues - Gilbert, Kidd 3:50
6. Freedom - Kidd 3:54
7. Stranded - Gilbert 3:30
8. Play Guitar - Kidd 2:50
9. Sookie Sookie - Don Covay 3:09
10. Blues Power - Kidd 9:27


Paul Gilbert, Jimi Kidd - Guitar, Vocals
Mike Szuter - Bass guitar, Vocals
Johnny Fedevich - Drums, Vocals
Jeff Martin - Bongos, Vocals


Metal guitar virtuoso Paul Gilbert was born November 6, 1966 in Carbondale, IL and raised primarily in Greenburg, PA; he began playing music at age five, and by age 15 was not only touring local clubs with his band Tau Zero but was even spotlighted in Guitar Player magazine alongside fellow up-and-comer Yngwie Malmsteen. In 1984 Gilbert relocated to Los Angeles to attend the Guitar Institute of Technology, becoming an instructor there the following year; concurrently he formed the band Electric Fence, which by 1986 evolved into Racer X. Their debut album Street Lethal appeared later that year, but in the wake of the follow-up, 1987's Second Heat, Gilbert exited to join Mr. Big, which in 1992 topped the pop charts with the ballad "To Be with You." Mr. Big disbanded in 1996, and a year later Gilbert made his solo debut with King of Clubs; Flying Dog followed in 1998, trailed by Beehive Live in 1999 and Alligator Farm in fall 2000. © Jason Ankeny © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/paul-gilbert-mn0000747761/biography


Lou Reed

Lou Reed - NYC Man The Collection (2 CD) - 2003 - BMG

To one man, everything Lou Reed has ever released is absolutely perfect. And if his interviews are any indication, that one man is Reed himself. His vaunted intellectualism has always afforded him a final, unbreachable line of defense when one of his albums is subjected to criticism-- I mean, who are we to detract from Lou Reed's epic vision? We, the insipid, the shortsighted, could never truly grasp the depth of artistry that goes into even the most seemingly hackneyed tracks from Ecstasy (particularly that of "Like a Possum"), to say nothing of the deep harmonic layering in Metal Machine Music. "If you had a small mind, you'd miss it." You said it, Lou. "I've been rewriting the same song for a long time. Except my bullshit is worth other people's diamonds. And diamonds are a girl's best friend." See, only Lou Reed can criticize Lou Reed; fortunately, he has only the kindest things to say about himself. He's been maligned for not understanding what he does best, and inadvertently playing directly into his weaknesses as a result, but I'm more inclined to think that he just doesn't care what other people believe his perceived strengths to be. It almost makes me wonder why he bothered at all to hand-select and remaster the 31 tunes included on NYC Man, especially when such effort has been made to include material from even (to my "small mind") the worst of his later work. Here, studio versions of numerous mega-classics are replaced with live renditions, often denying listeners even that small pleasure of listening to these tracks with some small degree of studio clarity rather than stripped-down, emotionally dead reprises. About the only unpleasantry he's spared us is sixteen minutes (and one second) of grating feedback-- er, I mean, deeply embedded classical melodies-- to represent Metal Machine Music. Still, like any of the greatest Roman emperors and European monarchs knew, the wrath of the mob is something to be avoided, and so the King of NYC condescends to include basically all the songs that will send still send him to the front of the line when rock's judgment day arrives-- most of which appear as live versions. "Sweet Jane"'s gloriously faded core progression is one of the single most ripped-off blasts in rock and roll; the harrowing epic "Street Hassle" still sets a standard in orchestral rock augmentation that few bands can even dream of approaching. The transcendent helplessness of "Caroline Says", the sultry decadence of "Walk on the Wild Side", the sweet fuck-all of "White Light/White Heat"-- all the songs that have been included on every other Lou Reed compilation are here, too. In some sense, the decision to include live takes of many of these songs would be preferable to offering yet another studio copy of "Heroin", if only Reed's lackluster, "I'd rather be anywhere else" live performances didn't so consistently wither in comparison.To give the man some deserved credit, though, it's hard to produce a "bad" version of a song as genuinely perfect as "I'll Be Your Mirror"; it may be diminished here, but fundamentally, it remains one of the brightest jewels in rock's crown. And so it is for all of Reed's most brilliant moments. The bad news is, there's more here than just his most memorable work. Now, to state that many of Lou's later albums are awful is certainly subjective on some level, but I sincerely doubt there's a person alive (well, aside from Lou) who'd be pleased with any collection that attempted to sum up his career by including any songs at all-- even just one, as this compilation does-- from rock-bottom tragedies like Mistrial, Ecstasy, and The Raven. Unfortunately, after the necessary inclusions, that's about all he can do. So, rather than excise "Rock Minuet", the studio-alternate of "Who Am I", or any of the other relatively uninspired works of his later albums, and focus instead on his equally incredible, but more commonly overlooked 80s work-- or shit, just limited this thing to one disc-- he wildly over-reaches. All possible opportunities for cohesion have been denied here at the expense of the implicit notion that all Reed's work is created equal. It ain't. But you know what? Lou really was a genius (maybe still is). Even if his decisions make much of NYC Man a baffling ordeal, as albums go, the canonical rock and roll might contained in some of his greatest triumphs, even in second-rate form, save this album from the guillotine. Such is the scope of his songwriting skill. This is Lou's career, all of it-- from The Velvets to The Raven-- as it could only make sense to him, 3\xBD decades crammed into less than 3\xBD hours. Take away any sort of chronology and then attempt to find representation from every release he ever crapped out, and all that's left is a strung-out, confusing mess that could have turned out a hell of a lot better than it did. A hell of a lot like Lou, actually. © Eric Carr; June 5, 2003 © 2014 Pitchfork Media Inc. All rights reserved http://pitchfork.com/reviews/albums/6734-nyc-man-the-collection/

Lou Reed has been the subject of so many idiosyncratic, bewildering compilations that the release of yet another idiosyncratic, bewildering compilation can either inspire amusement or frustration. In the case of 2003's double-disc, 31-track NYC Man: The Collection, it's nearly apoplectic frustration because this is yet another thoroughly botched attempt at a thorough overview that doesn't even function as a representative sampler or introduction -- something that is desperately needed in a discography as lengthy and uneven as his. Perhaps part of the problem is indeed that his discography is inconsistent, and thereby any collection that attempts to take it all in will be uneven, but this is especially wobbly, particularly because it tries to cover everything from the Velvet Underground to 2003's The Raven, all with no chronological sense, flipping from decade to decade without sense for either historical or musical logic. Then, there's the song selection itself: It opens up with an unreleased alternate take of "Who Am I" from The Raven, then often substitutes studio cuts with live performances, including a healthy selection from Live in Italy and Perfect Night: Live in London (only one cut from Rock 'n' Roll Animal, strangely enough). It does contain many big songs -- "Walk on the Wild Side," "Satellite of Love," "Dirty Blvd.," "Coney Island Baby," "Perfect Day," "Street Hassle," "Vicious," plus a host of Velvet Underground songs, both in VU and solo versions -- but the songs that surround these tunes are all over the map. Sometimes they're excellent album track selections, but more of the time, they're not as good as songs that have been left behind, which include such cuts as "I Love You Suzanne," "Sad Song," "I Can't Stand It," "New Sensations," "No Money Down," "Romeo Had Juliette," "Egg Cream," "Doin' the Things That We Want To," "Legendary Hearts," and "What's Good," among others. Perhaps these aren't Reed's best -- and, yes, his "best" will always be a subjective matter -- but they are popular, representative songs that would have fit a solo career overview better than much of what is here. Without them, and with the songs that are here, NYC Man is a muddled mess, containing some of Reed's best, but not enough to justify this as the "ultimate" Lou Reed collection. Yet another bungled Lou collection, then. © Stephen Thomas Erlewine © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/release/nyc-man-the-collection-mr0003030707

Whoever made the selection for this 2-disc set deserves a medal. Reed’s much maligned albums like Sally Can’t Dance, Rock ‘n Roll Heart and Growing Up In Public are well represented by heir best tracks such as Kill Your Songs (albeit a live version), Temporary Thing and The Last Shot. I am pleased that for once someone ignored the critics and just got a lot of the good songs together. The tracks are not arranged chronologically but that just makes the listening experience all the more interesting. Highlights on Disc One are Street Hassle, I’ll Be Your Mirror and Ecstacy. On Disc Two, the music leads up to a climax with The Bells right in the middle and my other favourites here include the live Heroin, the beautiful and moving Satellite Of Love, Dirty Boulevard, Rock Minuet and of course, the poetic Pale Blue Eyes. It’s great hearing these masterpieces out of the context of their original albums, it certainly makes them stand out more as individual songs. I strongly recommend this album to those who would like to investigate Reed’s wok as well as to the long-time fans. - ***** WISE SELECTION by & © Pieter Uys © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/NYC-Man-The-Ultimate-Collection/dp/B00008Y4IU

As Lou Reed proclaimed in the title song of his 1976 classic Coney Island Baby, "different people have peculiar tastes," and it sums him up -- in the course of his career, Lou Reed has been lots of different people, and they've all had peculiar tastes. NYC Man, thirty-one tracks selected by the man himself, shows the many strange faces of Lou Reed: the decadent Chelsea-boy punk poet of the Velvet Underground ("I'm Waiting for the Man," "Heroin"), the Seventies glam-rock ho ("Walk on the Wild Side"), the reluctantly wise gutter sage ("Street Hassle," "The Blue Mask") and the guy who took a ton of drugs ("Berlin"). "Ecstasy," from 2000, proves that Reed's creative powers remain fierce -- even if his recent rock opera about Edgar Allan Poe is a lot to forgive. © ROB SHEFFIELD (Posted: Jun 6, 2003) © 2009 Rolling Stone http://web.archive.org/web/20090217130648/http://www.rollingstone.com/artists/loureed/albums/album/292115/review/5945559/nyc_man_the_collection

NYC Man is a 2-CD anthology of the late legendary Lou Reed's work. Lou covers everything from the Velvet Underground to 2003's The Raven.This collection is not going to please all Lou Reed's fans as inevitably many fan favourites are omitted. However in the main the 2 CD set contains many excellent album track selections. All the songs in this collection were selected, sequenced and remastered by Lou Reed himself, and it's worth taking note of that. Please see album notes and read http://www.discogs.com/Lou-Reed-NYC-Man-The-Ultimate-Collection-1967-2003/release/1422065 for further details. HR by A.O.O.F.C Listen to Lou Reed's "Coney Island Baby" and The Velvet Underground's "White Light / White Heat" album and read more about the great man @ http://en.wikipedia.org/wiki/Lou_Reed [All tracks @ 320 Kbps: 2 x rar files: CD 1 Pt 1 = 193 Mb, & CD 2 Pt2 = 175 Mb]

CD 1

1 Who Am I? (Tripitina's Song) 5:33
2 Sweet Jane 3:01 *
3 Rock 'N' Roll 4:40 *
4 I'm Waiting For The Man 4:36 *
5 White Light/White Heat 5:00 *
6 Street Hassle 11:00
7 Berlin 3:23
8 Caroline Says II 4:12
9 The Kids 7:49
10 Walk On The Wild Side 4:11
11 Kill Your Sons 4:08
12 Vicious 2:57
13 The Blue Mask 5:02
14 I'll Be Your Mirror 2:46 <>
15 Magic And Loss - The Summation 6:35
16 Ecstasy 4:30

CD 2

1 I Wanna Be Black 6:29
2 Temporary Thing 5:14
3 Shooting Star 3:12
4 Legendary Hearts 3:05
5 Heroin 8:22 *
6 Coney Island Baby 6:36
7 The Last Shot 3:20
8 The Bells 9:20
9 Perfect Day 3:43
10 Sally Can't Dance 2:55
11 Satellite Of Love 3:37
12 NYC Man 4:55
13 Dirty Blvd. 3:30
14 Rock Minuet 6:56
15 Pale Blue Eyes 5:38 *

N.B: * Lou Reed with The Velvet Underground, & <> Lou Reed with The Velvet Underground (w/ Nico)

All tracks composed by Lou Reed except "Magic And Loss - The Summation" composed by Lou Reed & Mike Rathke, & "The Bells" composed by Lou Reed & Marty Fogel


Alex Machacek, Jeff Sipe, Neal Fountain

Alex Machacek, Jeff Sipe, Neal Fountain - The Official Triangle Sessions (Live) - 2008 - AbstractLogix

2008 Release. This was a special weekend of music. Alex Machacek, Jeff Sipe and Neal Fountain performed three nights of music during the last weekend of June in North Carolina. It was the very first time that Alex and Neal met. Neal Fountain hails from the musical hotbed of Athens, GA, and has been playing professionally from the age of 14. Best known as a sideman to Col. Bruce Hampton and the Fiji Mariners (a post-A.R.U. project of Hamptons) and drumming phenom Jeff Sipe. Neals name is on the short list of greater Atlanta's finest musicians.Matt Garrison was originally scheduled to play with Alex and Jeff as part of the Improvision DVD Shoot. However we had to postpone the DVD shoot because of scheduling conflicts. Neal came on a very short notice and played just great with Alex and Sipe. It got better with every night. So this music is from the final performance from Raleigh. Beautiful moments throughout the entire evening. © http://www.abstractlogix.com/xcart/product.php?productid=23864&cat=0&page=1

Austrian-born electric guitarist Alex Machacek is one of the young post-John Scofield/John McLaughlin/Allan Holdsworth performers whose melodic sense is in a phase of being developed. While he's beyond the noodling stage on this, his fourth album, one gets a sense that he's still a work in progress to find his clear and present voice, preferring to toy with sounds, voicings, and techniques that will serve his ideas better down the road. This live performance in Raleigh, NC, at the Lincoln Theatre is an exercise in that searching process, the guitarist teamed with drummer Jeff Sipe and electric bassist Neal Fountain. While certainly in the jam band area, one could mistake them for a quintessential power trio, but they are not there yet. Instead, Machacek and his mates are satisfied with elongating linear single lines stretched out over a ten-minute average until they slightly change up the mood. The more toned-down and prettier tracks seem to suit them, as the electrified improvisations simmer and at times explode, but rarely boil. The most interesting idea the group espouses collectively is during "Yoga for Cats 1," a spacy and soupy, deep and dark mood, followed by the pleasant "Neal's Fountain" in a traipse pulse, as Machacek's processed guitar is switched off on an alternate passage in shades of McLaughlin. The straight rock-funk of "Gem1" has noisy repeat phrases that meld into a jam, then mold the experiments into various sounds that are not necessarily musical. Synthesized sighing and a faux waltz identify "Pinchproof," while the end of the set has the band in a more sedate and even laid-back mood during "Along Came a Spider," crossing bar lines and offering a more melodic sense. "Put Me Back to Sleep" is an off-putting title that concludes the concert in lighter, acoustic modes with synthesizers as window dressing. The young bassist and drummer recall an embryonic Stanley Clarke and Tony Williams, respectively, minus over the top brashness and showy pyrotechnics, competent but undistinguished. Machacek is an interesting player whose music will advance over time into something distinctive; it's just not there yet. © Michael G. Nastos © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/official-triangle-sessions-mw0000806614

The great Austrian-born electric guitarist Alex Machacek is joined by drummer Jeff Sipe and bass player Neal Fountain. Great Holdsworthian style fusion recorded live in concert in 2008 in N.Carolina, US. Not a shredfest but nice, at times subtle, with well structured compositions brilliantly played by three masters of the genre [All tracks @ 192 Kbps: File size = 98.2 Mb]


1 Pinchproof - Fountain, Machacek, Sipe
2 Strafe - Machacek
3 Very Sad - Machacek
4 Gem1 - Fountain, Machacek, Sipe
5 Yoga for Cats1/Neil's Fountain - Fountain, Machacek, Sipe
6 Along came a Spider - Machacek
7 Put me back to Sleep - Machacek


Alex Machacek - Guitar
Neal Fountain - Bass
Jeff Sipe - Drums


Rachael Cantu

Rachael Cantu - Far And Wide - 2009 - Rachel Cantu

Rachael Cantu from Orange County, California is a very talented singer/songwriter who composes a beautiful, passionate and intelligent blend of pop, folk, and soul songs with excellent lyrics and gorgeous vocals. “Far And Wide” is HR by A.O.O.F.C Buy her “Covers” album and support great indie folk rock from a talented and very underrated artist. Read more about Rachael @ http://en.wikipedia.org/wiki/Rachael_Cantu [All Tracks @ 320 Kbps: File size = 82.4 Mb]


1 Devil's Thunder 3:56
2 Eaten Alive 2:59
3 Far and Wide 2:57
4 Make a Name for Me and You 3:43
5 Thieves and their Hands 3:28
6 We're the Rebels 2:26
7 Your Hips are Bad 2:46
8 Blue House Baby 3:37
9 Genius and a Wizard 2:26
10 Little Ocean Town 4:05
11 Jailbird [Bonus] 2:45

All tracks composed by Rachael Cantu


Rachael Cantu - electric & acoustic guitar, vocals
Ted Gowans - guitar, slide gtr, mandolin, synth, rhodes, keyboards
Alex Silverman - guitar, slide guitar, piano, cello
Joey Turco - guitar
Jeremiah Schnieder - bass
Charla McCutcheon - piano, synth, vocals
Darren Phillips - piano, synth and ambience
Brendan Ostrander- drums, percussion
Charles DeCastro - trumpet
Tegan Quin - vocals on Tracks 2,5,8
Vivek Shraya - vocals/backing vocal arrangement on track 1


RACHAEL CANTU is best known for her evocative blend of indie folk rock delicately infused with distinctly powerful vocals, gentle melodies and heartfelt lyrics. This SoCal native has the whole package—it's no wonder she's been aptly described as "something of a mix of The Pretenders' Chrissie Hynde, PJ Harvey, Sarah McLachlan and Norah Jones." Rachael's career first took flight when she joined Tegan and Sara on the road as their opener on multiple tours, leading to additional gigs with such notable artists as Ben Lee, Kaki King and Fun. In addition to solo shows in Los Angeles and major cities across the U.S. and Canada, Rachael honed her live show opening for generational powerhouses like Pat Benatar, Peter Frampton and she won over new fans touring the country with the legendary B.B. King. Rachael Cantu's second studio album "Far and Wide," released in 2009, is an artistic departure from the brooding and moody sounds of her impressive debut CD "Run All Night" (Q Division) and highlights her growth, maturity and evolution as a rising singer/songwriter through musical exploration. Produced by Futcher (The Be Good Tanyas) in Vancouver, the captivating collection of ten eclectic songs with thoughtfully layered arrangements showcase her effortless stylistic versatility, which ranges from upbeat pop, forlorn folk, characteristically haunting pieces and splashes of everything in between. Standout tracks like the ethereal "Devil's Thunder" and touchingly contemplative "Make A Name For Me and You" have attracted the attention of Chop Shop's Alexandra Patsavas, who featured both tunes on ABC's Private Practice. More national exposure followed through a variety of TV placements, such as Pretty Little Liars, Royal Pains and Degrassi, to name a few. Recently, Rachael, along with musician Harlan Silverman, released a studio project called "Little Brutes," a seven song indie-pop EP that features irresistible melodies, infectious lyrics and beautifully executed instrumentation. Currently being shopped around for placements and licensing, "Little Brutes" is a catchy collection of songs that instantly appeal. Currently, you can find Rachael back in the studio writing her forthcoming solo album, due in the not-too-distant future. © http://rachael-cantu.squarespace.com/


Dave D'Angelico

Dave D'Angelico - The Blues According to Texas Son - 2009 - Grooveyard Records

f you like your blues anywhere between RONNIE EARL and STEVIE, this has to be in your collection. Must be the best TEXAS blues guitarist from NEW YORK. All killer, no filler.......great document of this unknown guitar genius's talent......great tunes and some superb guitar playing make this a no brainer for anyone into BLUES or GUITAR.......shame that his career has been cut short by M.S........thank's to the GROOVEYARD we can now all hear this outstanding blues cd........ – from ***** “another unknown blues master” Jan. 20 2014 By & HANS D HARMS © 2008-2014, Amazon.com, Inc. or its affiliates http://www.amazon.ca/Blues-According-Texas-Dave-DAngelico/dp/B0028M577E

Excellent musical document on this outstanding "blues" guitarist based out of upstate New York. A classic, timeless, dynamic, collection of 21 tracks (77 minutes) recorded thru the years (1988 - 2005) by this talented bluesy Telecaster guitar-slinger. Highly recommended to fans of Roy Buchanan, Johnny Winter, Eric Clapton, SRV, Trower, Albert King, Albert Collins, and fans of "serious" blues guitar magic.Tune into the Man and his music on the appropriately titled, "The Blues According to Texas Son". © http://www.recordheaven.net/index.cfm?iID=77074

Welcome to the world of one serious Telecaster Blues Master.... Just when you think you've heard it all, out of the blue(s) comes a righteous blues guitar slinger named Dave "Texas Son" D'Angelico. Dave has been slingin' his trademark TELECASTER in various blues bars and juke joints in Upstate New York over the past couple of decades, travelling to other cities up & down the east coast through Texas, and has opened for (or jammed with) Roomful of Blues, Savoy Brown, Mick Clarke, Elvin Bishop, Robert Gordon, Ronnie Earl, Duke Robillard, Anson Funderburgh, Robben Ford, Paul Delay Band, Joe Beard plus many others. There is no denying just how good Dave D'Angelico can burn on the blues. He takes a mature, traditional approach with a relaxed air of authority, combining a very original style inspired by his many influences (although not a copycat) and a killer guitar tone to boot - and he does it all with only his fingers, hence the name of one of his discs - "BAREHAND BLUES". Originally influenced by artists like Johnny Winter, Billy Gibbons, Clarence Edwards. As well as being a great downhome blues Dave likes to rock out! If you're into Roy Buchanan, Johnny Winter, Billy Gibbons, S.R.V., Clapton, Albert Collins, Duke Robillard, then you need to tune into the guitar magic of Dave "Texas Son" D'Angelico. Check out Texas Son's "Gun Barrel Blues" album. [All tracks @ 320 Kbps: File size = 182 Mb]


1. In the Meantime 2:26
2. Sugar Sweet 3:03
3. Anything It Takes 3:44
4. Bradshaw Boogie 5:14
5. Wildcattin' Woman 4:34
6. Vinnie's a Hood 4:26
7. Cool Zone 3:59
8. The Fool and Me 4:50
9. Rattlesnake 3:44
10. Becky's Got the Beat 5:08
11. Chester's Blues 3:45
12. Ain't No Reason 3:41
13. Goodbye Baby Blues 3:16
14. I Believe 3:12
15. Albert's Groove 4:04
16. Bats 1:01
17. Keep On Rollin' 3:48
18. Texas Flood Jam 2:32
19. Ghost Blues 3:13
20. Ice Blue Dream 4:45
21. On Two Roads 2:19

All Tracks composed by Dave D'Angelico except “Sugar Sweet” by Freddie King, “Anything It Takes” by Duke Robillard, “Bradshaw Boogie” by Tiny Bradshaw”, “The Fool And Me” by Dewar & Trower, & “Chester’s Blues” is adapted from Chester Burnett (Howlin’ Wolf)


Dave D'Angelico – Guitar, Vocals
Dave Dimarzio – Bass
Mike Patric – Bass 0n Tracks 2,3,4
Larry “Yo” Miller – Bass on Tracks 15, 16
Harry Ford – Bass on Tracks 18, 19
Sammy G – Keyboards & Programming on Tracks 16, 20
Dean Miller – Drums
Charlie Rau – Drums on Tracks 2,3,4,19
John Chaffer – Drums on Tracks 5,12
Johnny Borelli – Drums on Track 7
Carlos Grillo – Drums on Tracks 9,11
Jason Smay – Drums on Tracks 15,16
Johnny McMullen – Blues Harp o


Robin Trower & Michael Schenker

Robin Trower & Michael Schenker - Back 2 Back Hits - 1998 - EMI-Capitol Special Markets / CEMA Special Markets

This edition of CEMA Special Markets' acclaimed Back 2 Back Hits pairs two '70s guitar heroes - Robin Trower and Michael Schenker. As is normal in these albums there are a number of favorites missing, but there's enough good tracks here including "Too Rolling Stoned," "Bridge of Sighs," "Armed and Ready," and "Are You Ready to Rock" to make it worthwhile for casual fans of either artists. Listen to Robin Trower’s “ Robin Trower Live!” and Michael Schenker’s Adventures Of The Imagination albums [All tracks @ 320 Kbps: File size = 118.1 Mb]


1 Robin Trower - Caledonia - James Dewar / Robin Trower 3:40
2 Robin Trower - Too Rolling Stoned - Robin Trower 7:32
3 Robin Trower - Alethea - Robin Trower 3:05
4 Robin Trower - Bridge of Sighs - Robin Trower 5:07
5 Robin Trower - Daydream (Live) - James Dewar / Robin Trower 8:07
6 Robin Trower feat: Michael Schenker - Are You Ready To Rock - Gary Barden / Michael Schenker 3:30
7 Robin Trower feat: McAuley-Schenker Group - Anytime - Steve Mann / Robin McAuley 5:43
8 Robin Trower feat: Michael Schenker - Armed and Ready - Gary Barden / Michael Schenker 4:06
9 Robin Trower feat: Michael Schenker - Desert Song - Graham Bonnet / Michael Schenker 5:53
10 Robin Trower feat: Michael Schenker - Doctor, Doctor (Live) - Phil Mogg / Michael Schenker 5:54


Throughout his long and winding solo career, guitarist Robin Trower has had to endure countless comparisons to Jimi Hendrix, due to his uncanny ability to channel Hendrix's bluesy/psychedelic, Fender Strat-fueled playing style. Born on March 9, 1945, in Catford, England, Trower spent the early '60s playing guitar in various London based outfits; the most successful one being the R&B group the Paramounts, who specialized mostly in covers, but managed to issue several singles between 1963 and 1965. It wasn't until 1967 thatTrower received his big break however, when he joinedProcol Harum. The group had just scored a worldwide smash hit with "A Whiter Shade of Pale," but the only problem was that the band's leader, singer/pianist Gary Brooker, didn't have a proper band to back him. Brooker was previously a bandmate of Trower's in the Paramounts, and offered the guitar slot in his new fast-rising project to his old friend. As a result, Trowerappeared on such Procol Harum classics as 1967's Procol Harum, 1968's Shine on Brightly, 1969's A Salty Dog, 1970's Home (which spawned the popular Trower tune "Whiskey Train"), and 1971's Broken Barricades. While Procol Harum helped launch Trower's career, the guitarist realized there was limited space for his guitar work, and eventually left for a solo career. Enlisting singer/bassistJames Dewar and drummer Reg Isidore (who was soon replaced by Bill Lordan) as a backing band, Trower issued his solo debut, Twice Removed From Yesterday, in 1973. The album barely left a dent in the U.S. charts, but that would change soon enough with his next release, 1974's Bridge of Sighs. With rock fans still reeling from Hendrix's death a few years earlier, the album sounded eerily similar to the late guitarist's work with the Jimi Hendrix Experience (especially his 1968 release, Electric Ladyland), and as a result, the album sky rocketed into the U.S. Top Ten, peaking at number seven. Although Bridge of Sighs was to be his most popular solo release, Trower's stock continued to rise throughout the mid-'70s, as he became an arena headliner on the strength of such hit albums as 1975's For Earth Below, 1976's Robin Trower Live!, and Long Misty Days, plus 1977's In City Dreams. Further releases followed, yet by the dawn of the '80s, it became quite obvious that Trower's star was rapidly fading, as each album sold less than its predecessor. A brief union with ex Cream bassist/vocalist Jack Bruce spawned a pair of releases, 1981's B.L.T. and 1982's Truce, before Trowerreturned back to his solo career. The '80s saw Trower try and expand his audience with several releases that attempted to update his blues-rock style (such as 1987's slick produced Passion), but none returned the guitarist back to the top of the charts. During the early '90s,Trower returned back to Procol Harum for a brief reunion (1991's Prodigal Stranger), before backing ex-Roxy Musicsinger Bryan Ferry on a few releases (1993's Taxi and 1994'sMamouna, the latter of which Trower earned a co-producer credit for). Trower continued to issue solo albums in the 21st century (2000's Go My Way), while a steady stream of live sets and compilations appeared. Trower returned to work withFerry once more on 2002's Frantic, again earning a production credit. Reassembling most of his late-'80s band, Trower released Living Out of Time in 2004 and returned with Another Days Blues in late 2005. What Lies Beneath appeared in 2009 from V-12 Records. © Greg Prato © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved


Along with Gary Moore, Michael Schenker never quite reached the same level of acclaim stateside as he did in Europe (and other parts of the world), despite possessing exceptional, and quite influential, six-string skills. Born on January 10, 1955, in Savstedt, Germany, it was Schenker's older brother, Rudolf, who sparked the youngster's interest in guitar at an early age. Entirely self-taught, Michael picked up a thing or two from such hard-rocking acts as Wishbone Ashand Mountain, as well as his older brother, who would offer the youngster money if he would transcribe certain songs for him while he was at work. As a result of constant playing, it wasn't long before Schenker showed immense talent with the instrument, and by the early '70s, joinedRudolf's group, the Scorpions. Michael appeared on the group's 1972 full-length debut, Lonesome Crow, and toured with the outfit (all at the age of 17). But it was during the album's supporting tour that another up-and-coming outfit, UFO, took a keen interest in the young Schenker and managed to pry the guitarist away from the Scorpions. Although a language barrier existed between Schenker and his new bandmates (he barely knew any English at the time), the guitarist let his playing do the talking, especially on his first recording with the group, 1974's Phenomenon, which spawned such metal classics/Schenker showcases as "Doctor Doctor" and "Rock Bottom" (also of note was the instrumental "Lipstick Traces," a tune which Schenker played entirely with his feet!). It was also around this time thatSchenker began playing an instrument that he would become synonymous with for the rest of his career, a Gibson Flying V (which would eventually be decorated with a half-white/half-black paint job). Heavy-duty touring and a pair of further releases, 1975's Force It and 1976's No Heavy Petting, set the stage perfectly for what UFO hoped would be a global commercial breakthrough. The late '70s saw UFO issue a trio of classic hard rock albums -- 1977's Lights Out, 1978's Obsession, and especially 1979's outstanding live set, Strangers in the Night -- all of which made strong showings on the U.S. charts. But UFO's time in the limelight would be fleeting, as alcohol/substance overindulgence and erratic behavior drew a wedge betweenSchenker and the rest of UFO (the guitarist also became famous for disappearing from the group without any notice, leaving them high and dry mid-tour). 1979 saw Schenker's exit from UFO (who were never the same after his exit) and re-entry into the Scorpions. But, as with his first go around with the group, Schenker's tenure was a fleeting one, only lasting a single album, 1979's Lovedrive, before exiting once more. The same year, Schenker was invited to take the place of the just-departed Joe Perry in Aerosmith. Despite a few jam sessions between Schenker and the others, nothing ever materialized of the Schenker-Aerosmith union (the interesting meeting was discussed by the group in their 1999 autobiography, Walk This Way). Now free of any other obligations, Schenker set his sights on a solo career, forming the Michael Schenker Group immediately thereafter. While the group got off to a promising start with such strong releases as 1980's Michael Schenker Group, 1981's MSG, plus 1982's Assault Attack and One Night at Budokan, interest eventually evaporated, as it became obvious with each subsequent release that Schenker had set his sights at the top of the charts rather than sticking to good old-fashioned hard rock/heavy metal. Constant lineup fluctuation didn't help, either. 1982 saw Schenker get an invite from Ozzy Osbourne to join his group immediately after Randy Rhoads' tragic death, but like the Aerosmith bid several years earlier, it failed to pan out. Despite failing to issue a big commercial breakthrough on his own (although 1989's pop-metal outing, Save Yourself, credited to the McAuley-Schenker Group, came close), the guitarists in such renowned groups asMetallica and Def Leppard were quick to voice Schenker's influence. The early '90s saw Schenkerappear with Ratt on a best-forgotten episode of MTV's popular Unplugged series, in addition to participating in a one-off pop-metal "supergroup," Contraband (which included members of such groups as Shark Island, Vixen, Ratt, and L.A. Guns), who issued a lone self-titled debut in 1991. Throughout the '90s, Schenker continued to issue solo albums, including 1993's acoustic-based Thank You and 1999's more rock-based Unforgiven, but the real story of the '90s for Schenker was his re-enlistment into UFO in 1993. Predictably, Schenker's second go-around with UFO was short-lived, yet it did spawn a world tour as well as an all-new studio effort, 1995's Walk on Water. Schenker's pace of issuing solo albums only increased during the early 21st century, as such titles as 2000's all-instrumental Adventures of the Imagination, plus a staggering three albums in 2001 alone (MS 2000: Dreams and Expressions, Odd Trio, andBe Aware of Scorpions) saw the light of day. 2002 saw Schenker sign on with UFO once more for a new album, Sharks. © Greg Prato © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/michael-schenker-mn0000397545/biography



Gong - Best Of Gong - 1996 - Mantra Records (France)

One of countless compilation albums from Gong, the monumental progressive rock band. The mothership Gong and her offshoots have released hundreds of albums. It would be ridiculous to say that the thirteen tracks here represent Gong's best work. Nevertheless, what is here is good, and if you're unfamiliar with this legendary band, this is a good album to whet your appetite [All tracks @ 320 Kbps: File size = 174.4 Mb]


1 Radio Gnome - Daevid Allen "Camembert Electrique" 1971 (Gong) 0:27
2 You Can't Kill Me - Daevid Allen "Camembert Electrique" 1971 (Gong) 6:16
3 Fohat Digs Holes In Space - Daevid Allen, Gilli Smyth "Camembert Electrique" 1971 (Gong) 6:20
4 Tried So Hard - Daevid Allen, Christian Tritsch "Camembert Electrique" 1971 (Gong) 4:39
5 Radio Gnome Invisible - Daevid Allen "Flying Teapot" 1973 (Gong) 5:32
6 Flying Teapot - Daevid Allen, Francis Moze "Flying Teapot" 1973 (Gong) 11:47
7 I Never Glid Before - Steve Hillage "Angel's Egg" 1973 (Gong) 5:36
8 Masterbuilder - Gong "You" 1974 (Gong) 6:05
9 A Sprinkling Of Clouds - Gong "You" 1974 (Gong) 8:54
10 Tic Toc aka "Zero The Hero & The Witch's Spell" - Daevid Allen, Tim Blake, Christian Tritsch "Live Au Bataclan 1973" (Gong) 5:59
11 Deep In The Sky - Tim Blake "Live At Sheffield 1974" (Gong) 5:13
12 White Neckblues - Daevid Allen "Banana Moon" 1971 (Daevid Allen) 4:37
13 Chrysler Rose - Dashiell Hedayat "Obsolete" 1974 (Dashiell Hedayat) 6:38


Daevid Allen - Guitar, Bass Guitar, Vocals
Christian Tritsch - Electric & Acoustic Guitar, Bass
Steve Hillage - Guitar
Robert Wyatt - Guitar, Drums, Vocals
Francis Moze - Bass Guitar, Keyboards
Mike Howlett, Archie Legget - Bass Guitar
Tim Blake - Keyboards, Synths, Vocals
Dashiell Hedayat - Keyboards, Vocals
Gary Wright - Piano
Pip Pyle, Charles Hayward, Laurie Allan- Drums
Pierre Moerlen - Drums, Percussion, Vibes, Marimba
Rachid Houari, Benoit Moerlen- Percussion
Mireille Bauer - Glockenspiel, Percussion
Francis Linon - Noises
Didier Malherbe - Saxes, Flute, Vocals
Nick Evans - Trombone
Gerry Fields - Violin
Gilli Smyth - Vocals
Maggie Bell, Barry St. John, Sam Wyatt, Miquette Giraudy - Backing Vocals

Julian Sas

Julian Sas - Where Will it End? - 1996 - Corazong Records

Often called the "Dutch Hendrix", Julian Sas has become a guitar hero in the Netherlands. He has been compared to artists like Johnny Winter and Rory Gallagher. He was even invited several times to take Rory’s place in the original Rory Gallagher Band. He is certainly not a new Jimi Hendrix. There was only one Jimi! But being Julian Sas is good enough in itself. The Julian Sas Band is one of the strongest 3 piece blues/rock bands you will ever hear. Julian is a solid and sometimes spectacular player, decent vocalist, and usually backed by the tremendous rhythm section of Pierre de Haard on drums and a most impressive Phil Poffe' on bass. ‘Where Will It End!?’ is Julian Sas’s first album and was released in 1996. It was recorded, on invitation, in the famous Dolfin Studios in Frankfurt, Germany in 2 days, without any overdubs, put on CD as it was played live in the studio.This is earthy, gutsy, honest, dynamic, and electrifying boogie blues and soul rock. Julian is a great but underrated guitarist and a great Rory Gallagher fan. Join the club! LOL! Read more about this album @ http://www.cavalier-musicmanagement.com/artists/7-julian-sas/releases/15-where-will-it-end-- Check out Julian’s “A Smile To My Soul” album on this blog and buy his great "Bound To Roll" album and support great blues rock [All tracks @ 320 Kbps: File size = 117 Mb]


1. Turpentine Moan 3:07
2. Honey Babe 4:16
3. Make Up Your Mind 7:54
4. Goin'down 5:04
5. Trying to Do Right 3:04
6. Travelling Home 3:19
7. Home Feeling 3:44
8. Voodoo Love 4:57
9. I Don't Know 3:44
10. Stranger Blues 4:56
11. Serves Me Right to Suffer 7:16

All tracks composed by Julian Sas, Phil Poffé, & Pierre de Haard except Track 4 by Don Nix, Track 9 by Julian Sas, Track 10 by Elmore James, and Track 11 Trad.


Julian Sas - Guitars, Blues Harp, National Duolian, Vocals
Phil Poffé - Bass Guitar
Pierre 'Boogiemachine' de Haard - Drums


Hello everybody. My name is Julian. I was born on a river in 1970 in a small town in the center of the Netherlands called Beneden-Leeuwen. Since I was born I have been a restless person, This is something that I still have today. Only until I was 6 years old I knew where this was coming from; I saw this movie called the Toronto rock 'n roll festival. There I saw Jerry lee lewis and Chuck Berry. From that day on I knew what I was going to be In my life I wanted to make music. I was hooked as a little child on what I felt when I saw this movie, it was Jerry lees immense energy and maybe more important for my future I saw Chuck's guitar. My mother saw that I dreamed and talked only about guitars from that day on. So they gave me little toyguitars and stuff like that but I kept dreaming about the real thing. By the time I was 10 I was into bands like Motorhead and AC/DC, Judas priest and Iron Maiden and more heavy stuff. Loud guitars and big Marshall amps and again a lot of energy. They saw me listening to music that most children of my age weren't doing at that time so I started again about a real guitar and when I was about 12 years old I got one an Ibanez les paul copy which I still have today. With a guitar comes an amplifier so they gave me this 30 watt Yamaha where I could practice with. I started to listen to anything I could lay my hands on, and this is something that I still do today. I have never had no musical schooling so this is for me the only way to learn music. By listening and playing you start to know how things work. A friend of mine taught me some basic chords and a few scales and something about where to put your fingers and that was it. The rest was up to me. By the time I was 13 I heard something that really got me deep emotionally and his name was Muddy Waters. From that day on I decided to dedicate my life to blues and bluesrock. When I was not in school I played guitar, I kinda locked myself in my room to become what I wanted. The guitar became and still is an obsession for me. I'm a very quiet guy in fact and this instrument really gave me the chance to express my feelings. When I was 17 years old it was 1987 and that was great year for me because I met a girl who is now my wife; someone who knows what drives me in being a musician and understand what music means to me. And it was the first time I saw Rory Gallagher. He shocked my world big time. That was what I was going to be. I started a band and two years later I quit school, because we had a lot of gigs and becoming a history teacher was not my thing. I must have had a thousand jobs and a lot of jams and bands and duo's but by the time I was 26 I started this band called Julian Sas Band. We got a record deal and the first album was called 'Where will it end!?'. And that my friends is still the story today, when it is up to me we got along time coming, because we really love what we do. For me being a musician is all about freedom and doing what you really love. I am fortunate to be in such a position but then again I worked hard for it and still work hard for it because nothing in life comes easy. So this is my story. I want to tell you that for me playing music is something I try to do until the day I will lay my guitar down and I will meet the great spirits in the sky. I will always write songs about loneliness and oppression and being free out on the road. Music still comforts my ever restless soul. Which after all these years is still inside of me... Thank you for making my dream come true......... Julian © 2001-2012 www.juliansas.com


The Julian Sas Band is one of the leading blues rock bands in The Netherlands. Since they began playing together about 7 years ago, they have released 7 CD's, 1 DVD and done an awful lot of gigs. In 1998 the band received a public award for their second album called 'A Smile to my Soul'. It was listed as one of the best blues CD's of that year. In 1999, the Julian Sas Band was top of the bill at the legendary Fehmarn Festival (the German equivalent of Woodstock), which was entirely dedicated to the memory of Jimi Hendrix. The Band also featured at the Rory Gallagher Tribute in the Belgium town of Wespelare. In september 2000, they released 'Spirits On The Rise', their fifth and most recent album. Julian Sas lives in Beneden Leeuwen, a small town that lies between the rivers Maas and Waal in what might be called the Blues Delta of The Netherlands. This is where he finds inspiration for many of his songs. Although Julian is only 32, he is already being compared to American guitar giants such as Johnny Winter, Walter Trout and Jimi Hendrix. He can play load and aggressive as well as heartrendingly subtle, and no-one can play a boogie like he does. Most of the songs he writes are based on riffs of John Lee Hooker, Freddy King, Willy Dixon, Memphis Slim or other major blues artists. Julian is a great fan of the late Rory Gallagher and the fact that he was invited to take Rory's place in the original Rory Gallagher Band on a number of occasions, clearly shows how his fellow musicians have come to respect him. Pierre de Haard, the drummer in the band, lives in Germany. Since the end of the sixties, he has been playing various styles of music. Pierre, who is also known as the 'Boogie Machine', loves to improvise together with Julian. Tenny Tahamata of Moluccan origin is the bassplayer and lives in Tiel, The Netherlands. He's selftaught, has done experience with various local bands playing all kinds of music. The last years Tenny played with blues rock trio Half Past Midnight, which accompanied Curtis Knight until his death. In between he did several gigs with harp player Keith Dunn before to join the Julian Sas Band. © www.juliansas.com © http://www.mymusicbase.ru/PPB/ppb10/Bio_1047.htm


George Terry

George Terry - Guitar Dr - 2005 - Terrytunes, Inc.

Blues Rock and Ballads from Eric Clapton's first band guitar pal George Terry. Starting off as a studio musician in the late 1960's, George Terry started a band with Eric Clapton after recording the 461 Ocean Blvd. album in 1973. Eric recorded four of George's songs, "Mainline Florida", "Lay Down Sally", "Don't Blame Me", and "Let Me Stay" which was not released by Eric and is on George's Guitar Drive CD. The Bellamy Brothers had a hit with George's song "What'll I Do". They did a video with George and were nominated as Country Duo of the Year at the CMA and the ACM Awards. Here are some of the better known artists George Terry has done recordings with: Buddy Miles, Mike Bloomfield , Aretha Franklin , Joe Cocker , Freddie King , The Bellamy Brothers , ABBA, Dionne Warwick , The Bee Gees, The Rolling Stones, Bob Dylan, and Stephen Stills. George has recorded 15 albums with Eric Clapton including “461 Ocean Boulevard “,”EC Was Here”, and “Slowhand”. Guitar Drive is a CD with a variety of songs by George Terry including "Let Me Stay" that was done with the original Eric Clapton Band in the 1970's. Jamie Oldaker/Drums, Dick Simms/B3, Carl Radle/Bass, Eric Clapton played and also sang the end chorus of the song, with George Terry on the lead vocal and electric guitars. This is the first CD George has recorded as a solo artist. A rare find for the INDIE market! © http://www.cdbaby.com/cd/gterry

George Terry was born in Philadelphia, Pennsylvania in 1950. A guitarist, he began his career as session musician in the late 1960s. George was a studio musician at Criteria Studios in Miami, Florida when he was first introduced to Eric Clapton in 1970. Prior to signing on with Eric for the 461 Ocean Boulevard sessions in 1974, he worked extensively with Simon & Garfunkel, Sonny & Cher, Neil Diamond and on Bill Wyman’s solo efforts. In a 1976 interview, George said he was working in a studio next to Eric’s and Eric invited him to jam “when he got bored with his stuff.” This evolved in Terry’s participation on the 461 Ocean Boulevard Sessions and becoming a member of the band. During those sessions, Eric recorded four of George’s songs: “Mainline Florida,” “Lay Down Sally,” “Don’t Blame Me,” and “Let Me Stay.” The latter was not used on the album. During some of Eric’s 1970s tours, George handled the bulk of the soloing and sang back-up vocals. His association with Eric ended in 1978 when he returned to Florida and session work. © 2014 WHERE'S ERIC! THE ERIC CLAPTON FAN CLUB MAGAZINE http://www.whereseric.com/the-vault/biographies-band-members-and-collaborators/terry-george

Great underrated album from the great Philadelphia born guitarist, George Terry. George may not be a household name, but in his earlier days he played with Joe Bonamassa and later on with many of the greats in rock music and other genres. George has said that, “After all is said and done, it’s the songwriters I would most wish to perform with… and at the top of the list is Paul McCartney”. Listen to Freddie King’s “Burglar” album featuring George Terry [All tracks @ 320 Kbps: File size = 114 Mb]


1. That Ain't You 3:57
2. It's Only Make Believe 3:45
3. She's My Harley Davidson 3:54
4. Let Me Stay 4:12
5. Don't Ask Me 6:06
6. Off To See The Moon 4:15
7. Long Way Down 3:40
8. Only Love Can Save Me Tonight 4:16
9. All Possible Dreams 4:04
10. It's Alright 3:30
11. Wild Life 3:30
12. You Blame It All 3:41
13. Get It Right 2:21

All tracks composed by George Terry


George Terry - Guitars, Lead Vocals
Eric Clapton - Guitar, Vocals on "Let Me Stay" (End Chorus)
Carl Radle - Bass
Dick Simms - B3 Organ
Jamie Oldaker - Drums


George E. Terry (born in 1950) is an American blues rock and rock and roll guitarist best known for his live and studio work with Eric Clapton during the 1970s. He is also known for his studio work with a number of other artists, including ABBA, the Bee Gees, Joe Cocker, Andy Gibb, Freddie King, Diana Ross, Stephen Stills, and Kenny Rogers. Much of this work came through Terry's association with Bee Gees member Barry Gibb, who was in high demand as a producer in the 1980s. Prior to joining Clapton's band, Terry was already a well-established South Florida guitarist and session musician, and had played with several notable bands including "GAME" who released two albums in 1970 and 1971. Terry was the group's featured lead guitarist and bassist, and wrote several songs on both albums.Clapton recorded three of Terry's songs: Mainline Florida, Lay Down Sally, and Don't Blame Me. Terry was a member of Clapton's studio and touring band until it was dissolved in 1979. Terry's song What'll I Do with the Bellamy Brothers received heavy radio airplay. Terry released a solo album in 2004, entitled Guitar Drive.



Focus - Live At The BBC - 2004 - Hux Records

Recorded in London on 21st March 1976 by the BBC, this concert includes new material as well as old Focus standards. In 1976, the only original Focus members left were Thijs van Leer and bassist Bert Ruiter. Thijs assembled a new Focus line-up for a UK tour. He recruited Philip Catherine, the great jazz fusion guitarist and the great LA session drummer David Kemper. This is a very good Focus album even without the great Jan Akkerman. Check out Focus’ classic “Live At The Rainbow” album, Jan Akkerman’s “Tabernakel” album, and Philip Catherine’s “Twin House” album [All tracks @ 320 Kps: File size = 141 Mb]


1. Virtuous Woman (Van Leer) 10:58
2. Blues In D (Ruiter) 3:46
3. Maximum (Van Leer) 14:00
4. Sneezing Bull (Catherine) 7:46
5. Sonata For Flute (Bach, arr. by Van Leer) 2:47
6. House Of The King (Akkermann, Flynn) 3:15
7. Angel Wings (Catherine) 5:38
8. Little Sister/What You See (Van Leer) 8:18
9. Hocus Pocus (Akkermann, Van Leer) 5:48


Philip Catherine - Guitars
Bert Ruiter - Bass, Vocals
Thijs Van Leer - Keyboards, Flute, Vocals
David Kemper – Drums


Best remembered for their bizarre chart smash "Hocus Pocus," Dutch progressive rock band Focus was formed in Amsterdam in 1969 by vocalist/keyboardist/flutist Thijs van Leer, bassist Martin Dresden, and drummer Hans Cleuver. With the subsequent addition of guitarist Jan Akkerman, the group issued its debut LP, In and Out of Focus, in 1970, earning a European cult following thanks to the single "House of the King." Dresden and Cleuver were replaced by bassist Cyril Havermanns and drummer Pierre Van der Linden for the English-language follow-up, Moving Waves; the record generated the hit "Hocus Pocus," a hallucinatory epic distinguished by Akkerman's guitar pyrotechnics and van Leer's demented yodeling. Easily one of the flat-out strangest songs ever to crack the American pop charts, the single peaked at number nine in the spring of 1973, by which time Focus had already exchanged Havermanns for bassist Bert Ruiter and issued their third album, Focus III, which yielded the minor hit "Sylvia." In the wake of 1974's Hamburger Concert, the band streamlined the classical aspirations of earlier efforts to pursue a more pop-oriented approach on records like Ship of Memories and Mother Focus; though roster changes regularly plagued Focus throughout the period, none was more pivotal than the 1976 exit of Akkerman, who was replaced by guitarist Philip Catherine for 1978's Focus con Proby, cut with British pop singer P.J. Proby. Focus then disbanded, with the original lineup reuniting in 1990 for a Dutch television special. © Jason Ankeny © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/focus-mn0000195305/biography


James McMurtry & The Heartless Bastards

James McMurtry & The Heartless Bastards - Live In Aught-Three - 2004 - Compadre Records

In his regular column for Entertainment Weekly, noted author (and passionate rock ’n’ roll enthusiast) Stephen King cited McMurtry as “the truest, fiercest songwriter of his generation.” A very underrated singer, musician and brilliant songwriter, James McMurtry from Fort Worth, Texas has a lot of great songs under his belt. Lyrically, the guy is a great storyteller. Like Leonard Cohen, Mose Allison, Janis Ian, Tino Gonzales or the young Dylan, James writes songs often with a socio-political theme. He writes evocative lyrics, often cynical and dry, but never boring, and like the aforementioned artists he has the rare talent of writing great music for what often sounds like dull topics. His music is steeped in Americana, and with a small band he produces brilliant music. "Live In Aught-Three" is HR by A.O.O.F.C. Buy James' great "Just Us Kids" album. Support real music and real talent [All tracks @ 320 Kbps: File size = 175.1 Mb]


1 Saint Mary of the Woods - Flash/Hess/Johnson/James McMurtry
2 Fraulein O.
3 Red Dress
4 No More Buffalo
5 60 Acres
6 Rachel's Song
7 Out Here In The Middle
8 Choctaw Bingo
9 Lights of Cheyenne - Johnson/James McMurtry
10 Levelland
11 Max's Theorem
12 I'm Not from Here
13 Too Long in the Wasteland
14 Rex's Blues - Townes Van Zandt

All songs composed by James McMurtry except where stated


James McMurtry - Guitar, Vocals
Ronnie Johnson - Guitar (Bass), Vocal Harmony
Daren Hess - Drums
Tim Holt - House Sound


12th & Porter, Nashville, TN (05/16/2003-11/15/2003); John Barleycorn's, Wichita, KS (05/16/2003-11/15/2003); The Orange Peel, Asheville, NC (05/16/2003-11/15/2003); Zephyr Club, Salt Lake City, UT (05/16/2003-11/15/2003).


James McMurtry's written plenty of great songs, but he's never made a great album. His character sketches and stories have always rung true, and he's as perceptive a chronicler of the disaffected and alienated as you'll find, but his limited vocal range and sometimes almost-indifferent delivery have made even his best discs, Too Long in the Wasteland and Where'd You Hide the Body a struggle to get through. Live in Aught-Three isn't a great album, but the live setting lets McMurtry and his backing group, the Heartless Bastards, breathe real rock & roll life into many of these songs for the first time. "Levelland," an account of stasis in the fly-over land, aches with a longing for something, anything, that's more exciting than high-school football games and farms, and "Red Dress" burns with an angry intensity that you'd never have guessed McMurtry had in him. We also get a dose of McMurtry's deadpan humor on a few between-song asides ("I used to think I was an artist. Come to find out I'm a beer salesman") and a hilarious delineation between intellectuals and good ol' boys. In fact, the strongest material here — and McMurtry's best work overall — are the ones in which he finds both the humor and the pathos in quirky, nasty characters like the ticked-off heir to the worthless farmland of "60 Acres," or the twisted crew at a family reunion in "Choctaw Bingo." If McMurtry's albums haven't caught your attention before, Live in Aught-Three is a perfect opportunity to reassess him. © Eric Schumacher-Rasmussen © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0nfqxqqaldae

Though he's rightly revered as a pungent, literate songsmith, McMurtry would be just as happy to go down in history as a rocker, a scathing guitar-slinger equal parts Keith Richards and Neil Young. For the most part, McMurtry's first live recording (drawn from four separate gigs in Salt Lake City, Nashville, and Asheville, N.C.) slams that point home with droning fuzz-tone guitar jams and a rhythm section that measures up to Crazy Horse's pounding gravity. Even Townes Van Zandt's gorgeous "Rex's Blues" roars without compromise. With the exception of the relatively understated "Rachel's Song," "Out Here in the Middle," and one of his best new lyrics in years, "Lights of Cheyenne" (previously unreleased and rendered solo here), the trio find a slash-and-burn sonic equivalent to the songwriter's withering social commentaries, often trumping their original versions. © Roy Kasten © 1996-2010, Amazon.com, Inc. or its affiliates http://www.amazon.com/Aught-Three-James-Mcmurtry-Heartless-Bastards/dp/B0001HAI72

When you think of a James McMurtry character, you envision someone staring out over the plains or the water or the highway. Nevermind that the plains are filling up with strip malls, or that the water's banks are infested with lake houses, or that, for all the highway stretched out like the future, there's a good bit that's already been traveled like the past. It's tempting to think of McMurtry as a high-plains drifter version of John Mellencamp, but when McMurtry sings from the perspective of someone who inherits farmland, they're usually moaning that it isn't suitable for a WalMart. Nevertheless, McMurtry's characters can be a contemplative bunch, using those wide open vistas and changing horizons to create keen observations. As the son of writer Larry McMurtry, James McMurtry gets it honest. In fact, the younger McMurtry took a few knocks early in his career for the writing advice his father supposedly provided. I don't know about you, but if I had the author of Lonesome Dove for a dad, I'd kidnap him and bring him on tour just for the chance to sit at his feet while he doled out character development wisdom. James McMurtry, though, has come into his own -- quietly since he debuted with some fanfare with 1989's Too Long in the Wasteland. Typically alternating between two tempos -- a dusty plains boogie and Texas-hewn acoustic balladry -- McMurtry's tales are often sad, occasionally wry, and more often than not, spot-on evocations of inner thoughts. Live in Aught-Three brings those abilities into sharp focus. Recorded over two nights at Nashville's 12th & Porter and one night at The Orange Peel in Asheville, North Carolina, the disc finds McMurtry and his crack band, the Heartless Bastards, trolling through his catalog and confirming his status as a songwriting force worth noticing. The song selection stretches across his career (although "Too Long in the Wasteland" is the only song to make the cut from his excellent debut), and the sound is typically lean, even snarling in places. The Heartless Bastards don't try to be a roadhouse band, but there's a remarkable absence of fat in the arrangements, which is fitting given McMurtry's customary economy with words. Live in Aught-Three really gets going about 1/3 of the way in, when McMurtry settles into a batch of songs that examines the juxtaposition of old-fashioned purity and modern encroachment in rural America. "No More Buffalo" teems with "ah hell" realizations, while "60 Acres" explores the more pragmatic side of inheritance. Nimble guitar and a solemn drum beat attempt to pull "Rachel's Song" in two different directions, befitting the ambivalence of the lyrics. Equally uncertain but more sardonic is "Out Here in the Middle", which works up to a soaring chorus full of McMurtry's trademark wryness. The narrator's pride that you can leave your doors unlocked mixes with the bittersweet observation that Starbucks has come to town. He observes that the area contains "amber waves of grain and bathtub speed", states ominously that "applicants are screened with a fine-toothed comb", and that it's a place "where the center's to the right and the ghost of William Jennings Bryant preaches every night". Following that is a head-first dive into "Choctaw Bingo", a meth-cookin', arms-hoardin', Asian-bride-orderin', 2nd-cousin-lustin' tale that rides a locomotive riff for all it's worth. The unreleased live favorite "Lights of Cheyenne" drops things down to a personal, but no less wistful, level, with the lights of the title acting as a beacon of different sorts for the song's characters. "Levelland" sets its tone early with the line "Flatter than a tabeltop / Makes you wonder why they stopped here / Wagon must have lost a wheel / Or they lost ambition, one". McMurtry ends the disc on an uptemp note, with the briskness of "I'm Not From Here", followed by a gasoline-soaked bluesy take on "Too Long in the Wasteland" and a nod to Townes Van Zandt with "Rex's Blues". All in all, Live in Aught-Three is a decent introduction to McMurtry, and it definitely works as a snapshot of where McMurty is now. All those songs of adult restlessness and of finding little personal patches of freedom mark McMurtry as a legitimate inheritor of the Texas songwriting tradition. Over the course of his career, McMurtry's settled into his niche so comfortably that it's easy to take him for granted; Live in Aught-Three, though, goes a long way towards shining a proper spotlight on a songwriter who some people may have forgotten. © Andrew Gilstrap PopMatters Associate Music Editor 19 March 2004 © 1999-2009 PopMatters.com. All rights reserved http://www.popmatters.com/music/reviews/m/mcmurtryjames-livein03.shtml


Texas singer/songwriter James McMurtry, known for his hard-edged character sketches, comes from a literary family; his father, novelist and screenwriter Larry McMurtry, gave James his first guitar at age seven, and his mother, an English professor, taught him how to play it. McMurtry began performing his own songs while a student at the University of Arizona and continued to do so after returning home and taking a job as a bartender. When it transpired that a film script McMurtry's father had written was being directed by John Mellencamp, who was also its star, McMurtry's demo tape was passed along, and Mellencamp was duly impressed, serving as co-producer on McMurtry's 1989 debut album, Too Long in the Wasteland. McMurtry also appeared on the soundtrack of the film (Falling from Grace), working with Mellencamp, John Prine, Joe Ely, and Dwight Yoakam in a one-off supergroup called Buzzin' Cousins. McMurtry has continued to record, releasing albums in 1992 and 1995. Walk Between the Raindrops followed in 1998, and 2002 saw the release of Saint Mary of the Woods, his last for the Sugar Hill label. He signed with Compadre the following year, releasing Live in Aught-Three in 2004 and Childish Things in 2005. Just Us Kids appeared in 2008 on Lightning Rod Records, with another concert album, Live in Europe, arriving in 2009. © Steve Huey, Rovi © http://www.answers.com/topic/james-mcmurtry#Discography_d


James McMurtry (born March 18, 1962 in Fort Worth, is a Texas rock and Americana music singer, songwriter, guitarist, bandleader and occasional actor (Daisy Miller, Lonesome Dove). With his veteran bandmates and rhythm section The Heartless Bastards (Darren Hess and Ronnie Johnson) he tours regions of the United States and, increasingly, Europe, for parts of each year, performing in intimate and mid-sized venues, especially those with dancing room for his audiences. His father, novelist Larry McMurtry, gave him his first guitar at age seven. His mother, an English professor, taught him how to play it: "My mother taught me three chords and the rest I just stole as I went along. I learned everything by ear or by watching people." James spent the first seven years of his boyhood in Ft. Worth but was raised mostly in Leesburg, Virginia. He attended the Woodberry Forest School, Orange, Virginia. He began performing in his teens, writing bits and pieces. He started performing his own songs at a downtown beer garden while studying English and Spanish at the University of Arizona in Tucson. After traveling to Alaska and playing a few gigs, James returned to Texas and his father's "little bitty ranch house crammed with 10,000 books". After a time, he left for San Antonio, where he worked as a house painter, actor, bartender, and sometimes singer, performing at writer's nights and open mics. In 1987, a friend in San Antonio suggested he enter the New Folk songwriter contest. He was one of six winners that year. John Mellencamp was starring in a film based on a script by James's father, which gave James the opportunity to get a demo tape to Mellencamp. Mellencamp subsequently served as co-producer on McMurtry's 1989 debut album, Too Long in the Wasteland. McMurtry also appeared on the soundtrack of the film Falling from Grace, working with Mellencamp, John Prine, Joe Ely, and Dwight Yoakam in a "supergroup" called Buzzin' Cousins. McMurtry released follow-up albums in Candyland (1992) and Where'd You Hide the Body (1995). Walk Between the Raindrops followed in 1998 and 2002 brought St. Mary of the Woods. In April 2004, McMurtry released a tour album called Live In Aught-Three. In 2005, McMurtry released his first studio album in 3 years. Childish Things again received high critical praise, culminating in him winning the song and album of the year at the 5th Annual Americana Awards in Nashville, Tennessee. The album was perhaps McMurtry at his most political, as his working-class anthem "We Can't Make It Here" included direct criticism of George W. Bush, the Iraq War, and Wal-Mart. McMurtry released his follow up album to Childish Things in April 2008. Just Us Kids continued with the previous album's political themes and included the song Cheney's Toy, McMurtry's most direct criticism of George W. Bush so far. Like We Can't Make It Here from the previous album, Cheney's Toy was made available as a free Internet download. James McMurtry currently resides in Austin, Texas. When in Austin McMurtry and The Heartless Bastards play a midnight set at The Continental Club on Wednesday nights. He's usually preceded by another Austin roots rock legend, Jon Dee Graham.