Get this crazy baby off my head!


Method Actor Band (Eva Cassidy Related)

Method Actor Band - Method Actor Band feat. Eva Cassidy - 1988BLP

Before the late Eva Cassidy pursued a solo career, she was the lead singer for Method Actors -- an obscure Washington D.C.-based pop/rock outfit that producer/songwriter/guitarist David Christopher founded in 1987. Commercially, Method Actors didn't get very far, and the little-known band provided only one album during its three-year existence. This self-titled effort, in fact, had very limited distribution when Christopher released it on vinyl and cassette in 1988; a mere 2,000 copies were manufactured. And after Cassidy's death from cancer in 1996, Method Actors' LP/cassette became a collector's item -- hard-to-find copies were selling for as much as 500 dollars on the e-bay website. But in 2002, this album became much easier to obtain when Q&W Music Group reissued it on CD and added two 1989 recordings as bonus tracks ("The Waiting Is Over" and "Little Children"). Those who know Cassidy for her rootsier solo efforts of the '90s might be surprised to learn that a slicker approach prevails on Method Actors' album, but slick doesn't necessarily mean unfeeling or without substance -- and Cassidy's soulfulness comes through on songs (all of which Christopher wrote or co-wrote) that range from the melancholy "Stay" to the sentimental ballad "Forever." The CD's most rootsy offering is the blues-rock number "Getting Out"; this is the track that has the most in common with Cassidy's '90s solo work. Is Method Actors' album in a class with Cassidy's best solo projects? No; when these recordings were made in 1987, 1988, and 1989, the singer's best performances were yet to come. Nonetheless, all of the material is pleasing and enjoyable, and Cassidy's hardcore fans will find that these recordings have a great deal of historic value. © Alex Henderson © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/method-actor-mw0000221945

Eva Cassidy gave it her all. With her crystal-clear voice and passion-filled arrangements, she adopted a broad audience. While this first album by Cassidy is quite different from her later recordings, it elucidates that special quality in her voice and temperament that came to be recognized far and wide. Ten rock and blues anthems – composed by Method Actor’s lead guitarist and pianist, David Christopher – make a comfortable session that’s easy on the ears. The dramatic poise in Cassidy’s voice makes each track shine brightly. Her multi-tracked background vocals, as well, provide exceptional examples. Cassidy’s interpretation of “Stay,” for instance, warms the heart through its genuine spirit. “End the Rain” and “How Will It End” provide a dramatic rock anthem feeling that can stay with you all day long. The Washington, D.C.-based band Method Actor was founded by Christopher in 1987. They broke up three years later. That’s when Cassidy, then 27, pursued her solo career in jazz, soul, funk, blues, folk and rock. She was only 33 when she died of cancer (metastatic melanoma) in 1996, leaving behind only a handful of recordings. Method Actor contains two previously unreleased bonus tracks: “Little Children” and “The Waiting is Over,” both of which were recorded in 1989. Cassidy’s vocal interpretations on this debut album provide universal appeal. Each rock and blues anthem on Method Actor leaves something special for all of us to remember her by. By & © JIM SANTELLA, Published: June 25, 2003 © 2015 All About Jazz http://www.allaboutjazz.com/method-actor-method-actor-band-blp-review-by-jim-santella.php

A Good 2002 CD re-release of The Method Actor Band's 1988 album featuring the late, great Eva Cassidy on lead vocals. There are two additional tracks on the CD release, "Little Children", and "The Waiting Is Over". Read more about this album @ http://en.wikipedia.org/wiki/Eva_Cassidy#Unofficial_releases Read more about the late Eva Cassidy @ http://en.wikipedia.org/wiki/Eva_Cassidy [All tracks @ 320 Kbps: File size = 102 Mb]


1 Getting Out" (Christopher) 4:19
2 Look in to My Eyes" (Christopher) 4:16
3 When It's Too Late" (Christopher) 5:00
4 Laugh With Me" (Christopher) 3:43
5 Stay" (Christopher) 5:24
6 Little Children" (Christopher, Tony Taylor) 3:31 *
7 Forever" (Christopher) 5:51
8 End the Rain" (Christopher) 4:21
9 How Will It End" (Christopher, Ron Kent) 3:38
10 The Waiting Is Over" (Christopher) 3:28 *

N.B: Not on original 1988 release


David Christopher - Electric & Acoustic Guitar, Keyboards
Kenn - TORB - Fiester (Bob Fiester) - Bass
Ned Judy - Keyboards
Jim Campbell - Drums
Tom Copeland - Horns
Eva Cassidy - Vocals


7 For 4

7 For 4 - Diffusion - 2008 - MGI

The instrumental band 7for4 was founded in 1999 by guitarist Wolfgang Zenk. Since then 4 albums have been released. The 4 musicians stop for nothing: Whether Funk, Jazz, Metal or Country, they pack the best elements from most different styles into extraordinary but coherent compositions and perform their music with impressive virtuosity. Catchy melodies and spherical tunes alternate with full power passages, surprising the listener again and again with complex rhythms and virtuosic playing and soloing. © 2001-2014 | 7for4 http://www.7for4.de/about.html

Many of you may be familiar with Wolfgang Zenk’s work with the progressive metal band Sieges Even. While drawing a few similarities, 7for4 can best be described as fusion that borrows heavily from many other genres. As the booklet best describes it: "Whether Rock, Funk, Jazz or even Country and Latin 7for4 pack the best elements from different styles into extraordinary and progressive compositions." With a majority of the influences coming from the metal, jazz and even shred. The first thing that becomes apparent is that almost this entire album is driven solely by the Wolfgang’s guitar work. A few songs such as Emoctify and Cyclotron sound a lot like Premonition era Tony Macalpine with many harmonized guitar parts and even similar melodies. The amount of influences on this album was what really kept me coming back for more. Silent Flow is a slower, blues based song with excellent melody and very tasteful guitar playing. Spiral Dance has an initial flamenco vibe to it which then progresses nicely into a heavier section that retains the same feel. My favourite track by far is Mystic Mouse. There is a slow, syncopated, ominous feeling at first which then leads into a few Liquid Tension Experiment inspired riffs that wouldn’t really be out of place on Biaxident or When The Water Breaks. A good thing to keep in mind about Diffusion is that, as opposed to a lot of other fusion type bands that have many bass and keyboard based sections as well as guitar, this is almost all based around Wolfgang Zenk. Even as a guitarist I have some reservations about music strictly based around guitar because I enjoy what the other musicians can bring to the table when given adequate room to play. This is one of the few cases where an album such as this made a huge impression on me. Not only does the style of music shift from song to song, it does so seamlessly within songs while remaining largely coherent. As with all music such as this, it does require some time to begin to hear to subtleties in compositions as opposed to a jumbled mess that it first sounded like to me. Highly recommended for fans of fusion, world and metal based instrumental music.
Conclusion: 8.5 out of 10 © CHRIS JACKSON © DPRP

What a treat, when every few years guitarist Wolfgang Zenk, and his quartet of fusion explorers consisting of: Klaus Engl on drums, Marlkus Grutzner on bass and Markus Froschmeier on keyboards, take on a new challenge to deepen the 7 for 4 discography. 2008 sees the release of the band's newest addition, with their third recording with the aptly named Diffusion, which in physics means, an intermingling of molecules, and yet another definition:To become widely dispersed; spread out. Which in regards to musical genres is very fitting of the bands' overall sound. Start with the vibe that is 7 for 4, they are all musicians that have spent a lifetime of dedication to their instruments, each player shares in the musical direction by injecting their personal touch to these elegantly written compositions. Granted, Wolfgang Zenk's guitar is at times the voice of the band so to speak, but each players is important to what the band achieves compositionally. Unlike many fusion bands that set up grooves or progressions for the sake of showcasing individuals' solo skills, these songs are much more intricate and cinematic in style. What they are creating are graceful songs that set a perfect backing for imaginary scenarios and would be cinema soundtracks. It's that rare marriage of talent and writing where progressive music meets fusion's high standard of musicianship, no ideas or styles are excluded, as this music can be soft or heavy, calm or stormy, contemplative or extravagant. It is the music of extremes, yet never dull or dispassionate. What I hear with 7 for 4 is the same feelings I had when hearing Return to Forever's - Romantic Warrior for the first time, not that the bands sound at all alike, but having four greatly skilled musicians creating composed music that mixes rock, jazz, metal, latin, etc, yet with such a natural chemistry that it all comes out sounding like only something 7 for 4 would do. That is what I love about the band so much. They have a personality, no cloning, no derivative comparisons really, but a band that has a gift that exists between them that allows the magic to sort of manifest without pretensions or formulas. My understanding is that this cd was over two years in the making, and as intricate as this music is, that is very understandable, as any great production should be, taking the time to perfect one's craft typically produces a desired result. 7 for 4 have yet to produce anything short of excellent, each of their cds is an adventure into the future of instrumental progressive fusion, this being the latest cd, I can hear some familiar sounds, and some new ideas, yet as always, launching the band boldly forward from where they were in 2004 with the release of Time. In this day and age of what seems like an endless array of musical clones, we have a band that has taken on an identity all of their own, the power of metal, the elegance of jazz, the sophistication of progressive music, and the flavor of various ethno rhythms, and a great presentation of these themes, paired with a fantastic production quality, and what you have is what is proving to be a frontrunner for my favorite cd of 2008, it will certainly be a hard one to beat. © MJBrady © ProGGnosis 2000 - 2015 where appropriate - All rights reserved. http://www.proggnosis.com/RELEASE_Detail.aspx?RID=25394

Wonderful instrumental prog metal and jazz fusion from this great German group. This band play a terrific blend of fusion with jazz rock, Canterbury, classical, and even Latin touches. The individual musicians are all virtuosos. The album is not a masterpiece by any means but the fabulous musicianship carries this album over the line. HR by A.O.O.F.C Check out the band's amazing "Contact" and "Time" albums on this blog and consider buying the band's "Splash" album released in 2014. [All tracks @ 320 Kbps: File size = 121 Mb]


1 Diffusion 5:54
2 Indigo Dunes 5:55
3 Emoctify 4:50
4 The Winding Path 6:45
5 Silent Flow 7:43
6 Cyclotron 4:24
7 Spiral Dance 6:24
8 Hidden Depths 5:32
9 Mystic Mouse 5:11

All songs composed by Wolfgang Zenk


Wolfgang Zenk - Guitar
Markus Grutzner - Bass
Markus Froschmeier - Keyboards
Thomas Streck - Additional Keyboards
Klaus Engl - Drums


7FOR4 are four very talented guys from Munich/Germany. Maybe talented is not the right term here because all four dispose of experience and know-how. Wolfgang Zenk who impresses with his virtuos guitar playing was a member of the German prog metal band SIEGES EVEN (which can also be found in the Prog Archives) as well as leader and lecturer of MGI München (Munich), Germany's best known institute for professional guitar education. Markus Grützner played bass for several Jazz/Fusion bands and did so on several European tours of the well known Broadway musical "Hair". Klaus Engl also is a lecturer, he works for the drum-institute "Drummer's Focus" and played together with Markus Grützner in a Heavy-Rock band. The keyboard player Markus Froschmeier has his roots in the classical genre and adds some of his influences to the general sound of the band. Speaking about general sound I have to mention that it is quite difficult to find a term describing the style applicatively. Besides the fact that the music is all instrumental, you can say that it is a mixture of Prog Metal and Jazz Rock/Fusion, sounding as if LTE and the MAHAVISHNU ORCHESTRA get together. But nearly every song seems to have different influences so you can find tunes with a country, "gypsy music" or Brazilian samba flavour, most of it played incredibly fast. The band released two albums so far. The first one called "Contact" was released in 2001. Their current album is called "Time" and was released in 2004. Both albums are incredible and feature the quite unique sound I described above as well as awesome cover artwork. You can't say which of them is the better one. My suggestion is that you purchase both. With that said I can end with mentioning that I really recommend checking out this terrific band. If you have the chance to get one of their albums, don't wait and grape it. If you even have the chance to see them live, don't falter, I can tell you that it's really worth the effort, I've seen them and they really blew me away. © Martin Dietrich, GERMANY © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=1279


The Magic Elf

The Magic Elf - Elf Tales - 1998 - Big Shoe

This is undeniable Dregs-style rock with brief flashes of Holdsworthian/Ray Gomez/Beck jazz rock fusion slant. This is a tasty riff fest by the accomplished Carl Roa that guitarheads are gonna enjoy. This Elf Tales reminds me of Morse's The Introduction. The bass work by Magic Elf's George Panos and Saul Zonana is strong. Roa is Steve Morse all over this release. He is very close to the Morse-emulations that Ben Sherman or Dream Theater's Petrucci lay down. Consistently, you find percussive chops and fretboard gymnastics that scream Dregs. Even that Deep Purple w/ Morse's gritty punch comes through on "Hobgoblins." What a note blitz. And as Morse loved the classic guitar and that dreamy, ascent-to-heaven progressions, it is all there on Elf Tales "Greensleep," "Tree Talk," and the 7:02 finale, "Cobbler's Quest." Throughout the album it is all held together and relentlessly driven to perfection with rock steady drums by Dave Miranda. © John W. Patterson © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/elf-tales-mw0001075915

The Magic Elf is the prayer answer to all those Dixie Dregs fans who have just given up hope that the Dregs will ever release an album that doesn't sound identical to the previous one (including Morse solos). Playing a blistering brand of instrumental fusion and progressive rock this trio also strays slightly into metal, classical, and even a dash of country. Guitarist Carl Roa studied at the Berkley College of Music and graduated from the University Of Miami with a degree in Jazz Performance and Composition. Drummer Dave Miranda studied jazz fusion and also plays in the hardcore outfit The Six & Violence. Bass duties are handled on various tracks by George Panos and Saul Zonana. Much of what gives the Magic Elf their identity (apart from the obvious influences) is rather than being a showcase for guitarist Roa, Magic Elf is a power trio that seems to give equal prominence to the guitar and drums. Roa is very much a "vocalist" in that his guitar creates each song's melody, but Miranda's drumming right out there with him helping to create the feel of the songs. There's plenty of heavy rockin' here that display the musicians' proficiency and ability to handle both flash and good melodies. Songs like "Mr Destructo", "Hobgoblins", and the metallic "Limbonic State" will put you in the seat of the guy in the Maxell tape commercials where the chair is blown across the room by the rush of the music blasting from the stereo. Magic Elf do allow some breathers as well. "Greensleep" is an ambient-acoustic piece that briefly slows the pace and "Tree Talk" is a solo classical acoustic guitar number. It's interesting that despite the heavy Dregs sound, the opening track, "The Big Shoe", forecasts that this will be more along the lines of Allan Holdsworth. I don't hear the Rush influences that several reviewers have cited, but I haven't heard a lot of Rush in recent years. In summary, The Magic Elf will blow you away if you like technical progressive fusion that has chops galore, but is also creatively composed. A note to the band: Heed the first line of this review and don't fall into the same rut Morse and company did. Reviewed by & © Jerry Kranitz From Aural Innovations #6 (April 1999) http://www.aural-innovations.com/issues/issue6/magelf01.html

Magic Elf is an instrumental rock, progressive, fusion trio formed in East Setauket, NY, in 1985. The band's style is often compared to The Dregs, Rush, King Crimson, Eric Johnson, Allan Holdsworth, Joe Satriani, Steve Vai, Dream Theater and the like. "Elf Tales" is a brilliantly constructed album of technical progressive fusion. Carl Roa is the guitarist of this highly acclaimed band. Whether ripping through a supercharged rock solo or gliding through a maze of soulful chord progressions, Carl's ability to balance musicality and technique has delighted music fans worldwide. Receiving accolades from Guitar World, Progression and Billboard magazines, Carl's unique and diverse playing style has put him in the forefront of today's progressive rock / fusion movement. Check out Magic Elf's "Heavy Meddle" album and Carl Roa's "Lord of the Strings" album [All tracks @ 320 Kbps: File size = 125 Mb]


1 The Big Shoe 3:39
2 Elf Rock 3:51
3 Mr. Destructo 4:26
4 Limbonic State 4:32
5 Greensleep 1:48
6 Troll Toll 4:04
7 Hobglobins 4:57
8 Tree Talk 1:27
9 Cobbler's Quest 6:57

All tracks composed by Carl Roa


Carl Roa - Guitars
George Panos - Bass
Saul Zonana - Bass on Tracks 2,4,6,9
Dave Miranda - Drums


The Kinsey Report

The Kinsey Report - Smoke And Steel - 1998 - Alligator

CMJ (11/09/98, p.25) - "...Smoke and Steel is a powerful blues album from this group of contemporary masters..."

Living Blues (1-2/99, p.50) - "...the effort is largely successful....a welcome improvement..."

With a strong, rock-drenched approach to their brand of blues, the Kinsey Report comes roaring back with their third full length album for the Alligator imprint. The band has matured and, if nothing else, acquits themselves in a thoroughly professional manner like the old-school gospel/blues/R&B veterans they truly are. While the whole thing pulsates and rocks with an almost bludgeoning intensity at times, Donald's blistering guitar is equal parts roadhouse funk and rock volume blues infused with lots of Johnny Winter and Jimi Hendrix with the Kinsey family twist put to it. Brothers Kenny and Ralph hold the bass-drums groove down tight, tight, tight, while guest guitars, keyboards and Lester Davenport on harmonica show up along the way to spice things up. Highlights include the minor-key reggae groove of "This Old City," and the funk flavors on "When the Church Burned Down" and "Can't See the Hook," the soul ballad "Loved Ones," the lowdown mean country romp of John Fogerty's "Rattlesnake Highway" and "Down In the Dungeon," and the slow blues workout on "Code of the Streets." Strong, strong songwriting (Billy Gibbons of ZZ Top co-wrote one of the tunes here) and a varied approach throughout makes this a modern blues album that holds up to repeated listenings. © Cub Koda © 1996 - 2015 CD Universe http://www.cduniverse.com/productinfo.asp?pid=1011988&style=music&fulldesc=T

A very enjoyable funk, blues and rock album. Bassist Kenneth Kinsey and drummer Ralph Kinsey do a great job on John Fogerty's "Rattlesnake Highway" and on "When the Church Burned Down" the band expertly blends country rock and funk. A well above average album worth hearing. Check out the band's great "Midnight Drive" album [All tracks @ 320 Kbps: File size = 137 Mb]


1. Time Is Running Out - Bruce Iglauer / Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
2. Dead In Your Tracks - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
3. This Old City - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / J. White
4. Can't See The Hook - Leslie Doyle / Mike Lawley / Ross Roberts
5. Loved Ones - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
6. Must Be Love - Jerry Lynn Williams
7. When The Church Burned Down - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
8. Rattlesnake Highway - John Fogerty
9. Down In The Dungeon - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / M. Robinson
10. Fire Down Below - Bob Seger
11. Code Of The Streets - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / Kinsey Report
12. One Step Back - Billy Gibbons / Jerry Williams


Donald Kinsey - guitar, vocals
Dave Miller - rhythm guitar (1,7,8)
Will Crosby - rhythm guitar (4,5,7,9,10)
Kenneth Kinsey - bass
Roosevelt Purifoy - keyboards (2,3,6,9)
Anthony Space - keyboards (4,5,7,10,11)
Ralph Kinsey - drums, percussion and 2nd lead vocals (2)
"Mad Dog" Lester Davenport - harmonica (9)
The Kinsey Report, Nancy Shaffer, Lasandra Maloney - backing vocals


This family band consists of Donald Kinsey (vocal, guitar), Ralph "Woody" Kinsey (drums), Kenneth Kinsey (bass), and Ronald Prince (guitar). Solidly based in the blues as a result of lifelong training in the Big Daddy Kinsey household, the Kinsey scions are also versed in a broad range of music. Older brothers Donald and Ralph had an early blues-rock trio (White Lightnin') in the mid-'70s, long before they regrouped as The Kinsey Report in 1984 and began to launch new excursions into rock. Donald also recorded and toured with Albert King and with Bob Marley, and the influence of those giants (as well as that of Big Daddy Kinsey, naturally) show through in the music of The Kinsey Report. The band expertly covers all the bases from Chicago blues through reggae, rock, funk, and soul, and their recordings are also distinguished by the songwriting talents and self-contained production approach of The Kinseys. © Jim O'Neal © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/kinsey-report-mn0000100455/biography


Keith Richards

Keith Richards - Main Offender - 1992 - Virgin (Japan)

Main Offender is Keith Richards’ second solo studio album and his third overall. Released in 1992 in between The Rolling Stones’ Steel Wheels and Voodoo Lounge projects, Main Offender remains to date Richards’ most recent offering as a solo artist. Regrouping with his group of musician friends — known publicly as “The X-Pensive Winos” — Richards teamed up with Talk is Cheap collaborator, Steve Jordan, adding Waddy Watchel to the mix both in composing and producing Main Offender.Sessions took place in California and New York City from March to September 1992, with another round of touring scheduled that fall in Europe and early 1993 in North America. When Richards would reunite with Mick Jagger (who was recording Wandering Spirit while Richards was making Main Offender) in mid-1993 to start work on Voodoo Lounge, Jagger would compliment Richards on Main Offender, even using lead single “Wicked As It Seems” as inspiration for The Rolling Stones’ next single, “Love Is Strong”. Released in October 1992, Main Offender received another round of positive reviews, but failed to match the commercial success of Talk is Cheap, reaching #45 in the UK and #99 in the US where it has sold over 200,000 copies. Following the touring commitments in support of Main Offender, Richards would return to recording exclusively with The Rolling Stones and put his solo career on an indefinite hold. - Wiki

Primarily a rock album and second solo album from the great Rolling Stone legend but with some great catchy tunes, smooth grooves and very good riffs. A terrific cast of great musicians help out. HR by A.O.O.F.C. The album arguably rocks better and harder than some of the Stones' more recent albums. Highlights include "Wicked as It Seems," "Eileen," and the searing "999." Listen to Keith's "Talk Is Cheap" album. [All tracks @ 320 Kbps: File size = 156 Mb]


1 999 - K. Richards, S. Jordan, W. Wachtel 5:51
Backing Vocals – Sarah Dash
Backing Vocals, Guitar – Waddy Wachtel
Bass – Charley Drayton
Drums, Backing Vocals – Steve Jordan
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Organ, Clavinet – Ivan Neville

2 Wicked As It Seems - C. Drayton, K. Richards, S. Jordan 4:45
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Charley Drayton
Clavinet – Ivan Neville
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Other [Rattlesnake] – Keith Richards

3 Eileen - K. Richards, S. Jordan 4:29
Backing Vocals – Charley Drayton
Drums, Backing Vocals, Castanets – Steve Jordan
Guitar, Backing Vocals, Piano – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Bass – Keith Richards
Piano – Ivan Neville

4 Words Of Wonder - K. Richards, S. Jordan, W. Wachtel 6:35
Backing Vocals – Bernard Fowler
Backing Vocals, Instruments [Lip Bone] – Babi Floyd
Drums – Charley Drayton
Guitar, Backing Vocals – Waddy Wachtel
Guitar, Backing Vocals, Percussion – Steve Jordan
Lead Vocals, Guitar, Bass – Keith Richards
Piano, Organ, Clavinet – Ivan Neville

5 Yap Yap - K. Richards, S. Jordan, W. Wachtel 4:43
Backing Vocals – Babi Floyd, Bernard Fowler
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar – Waddy Wachtel
Guitar [Baritone] – Charley Drayton
Lead Vocals, Backing Vocals, Guitar, Bass, Percussion – Keith Richards
Vibraphone [Vibes] – Ivan Neville

6 Bodytalks - C. Drayton, K. Richards, S. Dash, S. Jordan 5:20
Backing Vocals – Babi Floyd, Bernard Fowler, Sarah Dash
Bass – Charley Drayton
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Voice [Oh, Lord] – Ivan Neville

7 Hate It When You Leave - K. Richards, S. Jordan, W. Wachtel 4:59
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Ivan Neville
Drums, Backing Vocals, Congas, Keyboards [Farfisa] – Steve Jordan
Guitar, Backing Vocals, Celesta – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Keyboards – Keith Richards
Piano, Organ [Hammond B-3], Backing Vocals – Charley Drayton
Woodwind – Arno Hecht, Crispin Cioe, Jack Bashkow

8 Runnin' Too Deep - K. Richards, S. Jordan 3:20
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Charley Drayton
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Piano – Keith Richards
Piano, Harpsichord – Ivan Neville

9 Will But You Won't - K. Richards, S. Jordan 5:05
Backing Vocals – Bernard Fowler
Bass – Charley Drayton
Clavinet – Ivan Neville
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals, Percussion – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Percussion – Keith Richards
Vocals – Babi Floyd

10 Demon - K. Richards, S. Jordan 4:46
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Charley Drayton
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Piano – Ivan Neville

11 Key To The Highway - McKinley Morganfield 3:21
Backing Vocals – Bernard Fowler
Bass, Backing Vocals – Joey Spampinato
Drums, Backing Vocals – Steve Jordan
Keyboards, Backing Vocals – Bernie Worrell
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Piano – Johnnie Johnson


He's acknowledged as perhaps the greatest rhythm guitarist in rock & roll, but Keith Richards is even more legendary for his near-miraculous ability to survive the most debauched excesses of the rock & roll lifestyle. His prodigious consumption of drugs and alcohol has been well documented, and would likely have destroyed anyone with a less amazing endurance level. On-stage with the Rolling Stones, he epitomized guitar-hero cool as the quiet, stoic alter ego to Mick Jagger's extroverted frontman, a widely imitated image made all the more fascinating by his tightrope-walking hedonism. Yet that part of Richards' mystique often overshadows his considerable musical legacy. Arguably the finest blues-based rhythm guitarist to hit rock & roll since his idol Chuck Berry, Richards knocked out some of the most indelible guitar riffs in rock history, and he did it so often and with such apparent effortlessness that it was easy to take his songwriting skills for granted. His lean, punchy, muscular sound was the result of his unerring sense of groove and intuitive use of space within songs, all of which played a major part in laying the groundwork for hard rock. Never intensely interested in soloing, Richards preferred to work the groove using open-chord tunings drawn from Delta blues, and his guitars were often strung with only five strings for cleaner fingering, which made it difficult for cover bands to duplicate his distinctive sound precisely. For all his rock-star notoriety, Richards was perfectly happy in the confines of a group, and thus was the last Rolling Stone to release a side-project solo album; his 1988 solo debut appeared more than a quarter century after he co- founded the band that earned him the nickname "Mr. Rock and Roll." Richards was born December 18, 1943, in Dartford, Kent, on the southern outskirts of London. When he was just an infant, his family had to be temporarily evacuated from their home during the Nazi bombing campaign of 1944. In 1951, while attending primary school, Richards first met and befriended Jagger, although they would be split up three years later when they moved on to different schools. By this age, Richards had already become interested in music, and was an especially big fan of Roy Rogers; in his very early adolescence, he sang in a choir that performed for the Queen herself, although he was forced to quit when his voice changed. Around that time, he became interested in American rock & roll and began playing guitar, with initial guidance from his grandfather. Behavior problems at school led to Richards' expulsion in 1959, but the headmaster thought he might find a niche as an artist, and Richards was sent to Sidcup Art School. There he met future Pretty Things guitarist Dick Taylor, who at the time was playing in a blues band with Jagger. Discovering their new mutual interest, Richards and Jagger struck up their friendship all over again, and Richards joined their band not long after. Over the next couple of years, that band evolved into the Rolling Stones, who officially debuted on-stage in the summer of 1962 (by which time Richards had left school). The rest was history -- initially a blues and R&B cover band, the Stones branched out into original material penned by Jagger and Richards. The duo took some time and practice to develop into professional-quality songwriters, but by 1965 they'd hit their stride. "(I Can't Get No) Satisfaction" made them superstars in the States as well as the U.K., boasting one of rock's all-time great guitar riffs, which Richards played into a tape recorder in the middle of the night and didn't recall writing when he heard the tape the next morning. With their menacing, aggressively sexual image, the Stones became targets for British police bent on quelling this new threat to public decency, and Richards suffered his first drug bust in 1967 when police raided his residence and found amphetamines in the coat pocket of Jagger's girlfriend, singer Marianne Faithfull. Richards was convicted of allowing the activity on his premises and sentenced to a year in prison, but public furor over the trumped-up nature of the charges and the purely circumstantial evidence prompted a hasty reversal of the decision. The same year, Richards hooked up with bandmate Brian Jones' former girlfriend, model/actress Anita Pallenberg; although the two never officially married, they remained together (more or less) for the next 12 years, and had two children (Marlon, in 1968, and Angela, in 1972). After the death of Brian Jones in 1969, the Stones became a more straightforward, hard-rocking outfit, and Richards' guitar took center stage more than ever before. By this era, he'd taken to calling himself Keith Richard, simply because he thought it sounded better without the s. Privately, the band was sinking further into decadence, clearly audible on its early-'70s masterpieces Sticky Fingers and Exile on Main Street. However, Richards' burgeoning heroin addiction began to affect the consistency of the band's recordings for the next few years. Additionally, he ran into more legal troubles; his French villa was the subject of a drug raid in 1972, as was his British residence the following year. (Rumors dating from this era that Richards had all of his blood replaced in a cleanup effort, while entertaining, were not true.) Over 1976-1977, Richards entered the studio for a few solo sessions, but the only result to see the light of day was the Christmas single "Run Rudolph Run" (issued in 1978). Perhaps the lack of productivity was due to the fact that Richards was in the middle of the most difficult period of his life. In 1976, Richards' infant son Tara, his third child by Pallenberg, died suddenly; the official cause was SIDS, although unsubstantiated rumors about the couple's drug abuse playing a factor circulated as well. In early 1977, Richards was busted for coke, and faced the most serious charges of his life when, in Toronto, he was caught in possession of heroin. He narrowly escaped serving jail time, agreeing to perform a charity concert for the blind and enter drug rehabilitation in the United States. The scare convinced him to clean up, and when the Stones returned in 1978 with Some Girls, it was acclaimed as their strongest, most focused work in years, and helped rejuvenate their popularity as an arena rock attraction. Things went sailing along smoothly for the next few years, and Richards even officially married for the first time in 1983, wedding Patti Hansen, who would bear him two more daughters, Theodora and Alexandra (he and Pallenberg had finally split in 1979). However, around the same time, Jagger decided the Stones should take a new direction more in line with contemporary pop; Richards refused, and Jagger embarked on a solo career that began to take priority over the Stones. It ignited a very public feud between the two, and rumors of the Stones' imminent demise swirled over the next few years. When Jagger refused to tour behind 1986's Dirty Work in order to record his second solo album, Richards retaliated by going out on his own, forming a backing band he dubbed the Xpensive Winos. Richards released his first solo album, Talk Is Cheap, in 1988. Both critically and commercially, it was a far greater success than Jagger's Primitive Cool. Reviews were generally quite complimentary, calling it a solid rock & roll record; plus, buoyed by the minor hit single and MTV favorite "Take It So Hard," Talk Is Cheap went gold. Richards embarked on a supporting tour which produced the concert album Live at the Hollywood Palladium, released three years later, and his success convinced Jagger to return to the fold (of course, the relative failure of his own solo venture helped). Their future thus seemingly assured, the Stones had their biggest success in some time with the 1989 album Steel Wheels and its blockbuster supporting tour. In the early '90s, Richards and Jagger once again began working on solo projects, but this time with the understanding that nothing took precedence over the Stones; Richards' second studio album, Main Offender, was issued in 1992, and again received fairly solid notices, although it didn't get quite the same commercial exposure. Since then, Richards has concentrated on recording and touring with the Stones. © Steve Huey © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/keith-richards-mn0000767068/biography


Talking Heads

Talking Heads - The Name Of This Band Is Talking Heads (Live 2 CD Set Remastered) - 2004 - Rhino

The Name of This Band Is Talking Heads is a double live album by Talking Heads, originally released in 1982. The first album featured the original quartet in recordings from 1977 and 1979, and the second album the expanded ten-piece lineup that toured in 1980 and 1981. The album contains live versions of songs that appear on Talking Heads: 77, More Songs About Buildings and Food, Fear of Music, and Remain in Light. The cassette edition of the album included "Cities" as a bonus track not included on the vinyl edition – this track has been included on the subsequent CD release. The title of the album is a reference both to the group's preference for having no expressed definite article within the band name (as opposed to "The Talking Heads") and to David Byrne's minimalist introductions to songs. The album opens with one such introduction: "The name of this song is New Feeling. That's what it's about." An expanded version of the record, on CD in the United States for the first time, was released in 2004 by Sire/Warner Bros./Rhino. It duplicated the pattern of the original with the first disc featuring the quartet alone, and the second disc a ten-member band. Additional tracks from 1978 are among the eight extra songs on the first disc, and correct running order for the set from the larger band on the second disc. The introduction to the song "Crosseyed And Painless" was edited out on the CD version, however.The remastered & expanded edition of the album currently sits at number fifteen on the Metacritic list of all time best-reviewed albums. – Wiki

Although most people probably think the only Talking Heads live release is Stop Making Sense, the fact is that there's an earlier, better live album called The Name of This Band Is Talking Heads. Originally released in 1982 on LP and cassette, the album chronicles the growth of the band, both stylistically and personnel-wise. The first LP is the original quartet version of the band, recorded between 1977 and 1979, performing excellent versions of tunes (mostly) off 77 and More Songs About Buildings and Food. Also included were the previously unavailable "A Clean Break" and "Love Goes to a Building on Fire," as well as early versions of "Memories Can't Wait" and "Air." The second LP comes from the Remain in Light tour, recorded in 1980 and 1981. In order to present something close to the music on that album, the original quartet lineup was greatly expanded. Added were two percussionists (Steven Stanley, Jose Rossy), two backup singers (Nona Hendryx, Dollette McDonald), Busta Cherry Jones on bass, Bernie Worrell (!) on keys, and a young Adrian Belew on lead guitar. The excitement of this material is palpable, and the muscular band rips into these tunes with more power than the originals in most cases. "Drugs" gets revamped for live performance, and "Houses in Motion kicks into high gear with a great art-funk coda. Belew is absolutely on fire throughout, especially on "The Great Curve" and "Crosseyed and Painless," where his deranged feedback soloing has never sounded better. At this point in their career, Talking Headswere still basically an underground band; it was "Burning Down the House" that really thrust them into the mainstream, and Stop Making Sense documents their arrival as a more or less mainstream act. The Name of This Band Is Talking Heads captures a hungry band on its way up, performing with a fire that was never matched on later tours. Unfortunately, The Name of This Band Is Talking Heads remained unavailable on compact disc for years, which is a shame since it's arguably one of their finest releases. © Sean Westergaard © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/the-name-of-this-band-is-talking-heads-mw0000199932

This two-disc set marked the CD debut of Talking Head’s 1982 live double album. While the original tracks are retained (and the discs follow the original's breakdown of 1977-1979 and 1980-1981), an extra 16 tracks are added to the set, including 13 that were never before released in any format. “The Name of This Band Is Talking Heads” is arguably one of the best live albums of all time and is an important, groundbreaking album by a unique band on their way up. Read more about this album @ http://www.discogs.com/Talking-Heads-The-Name-Of-This-Band-Is-Talking-Heads/release/438300 VHR by A.O.O.F.C [1 Rar file containg two CD’s: File size = 331 Mb: All tracks @ 320 Kbps]



"New Feeling" – 3:09 for WCOZ broadcast, Northern Studio, Maynard MA, November 17, 1977
"A Clean Break (Let's Work)" – 5:05
"Don't Worry About The Government" – 3:03
"Pulled Up" – 4:04
"Psycho Killer" (Byrne, Tina Weymouth, Chris Frantz) – 5:31
"Who Is It?" – 1:44
"The Book I Read" – 4:22
"The Big Country" – 5:09 for WXRT broadcast, The Park West, Chicago, August 23, 1978
"I'm Not in Love" – 4:57 for KSAN broadcast, The Boarding House, San Francisco, September 16, 1978
"The Girls Want to Be with the Girls" – 3:44 at The Agora, Cleveland, December 18, 1978
"Electricity (Drugs)" – 3:28
"Found a Job" – 5:35
"Mind" – 4:56 for WBCN broadcast, Berklee Performance Center, Boston, August 24, 1979
"Artists Only" (Byrne, Wayne Zieve) – 3:49 at The Capitol Theater, Passaic NJ, November 17, 1979
"Stay Hungry" (Byrne, Frantz) – 4:05
"Air" – 4:01
"Love → Building on Fire" – 3:47
"Memories (Can't Wait)" (Byrne, Jerry Harrison) – 3:44
"Heaven" (Byrne, Harrison) – 4:31


"Psycho Killer" (Byrne, Weymouth, Frantz) – 5:33 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
"Warning Sign" (Byrne, Frantz) – 5:40
"Stay Hungry" (Byrne, Frantz) – 3:56
"Cities" – 5:00 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980
"I Zimbra" (Byrne, Brian Eno, Hugo Ball) – 3:30
"Drugs (Electricity)" (Byrne, Eno) – 4:41
"Once in a Lifetime" (Byrne, Eno, Frantz, Harrison, Weymouth) – 5:57 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
"Animals" – 4:05
"Houses in Motion" (Byrne, Eno, Frantz, Harrison, Weymouth) – 6:54 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980
"Born Under Punches (The Heat Goes On)" (Byrne, Eno, Frantz, Harrison, Weymouth) – 8:24 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
"Crosseyed and Painless" (Byrne, Eno, Frantz, Harrison, Weymouth) – 5:58 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980; truncated version from original release
"Life During Wartime" (Byrne, Frantz, Harrison, Weymouth) – 4:54 at Central Park, New York City, August 27, 1980
"Take Me to the River" (Al Green, Mabon Hodges) – 6:33
"The Great Curve" (Byrne, Eno, Frantz, Harrison, Weymouth) – 6:42

All songs written by David Byrne except as noted


David Byrne – guitar, vocals
Adrian Belew – guitar, backing vocals
Jerry Harrison – guitar, piano, keyboards, backing vocals
Tina Weymouth – bass, percussion, backing vocals
Busta "Cherry" Jones – bass, guitar
Bernie Worrell – keyboards, backing vocals
Chris Frantz – drums
Dolette McDonald – percussion, backing vocals
Jose Rossy – percussion
Steve Scales – conga
Nona Hendryx – backing vocals


At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks. And they were literally art-school punks. Guitarist/vocalistDavid Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals. For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics. After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release,Talking Heads embarked on another extensive tour, which was captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop albumLittle Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads releasedNaked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions. After its release, Talking Heads were put on "hiatus"; Byrnepursued some solo projects, as did Harrison, and Frantz andWeymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Shortly thereafter, Harrison's production took off with successful albums by Live and Crash Test Dummies. In 1996, the original lineup minus Byrne reunited for the album No Talking Just Head; Byrne sued Frantz, Weymouth, andHarrison for attempting to record and perform as Talking Heads, so the trio went by the Heads. In 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense, and they also performed at the 2002 induction ceremony for their entrance into the Rock and Roll Hall of Fame. Through the 2010s, Byrne released a number of solo and collaborative projects. Tom Tom Club continued to tour, while Harrison produced albums for the likes of No Doubt, the Von Bondies, and Hockey. © Stephen Thomas Erlewine © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/talking-heads-mn0000131650/biography


Aynsley Lister

Aynsley Lister - Home - 2013 - Straight Talkin' Records

Aynsley Lister has been at it for a long time. He’s been playing the guitar for 28 years and performing live for 23. Throughout, he’s released many albums, bridging from his early years to the present day and cataloging his growth as an artist. His repertoire culminates in the release of July’s Home, a worthy blues album and his own personal best. Home begins with its title track, which fittingly sets the stage for the tone of the album, an expansive, driven exploration of Lister’s greatest strengths. As the track fades, it gives rise to several other large-scale (in both sound and length) examples of the bluesman’s ability. Lister most often comes out of the gate with guitar-heavy instrumentation and pointedly punchy vocals, although he peppers the record with enough tracks of contrasting style to keep things interesting. Home is a lengthy album, weighing in at a little under an hour long. There seems to be little filler, though. For the most part, Lister manages to capture both his potential and his reputation and combine them with enough evidence of the power of his live performance style to make the album well worth the listen. At times, his direction seems somewhat ambiguous, without a clear overarching theme to the album, and not all the tracks are particularly memorable. The ones that are, though, are certainly worth coming back to as Lister’s passion as frontman of a down-to-Earth blues band definitely ground him in an established tradition of familiar blues style. His mastery of the style places Lister squarely in position to be a truly big name in blues rock. He’s reached a high point in his career, and has a lot to be proud of in Home. The album shows deep musical and emotional maturity and provides a bevy of blues rock for fans and newcomers alike to sink their teeth into. The proportion of Home is pretty good, and Lister can be thanked for not leaving listeners with a trite, underdeveloped experience. Instead, he leaves them with something that truly satisfies. The Review: 8/10 Review by & © Tyler Quiring © Blues Rock Review http://bluesrockreview.com/2013/07/aynsley-lister-home-review.html

"This is Aynsley Lister, this is awesome, the two things are synonymous. This is his most awesome record yet!" - Ian McHugh

In a live review in Classic Rock, Pete Makowski wrote “Aynsley Lister is a precocious talent who looks like one of McFly and plays like Robert Johnson at volume 11”. In another feature in “Classic Rock” magazine, they recommended 10 blues/rock artists capable of taking this genre of music to the highest level. Among those suggested were The White Stripes, John Meyer, Jonny Lang & Joe Bonasmasa. The only British or European act in their top ten was Aynsley Lister. Like many of today's aspiring blues rock guitarists who simply reheat yesteryear's blues , Aynsley puts a different slant on the blues. There are no simple 12 bar numbers here. Aynsley's songs have a contemporary feel and sound, mixing influences from 1960’s blues with a more current melodic and lyrical approach. He is one of today's rare bluesmen who plays rocking blues with a modern edge that is tangible, passionate, soul searching, and full of energy. His songwriting is first class, and his guitar work is simply stunning. Some critics have compared Aynsley Lister with the young Eric Clapton. This statement may carry some weight, and this album may be the one to divert young rock music fans to good original blues rock. "Home" is an outstanding album of blues rock with a touch of country, soul and jazz. Superb guitar playing, great vocals, and 10 original Aynsley Lister compositions. The album is HR by A.O.O.F.C. This UK guitarist has still not got the credit he deserves. Buy his great "Upside Down" album, and listen to his "Live" album. Promote this guy ! [All tracks @ 320 Kbps: File size = 132 Mb]


1. Home 6:32
2. Broke 3:36
3. Insatiable 4:21
4. Inside Out 4:55
5. Free 5:37
6. Sugar 4:05
7. You Make It Real 4:30
8. Feeling Good 4:53
9. Possession 5:21
10. Hyde 2612 3:57
11. Impossible 3:14
12. Straight Talkin' Woman 4:14

All songs composed by Aynsley Lister except Track 7 composed by Paul Barry/James Morrison, and Track 8 composed by Anthony Newley/Leslie Bricusse


Aynsley Lister - Guitars, Vocals
Steve Amadeo - Bass
Andre Bassing - Keyboards
Wayne Proctor - Drums, Percussion


When explosive natural ability collides with fiery, emotionally charged compositions, the result is Aynsley Lister; an incredible guitarist whose brand of blues-based rock delivers contemporary song writing fueled with the kind of heart and soul that’s missing from so much modern music. Whether passionately writing and recording his own material or mesmerising audiences at his live shows one thing is abundantly clear: music is hard-wired to his DNA and flows from his fingertips like sonic bolts of lightning. With over 86,000 albums sold, lashings of critical acclaim and years of high profile touring, Lister’s resumé speaks for itself and firmly secures his position as a leading light in the resurgence of British blues-infused music. In hindsight, it's clear Aynsley was born to be a musician. As a child he was hypnotised by his dad's old guitar and at the age of eight was finally gifted his very own. The moment he held that first six-string the outcome was inevitable; he was going to be a guitarist. Blessed with the coolest dad in town, regularly spinning Hendrix, Cream, Fleetwood Mac and a whole host of bewitching blues for his spellbound son, Aynsley taught himself to play with relentless dedication and a precociously attuned ear, spending hours copying his favourite records note for note. Peter Green, Albert King, Clapton and Kossoff weren't just his heroes; they became his teachers. Blazing a trail in a bar band from the age of 13 honed his skills. By 18 he'd started singing and had also formed his first group, during which time he landed a dream support slot with Buddy Guy and released two low key CD's featuring his earliest original material. In 1998 those self-penned titles caught the attention of Ruf Records owner Thomas Ruf, who immediately signed Aynsley and hooked him up with Stevie Ray Vaughan's producer Jim Gaines. With a maturity that belied his years, the self titled debut announced Aynsley Lister as a major new talent and kicked off a successful relationship with Ruf Records, releasing 7 albums and 2 DVD's in ten years. Their influence, coupled with his dynamite live shows and intense touring schedule, earned high profile support slots with established artists like Walter Trout, John Mayall and Robert Cray, whilst rousing festival appearances alongside artists like the Fun Lovin' Criminals cemented his standing as an artist whose work, although rooted in blues, transcended the genre with a fiery modern sound that was eagerly embraced by fans of rock, pop, soul and acoustic music alike. In 2007 Aynsley was the only British artist to be named in Classic Rock magazine's "Top 10 Contemporary Blues Artists", alongside John Mayer, Derek Trucks and Joe Bonamassa. In 2008 Aynsley's huge crossover potential saw him sign to Manhaton Records, where he released the best two albums of his career to date. Produced by Steve Darrel Smith and featuring Paul McCartney guitarist Robbie Macintosh, 2009's 'Equilibrium' exposed Lister in his best ever form, throwing all his musical influences into a delicious melting pot that delivered sultry melodies, full throttle hard rock riffage and introspective ballads. 'Equilibrium' received fantastic reviews and stormed into Classic Rock’s Top 50 Albums of 2009. The subsequent tour saw Aynsley playing to sold out shows to over 16,000 people whilst opening for the legendary Lynyrd Skynyrd, after which he and his band relocated to the Tower Arts Centre and with the tape rolling, nailed a cracking rendition of their high-octane live set to produce the storming 'Tower Sessions' record, which was consequently voted ‘Best Live Album’ in the 2011 Blues Matters Writers Poll. With his stock firmly in the ascendancy Aynsley is currently hard at work on his next record, intent on creating the finest album of his career. He's wisely chosen to refine the material the best way he knows how; by playing it live. “When you record songs in the studio and then go out and tour, they evolve and take on a life of their own. I want to capture that on the new record and want a whole album of songs that translate to the live setting as well as being well written enough to engage the listener of an album”. The eagerly anticipated new material, slated for release in early 2013, will be distributed on his manager's label as he's sagely decided to take control of his career by bringing everything in-house, following other successful artists who've cut out the record companies with astonishing results. Needless to say, a tour in support of that album will surely follow, and that promises to be something special, not just for the fans, but for the main man himself: “Music is a release for me. When I play I get lost in it and it's a very happy place to be” - Aynsley Lister © Aynsley Lister © 2013 AYNSLEY LISTER http://www.aynsleylister.co.uk/index.php/about/biography


The Donald Fagen Band (Steely Dan Related)

The Donald Fagen Band - North Fork Theatre, Westbury, NY on March 3rd 2006

Soundboard recording. Sound is mono and above average for this type of recording. It's a large file, so unless you're a Steely Dan fan think about it!!

Review @ http://www.allaboutjazz.com/donald-fagen-band-in-westbury-ny-donald-fagen-by-mike-perciaccante.php?page=1

[TRACKS @ 320 Kbps [file size = 271 Mb]

1-01 Here At The Western World '06
1-02 The Nightfly
1-03 Green Flower Street
1-04 Teahouse On The Tracks
1-05 New Frontier
1-06 Third World Man
1-07 Home At Last
1-08 Member Intro.
1-09 Snowbound
1-10 H Gang
1-11 What I Do
1-12 Black Cow
2-01 The Goodbye Look
2-02 Tomorrow's Girls
2-03 Misery And The Blues - Charlie DeVere
2-04 Mary Shut The Garden Door
2-05 IGY
2-06 Pretzel Logic
2-07 Viva Viva Rock And Roll - Chuck Berry

Tracks composed by Becker & Fagen or Donald Fagen except where stated


@ http://www.allaboutjazz.com/donald-fagen-band-in-westbury-ny-donald-fagen-by-mike-perciaccante.php


Moody Marsden

Moody Marsden - Real Faith - 1994 - On Air Records

Recorded between March and May 1994 For On Air Records, Stuttgart, Germany. The basic tracks and most of the overdubs were recorded at Daylight Studio, Stuttgart, Germany. The album hadn't worldwide release, so several years later, in 2000, it was reissued under a different name, Ozone friendly, although the content is not exactly the same (less tracks).Check out the Moody Marsden Band's "Unplugged Live In Hell" album. Read more about Micky Moody @ http://en.wikipedia.org/wiki/Micky_Moody and Bernie Marsden @ http://en.wikipedia.org/wiki/Bernie_Marsden It's also worth listening to Bernie Marsden's "Tribute to Peter Green: Green and Blues" album. “Real Faith” is a relatively obscure album but is a really good blues and hard rock album by two underrated rock greats. Check out a clip of the band recording this album @ https://www.youtube.com/watch?v=qL9xyQ1bZIc [All tracks @ 320 Kbps: File size = 134.7 Mb]


1 Awakening, My Kind Of Woman - Moody, Marsden
2 Real Faith - Moody, Marsden
3 Ozone Friendly - Moody, Marsden
4 Louisa - Marsden, Lister
5 Six Down And One To Go - Moody, Williams, Lloyd
6 Fooling With My Heart - Moody, Marsden, Hinkley
7 Someday - Moody, Marsden
8 Silver On Her Person - Moody
9 Can't Ever Happen To You - Marsden
10 2000 Miles Back To Hell - Moody, Marsden
11 I Got A Mind To Get Even - Moody
12 Kinda Wish You Would - Marsden
13 All Revved Up - Moody, Marsden
14 I'll Sing The Blues - Bridgeman, Wooten
15 Genauso (Good Connection) - Moody, Marsden, Stroud, Trotter


Micky Moody - Lead Guitar, Acoustic Guitar, Resonator Guitar [Dobro], Mandolin, Vocals
Bernie Marsden - Lead Guitar, Acoustic Guitar, Vocals
Peter Stroud - Bass Guitar
Josh Phillips - Electric Piano, Organ
Volker "Wolfman" Kunschner - Organ
John Trotter - Drums, Percussion
Frank Mead, Martin Drover, Nick Pentelow - Brass
Mark Feltham - Harmonica on Tracks 1, 2, 14
Mick Lister, Monica Reed-Price - Backing Vocals


Yiannis Karadimos

Yiannis Karadimos - A New Experience - 2015 - Fluxx Records

"A New Experience" is the first solo instrumental debut album from the Greek guitarist/composer Yiannis Karadimos'. An excellent album with fusion,and jazz rock influences and strongly influenced by artists like John Scofield, Pat Metheny, Guthrie Govan, and many more. Buy this album which is HR by A.O.O.F.C and watch out for further releases. [All tracks @ 320 Kbps: File size = 73.2 Mb]


1. Jump Up 4:14
2. Seven Days 5:30
3. Loneliness 6:30
4. Just Walking Around the City 5:34
5. Run to Another Side 3:29
6. Breeze 3:01
7. Remember 2:19

All songs composed by Yiannis Karadimos


yiannis karadimos - guitar, keyboards
albertos oikonomou - bass
peter bachmayer - drums
kostas milonas - drums
special guests:
stefanos tsourelis - acoustic guitar
dorian pirvu - keyboards


Yiannis was born in Larissa, Greece. Encouraged by his parents,he began studying piano at the age of 8 until 12. At that point he decided to study classical guitar until the age of 15. He was listening to heavy metal and played with friends in different bands. At 17 he began listening to instrumental music and was drawn to guitarists such as: Joe Satriani, Steve Vai, Yngwie Malmsteen, Ritchie Kotzen, and Greg Howe. He was so impressed that he bought their books and practiced for many hours every day. At the age of 20, he was taking private lessons from different musicians while working professionally as a freelance musician with various bands. At the age of 24, his influences had changed. he started listening to fusion and jazz artists such as: Allan Holdsworth, Scott Henderson, Frank Gambale, John Scofield, Pat Metheny, and Sax players like John Coltrane, Charlie Parker and many others.Then he decided to move to Athens for his academic studies. For one year he studied jazz guitar at Atheneum (Maria Callas). Thereafter he attended and graduated from Modern Music School of Athens, with the MMS professional program. At the age of 28, he returned to his hometown Larissa to teach at music schools while playing his music. In 2011, he moved to Munich, Germany. Currently, he's working for various music schools as an instructor, and he offer's private lessons. Furthermore he perform with different bands around the city, however he always like to play and record his own original music ...© http://yianniskaradimos.wix.com/gianniskaradimos#!biography/c1enr


Wayne Krantz

Wayne Krantz - Good Piranha / Bad Piranha - 2014 - Abstract Logix

Wayne Krantz, the muscular, funky New York guitarist, might be approximately parcelled into a John Scofield category – except that this exciting artist goes further than Scofield, and loves nothing more than hell-for-leather jams with mates. Krantz’s trio, with bassist Nate Wood and drummer Keith Carlock, display a relish for ferociously loose covers of leftfield pop. Along with long-time bassist Tim Lefebvre and the ethereal, contrasting background singer, Gabriela Anders, they rocket through four themes – including Thom Yorke’s Black Swan and MC Hammer’s U Can’t Touch This – and then play them all again, totally differently. Anders’s fragile lilt prefaces the splintering chordwork and pounding funk on Black Swan, and Comprachicos swerves and skids on Krantz’s taut, whippy phrasing. U Can’t Touch This, meanwhile, has a vivacious, bouncing groove, fresh and long-lined guitar phrasing, and wacky, Ed Wood flying saucer-like whirrs. It’s all uncompromisingly raw, and maybe something of a guitar buff’s set, but it never stops rocking. © John Fordham Thursday 6 November 2014 20.00 GMT © 2014 Guardian News and Media Limited or its affiliated companies. All rights reserved. http://www.theguardian.com/music/2014/nov/06/wayne-krantz-good-piranha-bad-piranha-review

Since the late 1980's, guitarist Wayne Krantz has been regarded as one of the world’s great musicians. He has worked with artists that include the exalted Steely Dan (both as a band member and on solo albums by Donald Fagen), the legendary jazz saxophonists Michael Brecker, Chris Potter and David Binney, composer Carla Bley and the incomparable drummer Billy Cobham. As well as Wayne's incredible inventive studio albums, he has released several influential recordings of his amazing live trio performances, mostly recorded at the 55 Bar in Greenwich Village, New York. Wayne has also played major global concert events attracting many lovers of powerful, innovative and amazingly skilled improvised music. It has been said that Wayne Krantz "has invented a guitar genre of his own". G. T. Gusdorf reviewing this album on amazon.com said that, "I like jazz fusion, and this album is great. It makes me realize that the question "is jazz dead?" debate is for people who don't like jazz, and don't know how to say it". This album is HR by A.O.O.F.C. Check out Wayne's "Howie 61" album [All tracks @ 320 Kbps: File size = 99.9 Mb]


1. Black Swan - Thom Yorke 6:04
2. My Skin Is My Sin - Ice Cube 5:05
3. Comprachicos - Gareth McGrillen 7:42
4. U Can't Touch This - MC Hammer 4:22
5. Black Swan - Thom Yorke 6:56
6. My Skin Is My Sin - Ice Cube 3:47
7. Comprachicos - Gareth McGrillen 2:43
8. U Can't Touch This - MC Hammer 4:54


Wayne Krantz - Guitar
Tim Lefebvre - Bass
Nate Wood - Bass, Drums
Keith Carlock - Drums
Gabriela Anders - Occasional Vocals


Born 26th July 26 1956, WAYNE KRANTZ was raised in Corvalis, Oregon, Krantz. He discovered the Beatles at 14, and soon after started playing guitar. Having previously been subjected to piano tuition and hated it, KRANTZ found with the guitar he enjoyed not being told to practice. Early musical development included playing in rock and country groups. Shortly before leaving high school he discovered jazz in his father's record collection, in particular guitarist BARNEY KESSEL: this music became his main interest. To quote from KRANTZ's own web biography: "My first musically important job was with a band in Boston, the D SHARP GROUP - which also had guitarist BILL FRISELL. Afterwards I went on the road with CARL BLEY and that's where I really learned how to play chord changes. LENI STERN heard me playing at a club with CARLA and started hiring me to play gigs around town and later I went to Europe with LENI for several tours, clubs and festivals. Guitar-wise I guess I have been influenced one way or another by all the guys I respect. In that long list have to be TERRY HAGGERTY (The SONS OF CHAMPLIN), MICK GOODRICK, PAT METHENY, MIKE STERN, BILL FRISELL, KEVIN EUBANKS and JOHN SCOFIELD. Way off in the distance, the mountains that inspire all of us are JOHN MCLAUGHLIN and GEORGE BENSON; those are the guys that have taken their own the farthest. The immediate goal for me is to fulfill the promise of making my own music". In 1991 WAYNE KRANTZ released his first solo album, 'Signals', which included a number of well known session jazz musicians. He then formed his own trio with LINCOLN GOINES (bass) and ZACH DANZIGER (drums), recording 'Long To Be Loose' (1993), and the first of several live albums the excellent '2 Drink Minimum', (1995). During this period through to the mid noughties, WAYNE KRANTZ gained the reputation of being a New York guitar-fusionist, playing periodically at the 55 Bar jazz club in New York City. In 1996, KRANTZ released an acoustic album with LENI STERN, 'Separate Cages' (1996). WAYNE KRANTZ formed a new trio in 1997, which further demonstrated his outstanding guitar abilities complimented with a huge bag of jazz and rock riffs, allowing attractive improv to be played live night after night. In fact to use the term 'riffs' is far from precise when KRANTZ has outlined in his book, 'An Improviser's Operating System', his approach to improvisation, which relies not on licks or memorised fretboard patterns but an awareness of 'musical formulae' using the guitar. In doing so KRANTZ was producing new sounds that have changed his musical style drastically. His electric bass-player and drummer, respectively TIM LEFEBVRE and KEITH CARLOCK, contributed well the immediate inspiration and fluidity so that such live improv to be generated in many of KRANTZ's later albums well illustrate this type of jazz fusion. (It should be noted that TIM LEFEBVRE and ZACH DANZIGER, formed the innovative jazz drum'n'bass group BOOMISH as a side project in the late 90's - their second album 'Clearance Sale' includes contributions from KRANTZ and FRISELL. With some growing disillusionment and impatience with the mainstream record industry, KRANTZ's next three albums were produced and sold independently: 'Greenwich Mean' (1999), 'Your Basic Live' (2003), and 'Your Basic Live '06' (2007), being only available for sale at gigs or mail order via KRANTZ's website. During this time WAYNE KRANTZ cemented a well earned reputation worldwide, through tours (for instance appearing several times at Wales' Brecon Jazz Festival. In addition he has been in demand as a touring sidesman and session guitarist, working with STEELY DAN, MICHAEL BRECKER, DONALD FAGEN ('Morph The Cat', released 2006), CHRIS POTTER ('Underground', also in 2006), TAL WILKENFELD ('Tranformation' 2007) with perhaps the earliest session appearance on JASPER VAN'T HOF's 'Blue Corner'(1993). In June, 2007, KRANTZ played his last regular gig at the 55 Bar (at least for the time being), announcing ?he had a desire to move towards a louder thing requiring bigger rooms, with stages and sound systems to pull it off.?? However, the most recent announcement tells us of a August 2009 release 'Krantz, Lefevbre, Carlock', the first studio album recording in 13 years. (Biography compiled from various sources, quotes from Wayne Krantz). © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=4613


Al Joseph

 Al Joseph - Out In the Open - 2013 - JTC Records

JTC Records proudly presents the debut album from the incredible Al Joseph. 9 heavy rock tracks full of drive, emotion, charisma, riffs to die for and licks that will get stuck in your head for weeks on end. This is the way to launch your record career... © 2013 JamTrackCentral Ltd https://jamtrackcentral.com/store/series/out-in-the-open-album-backings/

A very good blend of classic rock/blues, metal, and progressive compositions with a classical and modern touch. Great melodic lines throughout. Al is influenced by artists like John Petrucci and Marco Sfogli. Al has said that, "Out In The Open" is a theme built on the unknowns of life. I believe we've been given all we need to face the pirates, whirlwinds, emptiness, and rejections of life. A lot of time and heart went into this project from everyone involved. I had always dreamed the emerging of my career in so many different ways, but I'm so thankful it was through JTC. I hope OITO is an inspiration to all of you who show your support! Thank you...AJ. - Buy this album and support good modern rock. Read more @ http://network.online.berklee.edu/public_profile/Albert_Joseph and https://www.facebook.com/aljosephguitar
[All tracks @ 160 Kbps: File size = 62.4 Mb]


1. Return
2. Desperate Times
3. Sun Devils
4. Exile
5. The Missing You
6. Out in the Open
7. The Tribal Decks
8. Desperate Measures
9. The Father Land

All tracks composed by Al Joseph


Al Joseph (guitars), Juan Luqui (guitars)
Manny Tiegnon, Mauricio Morales (bass)
Abidan Perry (percussion)


Al Joseph has proven to be one of the worlds most exciting new virtuosos to hit the scene to date. Now a proud Alumni of Berklee College Of Music, Al presses on to an already promising career as both a guitar player and songwriter. Expect to see more exciting things over the coming years. You can expect to hear quite a bit of Joe Satriani's lyrical texture, John Petrucci's technical power, Vinnie Moore's stinging licks, and Andy Timmons' sense of feel and dynamic presence in Al's playing . As far as songwriting goes Al has a never-ending list of band influences in his arsenal. From Creed, Rage Against The Machine, P.O.D, to Pillar, Pantera, Sevendust, and many more. If you can dig on any or all of these artists get ready to add another new player to your list. "Out In The Open" is Al's debut solo instrumental record which was released through JTC Records in October 2013. It's a story of emotion, new beginnings, unknowns, and all the new challenges Al has faced throughout his life. Let's not forget about an hour of world class shredding as well. If you enjoy the workings of guitar legends Joe Satriani and Andy Timmons, look no further. This record has it all wrapped up in a nice basket for you with a kick of fusion as well. Out In the Open is a wild ride for sure! Check out Al's music on Jamtrackcentral.com, iTunes, Spotify, and ReverbNation. Here's what JTC Records has to say about it: There is no question of Al's ability on the guitar. Still a young player he brings some great classic ideas and makes them extremely accessible, whilst surrounding them with well produced tracks. Expect to see a lot more from Al over the coming years....he has an exciting career ahead of him. Jonny Carpenter, Jam Track Central Records © 2014 Al Joseph Official Guitar Page http://www.aljosephofficial.com/#!al-joseph-bio-page/c9nv


Keith Thompson And Strange Brew

Keith Thompson And Strange Brew - Keith Thompson And Strange Brew - 2000 - Brambus

"Keith Thompson's Strange Brew" are a classic British Blues/Rock band - In the style of blues heros such as Gary Moore, Eric Clapton and Rory Gallagher.Keith Thompson, is a professional musician with many years performing experience. He has worked in several bands, and as a solo artist. He has travelled extensively in the UK. and in European countries such as Germany, Switzerland, Denmark, Holland and Norway. Recently Keith also did a promotional tour in USA. When not touring or playing "live", Keith has been in demand as a session musician in the studio. His guitar work has cropped up on several albums and on television "incidental" music. A sample of Keith's guitar work can also be heard as the soundtrack for the best selling computer game, "Grand-Prix 2". Keith combines his experience as a guitarist with his skills as a successful songwriter to come up with a blend of UK Blues/Rock that really cooks! - Album Notes © http://www.cdbaby.com/cd/strangebrewuk

Worcester, England born Keith Thompson is a professional musician with many years of performing experience. He has worked in several bands and as a solo artist and is an in demand session guitarist. With his band he consistently travels extensively and performs in mainland Europe and the UK in clubs and has played prestigious festivals including Postonja Blues Festival, Slovenia, Umag Festival, Croatia, Suwalki, Poland, Colne R&B festival and Gloucester Blues Festival UK. On This album Keith demonstrates how British blues rock is alive and thriving. This self titled album received a lot of critical acclaim. 14 solid studio and live tracks played in a style reminiscent of greats like Gary Moore, Rory Gallagher, and Eric Clapton. The raunchy horn/brass section by The Little Big Horns and the thundering bass lines and solid drums of Lee Hunter and Alleyn Menzies respectively make this a great album. Keith Thompson is a very accomplished but underrated musician and this album is HR by A.O.O.F.C. Try and listen to Keith Thompson And Strange Brew's even better "Independence" album [All tracks @ 320 Kbps: File size = 145 Mb]


1. Cat Scratch Crazy (3:53)
2. You Don't Know Me (2:52)
3. I'm Tore Down (4:11)
4. Reduce Me To Tears (6:42)
5. Little Boy (5:34)
6. Road To Recovery (3:26)
7. I'm Not Your Victim (4:43)
8. Heart and Soul (3:48)
9. Got My Mind Made Up (4:17)
10. Count On You (2:57)
11. Blues Don't Love You (3:37)
12. Be Good To Yourself (3:36)
13. Crossroads (3:45)
14. Higher Ground (4:33)

All tracks composed by Keith Thompson except Track 3 by Sonny Thompson, Track 12 by A.Fraser, & Track 13 by Robert Johnson


Keith Thompson - Guitars, Keyboards, Blues Harp, Lead & Backing Vocals
Lee Hunter - Bass Guitar
John Broomhall - Piano, Hammond on Track 14
Alleyn Menzies - Drums
Patsy Gamble - Tenor Saxophone
Frank Abrams - Tenor Sax on Tracks - 6,14
Steve Trigg - Trumpet
Andy Gilliams - Trombone
Mark Cole - Accordion on Track 8
Nick John, Gary Hunt - Backing Vocals

Jeff Beck

Jeff Beck - You Had It Coming - 2001 - Epic

Sure, they've got lightning moves and thundering power, but guitar gods live by the same laws that govern lesser mortals: Only the most adaptable shall prevail. So now that old masters like Clapton and Santana are enjoying pop-propelled career rebirths, it's fair to ask, what about Jeff Beck? You Had It Coming, Beck's second solo album in two years, makes this the busiest stretch for the one-time Yardbird since his memorable mid-1970s run of Blow by Blow and Wired. Working in the comfortable techno-funk rock vein he's been tinkering with for the last few years, Beck is as agile and muscular a craftsman as he's ever been — firing off ragged buckshot-blast chords on the rotgut-blues classic "Rollin' and Tumblin'" (aided by Imogen Heap's soulful vocal) and unwinding long, curvaceous notes that give the surprising raga-flavored "Nadia" exceptional charm. Beck remains enthralled, in a slightly anachronistic sort of way, by the multiple voices he can squeeze from the throat of his Stratocaster, delivering screams, wails and growls as he traverses this record. What's missing is the modern edge that would give Beck's fiery playing a better context. Too often, the techno-funk rhythm driving the action here sounds stiffly electronic, like a Chemical Brothers castoff from the Nineties. It's not that it's bad, it's just that Beck deserves so much more. © DAVID THIGPEN | January 23, 2001 © 2014 Rolling Stone http://www.rollingstone.com/music/albumreviews/you-had-it-coming-20010123

Jeff Beck returns two years after the ten-years-in-the-making Who Else?, and You Had It Coming isn't surprising just for its rapidity, but for its music. From the moment the electronicized, post-rave beats of "Earthquake" kick off the record, it's clear that Beck isn't content to stay in place -- he's trying to adapt to the modern world. To a certain extent, this isn't an entirely new phenomenon, since each of his records is clearly, inextricably of its time, from the crunching metal of Truth through the breezy jazz fusion of Blow By Blow to the modernized album rock of Guitar Shop. This is just another side of that, as Beck works with electronic music, both noisy and new age introspective. It's a bit clever, actually, since Beck's playing has always been otherworldly, dipping, bending, and sounding like anything other than a normal guitar. The problem is, when he's surrounded by lockstep, processed beats and gurgling synths, his guitar doesn't leap to the forefront and capture attention the way it does on his best recordings. Still, there's something to be said for the effort, because even if it doesn't sound like a Beck record, it isn't a bad record, and it's certainly a helluva lot more successful than Clapton's similar forays into these waters. Besides, knowing that he knocked this out so quickly makes it a little endearing. © Stephen Thomas Erlewine © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved

Guitar legend and musical chameleon Jeff Beck met the 21st century head on with a new sound to match the new millennium: part techno grunge, part industrial electronica, but without ever sacrificing the patented lyricism of his distinctive guitar style. The album is only 36 minutes long, but packs a lot into its all-too brief length. Most of it is instrumental, ranging from the aptly titled opening salvo "Earthquake" (having lived through a few during my childhood in Northern California, I can vouch for the song's unsettling sense of power) to the lush ambient chillout of the album closer, "Suspension". In between is the aggressive Harley-Davidson hip-hop of "Roy's Toy"; some gorgeous East Indian motifs (in "Nadia"); and lots of raw, effects-heavy soloing (I'm thinking in particular of the rocket-fueled instrumental "Loose Cannon", a personal favorite). And before you accuse Beck of completely abandoning his musical roots, lend an ear to the more traditional blues of "Rollin' and Tumblin'". The song dates back to the days of Hambone Willie Newbern, and has since been covered by (I'm sure among many others) Muddy Waters, Eric Clapton, and The Grateful Dead. But here it's updated with enough testosterone to fuel a small sports car, and graced by the appropriately soulful vocals of Imogen Heap (recorded in a single take, I'm told). Fans of the guitarist's older blues and fusion recordings might not be ready to appreciate his latest change in direction. But the album (and his self-titled 2003 follow-up) should appeal to the same forward-thinking listeners who applauded the V-drum improvisations of the more recent KING CRIMSON. Personally speaking, here's one old dog ready to roll over for music like this any day. - from ****/5 "Who says an old dog can't be taught new tricks?" Review by & © Neu!mann © Prog Archives, All rights reserved http://www.progarchives.com/album.asp?id=15053

“You Had It Coming” is the eighth studio album by legendary guitarist Jeff Beck. The album reached No. 17 and 110 on the Billboard Top Internet Albums and Billboard 200 charts respectively, as well as No. 96 and 123 on the German and French albums chart. "Dirty Mind", went on to win the award for Best Rock Instrumental Performance at the 2002 Grammys; this being Jeff’s third such award, after the albums Flash (1985) and Jeff Beck's Guitar Shop (1989). Singer Imogen Heap is featured on "Dirty Mind" and "Rollin' and Tumblin'", and would later tour with Jeff in 2004. Mostly an instrumental album, and a wonderful example of why Jeff Beck is so highly regarded in the rock world. [All tracks @ 320 Kbps: File size = 74.2 Mb]


1 Earthquake - Jennifer Batten 3:17
2 Roy's Toy - Aiden Love, Andy Wright, Jeff Beck 3:35
3 Dirty Mind - Aiden Love, Andy Wright, Jeff Beck 3:50
4 Rollin' And Tumblin - M. Morganfield (Muddy Waters) 3:10
5 Nadia - Nitin Sawhney 3:51
6 Loose Cannon - Andy Wright, Jeff Beck, Jennifer Batten 5:17
7 Rosebud - Andy Wright, Jeff Beck, Randy Hope-Taylor 3:44
8 Left Hook - Andy Wright, Jeff Beck, Steve Alexander 4:20
9 Blackbird - Jeff Beck 1:27
10 Suspension - Andy Wright, Jeff Beck 3:21


Jeff Beck - Guitar
Jennifer Batten - Guitar
Randy Hope-Taylor - Bass
Steve Alexander - Drums
Aiden Love - Programming
Imogen Heap - Vocals on Tracks 3, 4


While he was as innovative as Jimmy Page, as tasteful as Eric Clapton, and nearly as visionary as Jimi Hendrix, Jeff Beck never achieved the same commercial success as any of his contemporaries, primarily because of the haphazard way he approached his career. After Rod Stewart left the Jeff Beck Group in 1971, Beck never worked with a charismatic lead singer who could have helped sell his music to a wide audience. Furthermore, he was simply too idiosyncratic, moving from heavy metal to jazz fusion within a blink of an eye. As his career progressed, he became more fascinated by automobiles than guitars, releasing only one album during the course of the '90s. All the while, Beck retained the respect of fellow guitarists, who found his reclusiveness all the more alluring. Beck began his musical career following a short stint at London's Wimbledon Art College. He earned a reputation by supporting Lord Sutch, which helped him land the job as the Yardbirds' lead guitarist following the departure of Eric Clapton. Beck stayed with the Yardbirds for nearly two years, leaving in late in 1966 with the pretense that he was retiring from music. He returned several months later with "Love Is Blue," a single he played poorly because he detested the song. Later in 1967, he formed the Jeff Beck Group with vocalist Rod Stewart, bassist Ron Wood, and drummer Aynsley Dunbar, who was quickly replaced by Mickey Waller; keyboardist Nicky Hopkins joined in early 1968. With their crushingly loud reworkings of blues songs and vocal and guitar interplay, the Jeff Beck Group established the template for heavy metal. Neither of the band's records, Truth (1968) or Beck-Ola (a 1969 album that was recorded with new drummer Tony Newman), was particularly successful, and the band tended to fight regularly, especially on their frequent tours of the U.S. In 1970, Stewart and Wood left to join the Faces, and Beck broke up the group. Beck had intended to form a power trio with Vanilla Fudge members Carmine Appice (drums) and Tim Bogert (bass), but those plans were derailed when he suffered a serious car crash in 1970. By the time he recuperated in 1971, Bogart and Appice were playing in Cactus, so the guitarist formed a new version of the Jeff Beck Group. Featuring keyboardist Max Middleton, drummer Cozy Powell, bassist Clive Chaman, and vocalist Bobby Tench, the new band recorded Rough and Ready (1971) and Jeff Beck Group (1972). Neither album attracted much attention. Cactus dissolved in late 1972, and Beck, Bogert, and Appice formed a power trio the following year. The group's lone studio album -- a live record was released in Japan but never in the U.K. or U.S. -- was widely panned due to its plodding arrangements and weak vocals, and the group disbanded the following year. For about 18 months, Beck remained quiet, re-emerging in 1975 with Blow by Blow. Produced by George Martin, Blow by Blow was an all-instrumental jazz fusion album that received strong reviews. Beck collaborated with Jan Hammer, a former keyboardist for Mahavishnu Orchestra, for 1976's Wired, and supported the album with a co-headlining tour with Hammer's band. The tour was documented on the 1977 album Jeff Beck with the Jan Hammer Group -- Live. After the Hammer tour, Beck retired to his estate outside of London and remained quiet for three years. He returned in 1980 with There and Back, which featured contributions from Hammer. Following the tour for There and Back, Beck retired again, returning five years later with the slick, Nile Rodgers-produced Flash. A pop/rock album recorded with a variety of vocalists, Flash featured Beck's only hit single, the Stewart-sung "People Get Ready," and also boasted "Escape," which won the Grammy for Best Rock Instrumental. During 1987, he played lead guitar on Mick Jagger's second solo album, Primitive Cool. There was another long wait between Flash and 1989's Jeff Beck's Guitar Shop with Terry Bozzio and Tony Hymas. Though the album sold only moderately well, Guitar Shop received uniformly strong reviews and won the Grammy for Best Rock Instrumental. Beck supported the album with a tour, this time co-headlining with guitarist Stevie Ray Vaughan. Again, Beck entered semi-retirement upon the completion of the tour. In 1992, Beck played lead guitar on Roger Waters' comeback album, Amused to Death. A year later, he released Crazy Legs, a tribute to Gene Vincent and his lead guitarist, Cliff Gallup, which was recorded with Big Town Playboys. Beck remained quiet after the album's release prior to resurfacing in 1999 with Who Else! You Had It Coming followed in 2001 and his 14th release, Jeff, was issued on Epic two years later. An excellent live set, Performing This Week: Live at Ronnie Scott's Jazz Club, was released in 2008 by Eagle Records. Emotion & Commotion, Beck's first new studio album in seven years, appeared in the spring of 2010. © Stephen Thomas Erlewine © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/jeff-beck-p3650/biography