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Get this crazy baby off my head!

Rapidshare has locked my account and deleted hundreds of my files. Sorry about the inconvenience, & thanks for all your support and encouragement. Paul

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31.3.10

Jade Maze


jademaze-mfcib

Jade Maze - My Favourite Colour Is Blue - 2000 - No Genre Records

Jade is back with a triple SSS -- sassy, sexy, and strong!On her new CD My favorite color is blue we hear a confident, seasoned Jade. She's ready to lead the way down her path. First stop, the blues -- the root of her musical soul. Yes, she's shouting it out to the whole world. Though the CD is steeped in tradition with classics such as "Further on Up the Road" and "Rather Go Blind", Jade is coming at it with a full circle approach. Hers are not the down-and-out-I'm-at-your-mercy type of blues: Jade is sick and tired and not going to take it anymore as is so clearly stated in her heavy-hitting originals "Move On" and "Tired of Loving You"."Refreshing" is the word that comes to mind when I listen to her. The voice is big, yet refined. The musical arrangements complement her singing perfectly with smooth horns, tinkling ivories, a booming B-3 and a driving rhythm section layed down by some of Chicago's finest blues players. What you've got here is a lot of class, a lot of soul -- a must for your CD collection.Check it out © 1996 - 2010 CD Universe http://www.cduniverse.com/productinfo.asp?pid=1962435&style=music

The Improper Bostonian said that Jade Maze has "a voice so smooth you could skate on it". Well, "My Favourite Colour Is Blue" demonstrates that description perfectly. The album is primarily blues/R&B and has great arrangements. Ten good tracks with six covers, including Billy Foster's "I'd Rather Go Blind", Don Robey's "I Smell Trouble", Bobby "Blue" Bland's "Poverty, and Joe Veasey & Don Robey's "Further on Up the Road". Four of the tracks are originals, including "Move On" and "Tired of Loving You". Buy her "Beat of Your Soul" album and promote this lady. For music in the same genre, search this blog for music by Kyla Brox

TRACKS

Poverty
I Smell Trouble
The Dark Side
My Love Will Never Die
You Weren't Ready
Move On
Yes to the Devil
Tired of Loving You
Further on Up the Road

MUSICIANS: LIST REQUIRED

ABOUT JADE MAZE

Born Heather Maze in Minneapolis, and raised in California, this singer/songwriter has been making quite a name for herself in the Chicago area lately, JM has an incredible stage presence (only in part due to her six foot stature) and a great relationship with the audience. Her shows are always entertaining -- for passion alone, even if you're not a big fan of soul and R&B. Her powerful, melodic voice voice carries her show, but her back-up band is very good, too. They know exactly when to come in to complement the vocals. Try and catch her show soon before she becomes a mega-ultra-superstar and you have to pay $50 a pop for tickets. "This blows away anything on WGCI." says Illinois Entertainer's Mike Sturgess. "The remarkably versatile singer/songwriter is a raw R&B vocalist, a sultry chanteuse, and carefree pop singer all at one -- sometimes childishly playful, always melodically inventive, and genuinely soulful." The Improper Bostonian agrees, adding "This woman has a voice so smooth you could skate on it." Her debut CD, Beat of Your Soul was released in Feburary 1996, followed by the recent Walking Revolution. © Copyright 2010 Sun-Times Media, LLC http://www.centerstagechicago.com/music/whoswho/JadeMaze.html

BIO

There are certain singers whom we feel that we know, from the very first time we hear them. Jade Maze is that kind of singer. Though she defies stereotypes and does not reflect any one of her listening audience exactly, her vocal delivery offers a musicality and depth of feeling that would be unusual in any era. She makes each song sound like a story, and leaves you feeling relaxed whether singing a sad or happy song because of the peaceful, “realized” quality her voice has. This is clearly a woman who has been through the fire and come out more than okay. The Chicago-based artist has sung professionally since the age of nineteen. Her early recordings give you a raw peak at her estimable skills as a songwriter and singer. With age comes a sophisticated twist on her smooth style, which blends elements of jazz, soul, and pop erasing musical boundaries in the process. Jade Maze was born February 20th in Minneapolis, Minnesota. When she was five years old, Jade, her mom MaryJane and her sister Holly moved to Oakland, California. Jade’s earliest musical influences came from her mother's extensive jazz LP collection and from the funk and pop of the early 70’s. She always knew she wanted to sing, write music and play the piano, but didn’t pursue her goals actively until she moved back to Minneapolis at the age of eighteen. When Maze was 15, she ran away from home and went through a series of harrowing experiences not really landing back on her feet until she moved back to Minneapolis. There she tried out for the original Star Search and landed a gig touring with the Minneapolis Jazz Machine in Germany and France. In 1986 she moved to Santa Barbara and became the lead female singer in a Motown review band. Her original material kept pulling at her, and Jade broke off and formed her own blues/R&B band in 1988. Frustration set in as she realized that her songwriting was becoming more involved and she didn’t have the tools to communicate it clearly to other musicians. This compelled her to sign up as a music major at Santa Barbara City College in 1989. Things were fabulous for a few years, but divorce and hardship forced her to drop out. Maze moved to Boston in 1992 to start anew. She became a fixture on the scene for the next two years in both the jazz and pop venues. This is where her original music became truly defined. Audiences loved to witness her emotionally charged performances, and she always surrounded herself with masterful, innovative musicians. Jade moved to Chicago in 1994 making a big splash on the jazz and poetry scenes. She started off with a bang, but relationship problems and personal crisis always kept her musical career on a rollercoaster ride. She stopped playing altogether in 1998 and wrote the first draft of her book "Walk Until Sunrise". She has been making sporadic appearances at Katerina’s and as a guest artist in festivals and on the radio over the years. Jade joined the Apostolic Church of God where she sings in the Sanctuary Choir and solos singing her own music as well as standard Gospel songs. Jade also went back to school in 2000 graduating with honors, summa cum laude, in 2004 from Northeastern Illinois University. She is the vocal coach at Pressure Point Recording, the publicity specialist for the music programming at Northeastern Illinois University, directs the children’s choir at the Apostolic Church of God, teaches vocal technique at the Merit School of Music, and has her own private studio. Jade Maze just earned her Master of Music degree in vocal performance from Northwestern University in June 2008. She is working on two new cds. We'll keep you posted. © 2010 Jade Maze http://www.jademaze.com/bio.html

30.3.10

Wigwam


wigwam-lgsat

Wigwam - Lucky Golden Stripes And Starpose - 1976 - Love Records

"The Lucky Golden Stripes And Starpose" is an obscure and underrated album from the 70's progressive jazz rock (for want of a better term) band Wigwam, from Finland. Some reviewers on Amazon have compared the sound of Wigwam in parts to bands like Greenslade, Procol Harum, The Band, Hatfield & The North, Camel, Colosseum, The Strawbs and Gentle Giant. These bands covered a lot of ground, and between them made some classic albums. "The Lucky Golden Stripes And Starpose" is certainly not a classic album. But many of the sounds and rhythms are reminiscent of some of these bands, especially the Canterbury Rock bands, Hatfield & The North, and Soft Machine. The band's earlier albums, like "Hard 'n' Horny" and "Fairyport" are arguably more progressive albums. Some of Jim Pembroke's earlier music like his work with the Finnish band, Blues section has been classified as blues-jazz-pop fusion, and some of "Lucky Golden Stripes And Starpose" could easily fall into that "genre". Add some soul blues jazz, a bit of Steely Dan, and Mike Patto and you are some way towards describing the band's sound. Listen to Wigwam's "Being" album, which is a great jazz rock album, and Wigwam's strongest album

TRACKS / COMPOSERS

Sane Again (Pembroke)
International Disaster (Pembroke)
Timedance (Groundstroem - Hietanen - Pembroke - Rechardt - Österberg)
Colossus (Rechardt - Pembroke)
Eddie And The Boys (Rechardt - Pembroke)
Lucky Golden Stripes And Starpose (Rechardt - Pembroke)
June May Be Too Late (Pembroke)
Never Turn You In (Rechardt - Pembroke)
In A Nutshell (Pembroke - Rechardt)

All lyrics by Pembroke except "Never Turn You In" by Rechardt/Pembroke

N.B: Some releases of this album omit "Timedance"

BAND

Pekka Rechardt - guitar
Masse Groundstroem - bass
Jim Pembroke, vocals, piano
Hessu Hietanen - keyboards
Ronnie Österberg - drums, percussion
Paavo Maijanen - background vocals on "International Disaster", "June May Be Too Late", & "Never Turn You In"

REVIEWS

Where do you go, if you're Wigwam circa 1976? Nuclear Nightclub has certainly been an artistic success, but unfortunately not a commercial breakthrough. Times are definitely changing and perhaps record companies are not as accommodating to progressive rock as they were only two or three years ago. The band’s under-the-radar and tragically under-rated response was The Lucky Golden Stripes And Starpose. Sadly it would be the last Wigwam album released through Virgin Records. Change had always been a constant for Wigwam anyway. The early lineup featuring Nikke Nikamo and Mats Huldén had quickly given way to the era of Pekka Pohjola, and lengthy meditations by keyboardist Jukka Gustavson. After their departure, vocalist Jim Pembroke joined forces with guitarist Pekka Rechardt and the band’s music headed in a different direction. Pembroke’s penchant for sweetly lyrical, Beatle-esque songwriting paired well with Rechardt’s knack for spacey rock chords and blues-inflected soloing. Bassist and producer-in-general Måns Groundstroem had worked with Blues Section and Tasavallan Presidentti and, while his bass work was not as “busy” as Pohjola’s, he had deep, unique feel for the lower frequencies. Ronnie Österberg’s drums as always completed the foundation for Pembroke and Rechardt’s creations, and Hessu Hietanen’s keyboards helped tastefully color the new Wigwam soundscape with little or none of the solo excursions common during Gustavson’s tenure. Jim Pembroke, perhaps one of rock’s most ridiculously undervalued singer-songwriter-lyricists, turned in some of his finest efforts in service to TLGSAS. "Sane Again" abruptly establishes a more brooding presence than was the norm on Nuclear Nightclub: “Maggot race wild goose chase Doggod who to blame/Tapdance in the gutter, going down the drain/Money greed chicken-feed lose and call it gain/Grand to feel sane again.” Musically it is a moderately slow-paced bit, with a nice but brief instrumental section followed by a spoken-word collage, in Latin, prior to the last verse and wrap-up. As a contrast, "International Disaster" throws the listener an immediate curve. A happy little rock tune by compositional design, Pembroke warns of calamity at the height of selfish prosperity: “And they'll be flyin' in the Concorde and rollin' in the gutter/Calcutta and Singapore/Price of silver dropping so do yer Christmas shopping/Before you lose the chance the score.” With the band grooving and filling space together, "Timedance" provides a brief instrumental interlude and mood-setter for the exquisite "Colossus," which was as good as anything on NN, and fairly begs for Pohjola's adventurous bass playing. As it was recorded, Groundstroem and Hietanen painted a wonderful sonic background for Rechardt’s rich chord constructs. Lyrically Pembroke uses a quasi-historical context, perhaps as a tool to protest a more modern war: “Crusaders were returning from their journeys to the east/left the bamboo temples burning in the name of hope and peace/and it's welcome home Colossus good to see you're doing swell/wave the banner proclamation Quasimodo ring the bell!” A lonely guitar fade-in introduces the infectious "Eddie And The Boys." This should and could have been an FM album-radio staple at the time, had it been given sufficient exposure. It almost has an early Steely Dan feel, and Rechardt showcases some of his best soloing. The second side kicks off with the album's title cut, and like "Colossus" it was a multi-part tune. Pembroke sings several verses (more cool lyrics: "Closing down the social termination/The season's at it's end final grades/No more rugby tips or sailing sing-songs/Membership to life for history fades.") before Rechardt takes over, soaring and searing his way through an instrumental section punctuated by Groundstroem's rumbling, punching bass. With its faster pace and rhythmic muted guitar riffing, “June May Be Too Late” was another Pembroke showcase, an infectious cut, but apparently unfit for radio. It precedes “Never Turn You In,” one of the great lost rock songs, and an excellent piece in every respect. With unique European soul, Pembroke is on again: “Saint Peter heard the cockerels crows/Denied he knew and the tears cut rows/Upon his cheeks and fell down to the ground/Mothers cried and children wailed/As Jesus hung on the cross impaled/And the Heavens split and filled the world with sound/Pontius Pilate gave a sigh Washed his hands and let 'em dry/He would never turn you in.” Akin to “International Disaster“ as a brief tragic comedy, “In A Nutshell” closes out the album with more happy misery: “Me, my shell and our tree will grow/To the heights of the Himalow/Now that certain light fills my life, you know/I will never give away my Shell/that keeps me apart from Hell.” Pembroke was never more quote-worthy. For established diehards it is essential, but I’d stop short of characterizing this album as a proper introduction to the world of Wigwam. It is the yin to Nuclear Nightclub’s yang, a more desolate, paranoid and quirky affair. The Lucky Golden Stripes And Starpose is not a perfect album, but it might actually have a better shelf life than its predecessor. © Member: Reginod, Date: 3/23/2005 © Copyright for this content resides with its creator. Licensed to Progressive Ears All Rights Reserved http://www.progressiveears.com/asp/reviews.asp?albumID=3106&bhcp=1

Many people expected the follow up to the more commercial Nuclear Nightclub to be the album that would catapult Wigwam onto the international scene. Unfortunately, though still an excellent album, Lucky Golden Stripes And Starpose failed to meet the desired targets, being dismissed by many of the musical critics. Having said that, the album has withstood the test of time well and still sounds as fresh as it did twenty five years ago. As always, the more commercial tracks on the album are those penned by Jim Pembroke and the album starts off with two of his tracks, Sane Again and International Disaster. Furthermore the music is less complex than much of what the band had previously released with a strong soul current flowing beneath these tracks, especially on the opener Sane Again. International Disaster, on the other hand is a relatively more upbeat track with a strong feel good factor. The short Timedance is the only group collaboration on the album and somehow seems to be an excerpt of what was originally a longer track. As can be expected, the fact that it is a group collaboration probably means that it is a sort of jam session that had been recorded and part of which was utilised for the album. On the other hand Colossus , a Rechardt track, combines a series of features that seem to sum up the music of Wigwam during this period. The track starts off at a relatively languid pace to then progress into an organ rich piece of music. One could mention bands such as Greenslade and Colosseum as a comparison, however one must also admit that such a style was prevalent throughout those progressive rock bands who preserved a deep admiration for the rhythm and blues. Eddie And The Boys could be considered the album highlight, if one had to look at the album from a commercial angle. This track is one of the brighter moments on what is a rather disappointing album and possibly what is more surprising is that this time round, the more pop aspect of the album did not come from the pen of Pembroke but rather from Rechardt. However, with Lucky Golden Stripes And Starpose, Rechardt showed that his compositions apart from possessing a rockier edge also had their fair share of complex arrangements especially during the short abstract guitar solo. June May Be Too Late is a typical Pembroke track that features a strong dose of soul influences, though after repeated listens there is a sense of certain rhythms and backbeats that resemble in no small way any of the riffs one would find on compositions by disco artists such as the Bee Gees. Admittedly this musical genre was garnering popularity during the years when this album was composed. As in Nuclear Nightclub, it seems that the best tracks are the fruit of collaboration between Pembroke and Rechardt, something which unfortunately only happens on Never Turn You In on this particular album. However both this track and In A Nutshell seem to lack that killer punch that was so necessary on this album to enable the band to break it beyond the shores of Finland. Describing Lucky Golden Stripes And Starpose as a mediocre album, could be a tad bit too harsh. On the other hand one cannot but feel that the band just did not live up to expectations when they really had to deliver. © Nigel Camilleri © 2003 DPRP http://www.dprp.net/forgotten/wigwam/index2.html#luckygoldenstripes

***** I must say I've never understood the lack of top ratings for this album. I also add that I believe I prefer this to Nuclear Night Club. From start to finish this is an excellent lp. The one thing I do find somewhat distressing is the mix of the new issue on Eclectic Compact Discs. Seems whoever did this one turned up the bass and drums in the mix and for me this spoils the effect. I tried several times and just can't get used to the thud this one has. I do like Jim Pembroke's liner notes and having met Jim in person (after all he lives in Kansas City) I do find talking to him really interesting to talk with. Wigwam is not my favorite band of all ( that honor would go to Free) but they are certainly close. © freeloverphil Posted 7:25:53 PM EST, 2/5/2010 © Prog Archives, All rights reserved http://www.progarchives.com/Review.asp?id=264439

INSURGENCY STARTS here. Wigwam are like a small guerrilla unit operating from their base some way outside a capital city in the grip of a totalitarian regime. Their attacks are devastatingly successful, directed exclusively at the machinery of propaganda. And this capital - it could be anywhere. The tanks, patrols, checkpoints and curfews are symbolic rather than actual. London, New York, San Francisco, Los Angeles... all the self-appointed centres of rock'n'roll, lifeless metres by which the medium is measured. All in the hands of an invisible dictatorship - the authoritarian rule of 'sophistication', style and fashion. Here today, gone tomorrow - the mind police of contemporary music making their dawn swoops, their nights of the long knives. Rock'n'roll is so nauseatingly centralised and bureaucratic it's no wonder it thrives on a contrived dynamic of inconsequentiality, of unwillingness to accept anything that doesn't in some way toe the party line. An expertly concealed domination - with oligarchies ruthlessly pacing rates of change (or no change at all). Any deviation is severely punished. Wigwam have had the good fortune and good sense to have escaped this takeover by reason of their being well away from any such 'centres of rock culture.' The band are Finnish, with the exception of Jim Pembroke, an English expatriate who's lived in Finland for 12 years or so. Thus situated they're able to review events along a clear horizon, at an unforced pace, cautiously selective about their enthusiasms. They could, if they chose, remain their own best inspiration and make their way without any outside interference. In fact Wigwam manage something of a best of both, but without compromise, neither succumbing to sycophantic imitation of archetypes nor becoming introverted in grand isolation. Although they haven't always been song-oriented as they are now. 'Lucky' is their eighth album, and the second from a lineup that only includes one original member, drummer Ronnie Osterberg. Time was that under the militant (Marxist) [sic] inspiration of Jukka Gustavson they recorded (rarely performed - the material was too complex) 'Fairyport' (1970) and 'Being' (1973), two sets of exemplary lateral thinking, achievements as advanced as anything the Softs or Zappa managed when at their best. (Albums that deserve British release at some date.) Nonetheless, despite the changes in personnel and emphasis, Wigwam - who almost changed their name to Wigloo - have as much claim now to be distinctively idiosyncratic as then, 'Nuclear Nightclub,' their first release, was marred by overproduction and a paucity of really good material. Both problems have been eradicated. 'Lucky' was recorded at The Manor and contains eight songs by Pembroke and a much more assured Pekka Rechardt. And if the album title is slightly reminiscent of Traffic's 'Low Spark Of High Heeled Boys'... Pembroke would probably list the Band, Traffic and Procol Harum among his loves. Three very musicianly groups, as are Wigwam, with everyone collaborating rather than outbidding - low profile virtuosity being the order of the day. In addition, instrumentation - with two keyboards, guitar, bass and drums - has obvious precedents in Procol and the Band: all weather capability. Pembroke sings and writes most of the lyrics. His voice combines the deadpan satire of a Randy Newman with a more desparate, almost manic, edge. He has a remarkable ability to twist and inflect phrases around the melody and accent of songs. His lyrics reflect a determination to keep head above water, above the encroaching flood of what in the title cut he calls 'social termination.' But 'Lucky' isn't a formal, explicitly conceived 'concept' record, rather an inspired collection and interrelation of themes. And The World is Pembroke's lyrical stage, his wit that of the gravediggers in 'Hamlet' - black, wry and acerbic. His subject matter covers ecological imbalance, political intrigue, insanity, saviours and prophets, much more. As we all blithely trip along the high wire to apocalyptic oblivion. Pembroke's ways of expressing such apprehension are at times very unsettling. Both he and Rechardt have a predilection for compulsive melodies, the very fibre of spontaneous bop. Osterberg and Mosse Groundstroem (bass) keeps things very strict and self-controlled whilst Rechardt sneaks in dense clusters of guitar chords. Thus you'll find 'International Disaster' innocently zapping along whilst Pembroke croons "there'll be waltzing in Vienna, fighting in Angola..." A simple trick of juxtaposition, but very effective. 'Sane Again' has, of course, little enough to do with regaining any form of equilibrium; it opens the album, the first of three bulletins from the asylum. The other components of this trilogy are 'Eddie And The Boys', another airy toon with echoed guitar skimming it by like a hydrofoil, and 'Nutshell,' the closing 'idiot' song. And in a nutshell is where, Pembroke argues, we're likely to end up, ostrich people, to ignore the outriders of disaster, happily and manically insulated to the last. Both 'Nutshell' and 'Eddie' are graced with crazy marimba - a neat addition. Elsewhere are 'Timedance,' an instrumental dervish spree, followed by 'Colossus,' weird scenes in some northern castle. This and 'Never Turn You In,' a ballad about Christ and his betrayal, allow Hessu Hietanen to enshroud developments in chill, shimmering string organ. The total effect, allied with Pembroke's melancholy voice, is overwhelmingly anguished. Rechardt, always a graceful soloist, offers his move to threaten checkmate in the title song's centrepiece, a low level jet strike of curling notes, and plays his most striking set of chords in 'June May Be Too Late.' Enough detail. Wigwam are brutally honest, often very poignant. Sober up, whilst there's still time. [ from "The Guerrillas Of The Wigloo" Angus MacKinnon, Street Life, April 3-16, 1976

BIO

Wigwam have the rare distinction of being the only '70s band from Finland to have made any impact outside the country, as well as being an incubator for the country's top prog musicians — the only catch was that the anticipated massive breakthrough never happened. The group came together in the late '60s, when drummer Ronnie Österberg, expat English singer/keyboard player Jim Pembroke, guitarist Nikke Nikamo, and bassist Mats Hulden, all of whom had been in Blues Section, decided to form a new band. They drafted in keyboardist Jukka Gustavson, and Wigwam was born. Their first album, 1969's Hard'n'Horny, had Gustavson's work on one side, Pembroke's on the other. For their second album, Tombstone Valentine, both Hulden and Nikamo had vanished, having experienced disputes with the producer, American scenester Kim Fowley. But the record did see the debut of virtuoso bass player Pekka Pohjola. While well received, it still didn't sell many copies, which was also true of their next disc, Fairyport. Following that, both Pembroke and Pohjola made solo albums, leaving Gustavson to put together the next band effort, the dark and prog-ish Being, which won Album of the Year in Finland. But even awards couldn't keep Pohjola and Gustavson in the band, although before they left, they took part in the shows that made up 1975's Live Music From the Twilight Zone, a concert mix of solo material and covers of the Beatles and the Band. Following that, the band split briefly. The reformation brought plenty of new personnel and Pemboke as the central figure, Wigwam went on to enjoy their most successful period, releasing Nuclear Nightclub, which was licensed for international distribution by Virgin, who brought the band to England to tour — at which point they also recorded their next disc, Lucky Golden Stripes and Starpose. Wigwam seemed on the verge of real success, but couldn't quite cross over, and when the follow-up, tentatively titled Daemon Duncetan's Request, was turned down by Virgin, the bottom seemed to fall out. The record was revamped and released in Finland in 1977 as Dark Album. But by the time it hit the shelves, Wigwam had played an unofficial farewell show and split for the second time. Pembroke moved to Kansas, and continued to record solo albums, and in 1993 the band regrouped to record Light Ages. Occasional shows have been played since, but while best-of and rarities CDs have been released, the group definitely isn't officially together. © Chris Nickson © 2009 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:dpfwxql5ld0e~T1

29.3.10

Ian Carr's Nucleus


iancarrsnucleus.ootld

Ian Carr's Nucleus - Out Of The Long Dark - 1979 - Capitol

Ian Carr formed Nucleus in October 1969 to enable individual members to express themselves as fully as possible and explore different ways of grooving. The band, which has always been based in London, started with Ian (trumpet/flugelhorn), Karl Jenkins (piano, baritone, oboe), Brian Smith (saxes, flute), Bernie Holland (guitar), Jeff Clyne (bass, bass guitar) and John Marshall (drums)" [Source: Melody Maker Factfinder Series, 19 April 1975, p.48]

Formed in September 1969, Nucleus were an immediate and explosive success and in 1970 appeared at two of the world's most prestigious jazz festivals at Newport and Montreux. The band were inspired to some extent by the contemporary electrified experiments of Miles Davis, but mostly by Carr's wide-ranging ideas about exotic and non-Western improvisation and rhythmic patterns. These he combined with his own jazz improvisation and the sort of ostinato bass patterns brought into the rock field by Davis acolytes such as Herbie Hancock. It was Davis, however, who was the pre-eminent influence on Carr's work and Carr became one of the world's leading scholars on the subject of Davis and his music. Over the years Nucleus drew in some of the best musicians from the British jazz scene, including John Marshall, Karl Jenkins, Brian Smith, Jeff Clyne, Chris Spedding, Harry Beckett, Tony Coe and Ron Mathewson. Nucleus finally disbanded in the late Eighties. © Steve Voce, © independent.co.uk

This is a spectacularly good album of material from the legendary jazz fusion band, Nucleus, recorded at Abbey Road Studios, London, in November, 1978. The late, great trumpeter Ian Carr was one of the greatest, and most influential musicians in British jazz. He played some ground-breaking performances with the Rendell-Carr Quintet and Nucleus, and he provided the inspiration for many world-class musicians. He spearheaded a huge revival in modern jazz music in the 1970s, and brought it to the people. This is the late seventies Nucleus at their very best. Every musician on this recording is brilliant. "Out Of The Long Dark" is HR by A.O.O.F.C. Ian died on 25 February 2009, aged 75. Thankfully, his wonderful music and his unconquerable jazz soul lives on. The Nucleus' "UK Tour 1976" album is @ NUCL/UKT76 The group's "Under The Sun" album can be found @ NUCL/UTS The "Hemispheres" album is @ NUCL/HEMIS and the Ian Carr with Nucleus' "Labyrinth" album is available @ ICARR&NUCL/LABY Read the comprehensive story of this legendary group @ Ian Carr + Nucleus and check out the very informative article, Ian Carr and Nucleus: '70s British Jazz Rock Progenitors See if you can find Neil Ardley's brilliant "Kaleidoscope of Rainbows" album, featuring Nucleus as guests

TRACKS / COMPOSERS

1. Gone With the Weed - (Carr)
2. Lady Bountiful - (Carr)
3. Solar Wind - (Castle)
4. Selina - (Carr)
5. Out of the Long Dark (Conception) - (Carr)
6. Sassy (American Girl) - (Carr)
7.Simply This (The Human Condition) - (Carr)
8. Black Ballad (Ecce Domina) - (Carr)
9. For Liam - (Carr)

MUSICIANS

Ian Carr - trumpet, amplified trumpet, flugelhorn, electric piano
Billy Kristian - bass guitar
Geoff Castle - Fender Rhodes piano, electric piano, synthesisers
Brian Smith - tenor, soprano saxes, flute, alto flute, percussion
Roger Sellers - drums, percussion

WITH

Neil Ardley - Arp Odyssey, polyphonic synthesizer: Richard Burgess - percussion: Chris Fletcher - percussion on "Solar Wind"

SHORT NUCLEUS BIO

Nucleus began its long jazz-rock journey in 1969, when it was originally formed by trumpeter Ian Carr. They attracted a following after a successful performance at the Montreux International Festival in 1970, which led to the critical success of albums Elastic Rock and We'll Talk About It Later. The other members consisted of saxophonist Karl Jenkins, drummer John Marshall, and guitarist Chris Spedding. Spedding split after the first two albums, but the rest of the lineup lasted until 1972, when Jenkins and Marshall both left to join Soft Machine. Belladonna was the first album with only Carr, and although he enlisted the help of guitarist Allan Holdsworth, the band eventually became a solo venture for his music. They finally broke up in the mid-'80s after several Carr-only albums. © Bradley Torreano, allmusic.com

SHORT IAN CARR & NUCLEUS BIO

Ian Carr has been on the cutting edge of the British jazz scene for nearly four decades. Self-trained as a musician, Carr played an important role in the development of jazz-rock fusion, playing with John McLaughlin in the early '60s, forming one of England's first electronic jazz-rock fusion groups, Nucleus, in 1969 and playing with the international band the United Jazz Rock Ensemble, since 1975. In 1982, Carr received a Calabria award in southern Italy for Outstanding Contribution in the Field of Jazz. Wire Magazine presented him a special award for services to British jazz in 1987. Carr has been equally influential as a music journalist and educator. The co-author of a jazz encyclopedia, The Essential Companion, Carr was also the author of Music Outside, an examination of contemporary British jazz published in 1973; Miles Davis: The Definitive Biography, published in 1982; and Keith Jarrett: The Man and His Music, published in 1991. Since 1992, Carr has written a monthly column for BBC Music Magazine. Carr is an associate professor at the Guildhall School of Music and Dance and lectures weekly on jazz history. Born in Scotland and raised in England, Carr thought little of a career in music until he was nearly 30 years old. Educated at King's College in Newcastle-Upon-Tyne, where he studied English literature, Carr served in the Army in the late '50s. Shortly after his discharge, he formed a band, the EmCee Five, with his brother Mike and John McLaughlin. Carr remained with the band for two years, leaving to form the Rendell-Carr Group with saxophonist Don Rendell in 1962. During the seven years he worked with Rendell, Carr helped the band record five albums. In September 1969, Carr helped form the groundbreaking fusion band Nucleus. The group attracted international acclaim when it took the top prize in a competition at the Montreaux International Festival in 1970. Carr continued to play with Nucleus until 1989 when he left to tour the United Kingdom and Europe as a soloist on electric trumpet with an Anglo-American orchestra led by American composer George Russell. Old Heartland was recorded with the Kreisler String Orchestra in 1988 while Sounds and Sweet Airs was recorded with organist John Taylor in 1992. © Craig Harris, allmusic.com

IAN CARR BIO (WIKI)

Ian Carr (21 April 1933 – 25 February 2009) was a Scottish jazz musician, composer, writer, and educator. Carr was born in Dumfries, Scotland, the elder brother of Mike Carr. From 1952 to 1956, he went to King's College, now Newcastle University, where he read English Literature, followed by a diploma in education. At the age of seventeen Carr started to teach himself trumpet. After university he joined his brother in a Newcastle band, the EmCee Five, from 1960 to 1962, before moving to London, where he became co-leader with Don Rendell of the Rendell–Carr quintet (1963–1969). In its six years, the group (including pianist Michael Garrick, bassist Dave Green, and drummer Trevor Tomkins) made five albums for EMI – all of which have been re-issued – and performed internationally. After leaving the quintet, Carr went on to form the ground-breaking jazz-rock band Nucleus. This led to the release of twelve albums (some under the band's name, some under Carr's), and a successful international career. In their first year they won first prize at the Montreux Jazz Festival, released their first album (Elastic Rock), and performed at both the Newport Jazz Festival and the Village Gate jazz club. He also played with the United Jazz and Rock Ensemble since 1975. Carr worked as a session musician in non-jazz contexts, with Nico, No-Man, Faultline, and others. He also doubled up on flugelhorn. Apart from writing a regular column for the BBC Music Magazine, Carr wrote biographies of the jazz musicians Keith Jarrett and Miles Davis. He was also the co-author of the reference work The Rough Guide to Jazz which has passed through four editions from 1994 (originally Jazz, The Essential Companion, 1988). In addition he contributed sleeve notes for the albums of other musicians (e.g. Indo-Jazz Fusions by Joe Harriott and John Mayer). In 1987, he was appointed associate professor at the Guildhall School of Music and Drama in London, where he taught composition and performance, especially improvisation and was founder of the jazz workshop at the Interchange arts scheme, where pianist Julian Joseph, amongst others, was one of his students.

NUCLEUS BIO (WIKI)

Nucleus were a pioneering jazz-rock band from Britain who continued in different forms from 1969 to 1985. In their first year they won first prize at the Montreux Jazz Festival, released the album Elastic Rock, an essential creation in the crystallization of a new musical expression, Jazz fusion, and performed both at the Newport Jazz Festival and the Village Gate jazz club. They were led by Ian Carr, who had been in the Rendell-Carr Quintet during the mid and late 1960s, and was a respected figure in British jazz for more than 40 years. Their jazz-based music evolved from an early sound incorporating elements of progressive and psychedelic rock towards a funkier sound in the mid and late 1970s. Nucleus' first lineup was leader and trumpeter Ian Carr, keyboardist/oboist Karl Jenkins, saxophonist/flautist Brian Smith, guitarist Chris Spedding, bassist Jeff Clyne and drummer John Marshall. By their third album, the band had expanded to include trumpeters Kenny Wheeler and Harry Beckett, saxophonist Tony Roberts, bassist Ron Mathewson, percussionist Chris Karan and Keith Winter on VCS3 synthesizer. Dave MacRae joined soon after for several albums.Over the years the band has seen many members: Trumpet & flugelhorn: Ian Carr, Kenny Wheeler, Harry Beckett, , Chris Batchelor: Tenor sax, soprano sax, flute: Brian Smith, Bob Bertles, Phil Todd, Tim Whitehead: Clarinet, bass clarinet, tenor sax: Tony Roberts, Tony Coe: Baritone sax, oboe, piano, electric piano: Karl Jenkins: Piano and electric piano: Dave MacRae, Gordon Beck, Geoff Castle: Guitar: Chris Spedding, Allan Holdsworth, Jocelyn Pitchen, Ray Russell, Ken Shaw, Mark Wood: Bass guitar: Jeff Clyne, Ron Mathewson, Roy Babbington, Roger Sutton, Billy Kristian, Mo Foster, Dill Katz, Rob Statham Drums: John Marshall, Clive Thacker, Tony Levin, Bryan Spring, Roger Sellers Percussion: Chris Karan, Trevor Tomkins, Aureo de Souza, Richard Burgess, Chris Fletcher Synthesizer: Keith Winter, Paddy Kingsland, Geoff Castle, Neil Ardley Vocals: Norma Winstone, Joy Yates (Mrs. Dave MacRae), Kieran White Organ: John Taylor. In August 2005, a special one-off reincarnation of Nucleus, with old and new members, performed at London's Cargo venue, to an enthusiastic reception. This was followed on 30 March 2007 by a Nucleus Revisited concert at London's Pizza Express Jazz Club as part of a series of concerts to mark Jazzwise magazine's 10th anniversary. Nucleus Revisited featured, amongst others, Nucleus stalwarts, Geoff Castle, Mark Wood and Tim Whitehead and on trumpet, as at the 2005 Cargo concert, Chris Batchelor. Although Ian Carr did not play due to ill health, he was present at the concert and received a standing ovation from the ecstatic audience. Nucleus Revisited also appeared at Ronnie Scott's club in London on 4 August 2009 as part of their two week long Brit Jazz Fest. The double billing with Michael Garrick's Quartet drew an appreciative packed house.

28.3.10

Bill Bruford's Earthworks


aoofc

Bill Bruford's Earthworks - Stamping Ground - 1994 - Venture / Caroline

Bill Bruford was a member of Yes, Genesis, and of course King Crimson, the band he was with for over 25 years. Bill's percussive brilliance was a huge element in the band's great success. On "Stamping Ground" he shows more creative freedom in parts than some of his KC work. "Stamping Ground" contains some really innovative live, one-take cuts with no overdubs. One music critic said that "By letting in air and light and adding a little wit and wisdom, Earthworks produced a particularly British antidote to the increasingly grotesque jazz fusion scene. "Stamping Ground" has no electric guitar parts, and is not as "serious" as the fusion of artists like John McLaughlin, or Ian Carr. However the album is engrossing, very accessible, and enjoyable. Listen to Yes' great "Fragile" album, King Crimson's classic "Larks' Tongues in Aspic" album, and Genesis' "Three Sides Live" album. It is also worh listening to the "Anderson Bruford Wakeman Howe" album. Bill Bruford and Michiel Borstlap's "In Two Minds" is another great original improvised jazz album. Many people are put off jazz because of the sometimes false illusion that the genre is only for the intellectual elite. It is true that a lot of contemporary jazz and jazz fusion lacks any originality, and has little or no musical merit. However you don't have to be an "expert" on jazz to work that one out! There is good and bad elements in every musical genre, and as regards jazz, there are far too many pseudo-intellectuals who regard the genre as "over the heads" of the ordinary Joe Bloggs. Good music is good music, and whether it's Abba's "Dancing Queen", Franz Schubert's "The Trout Quintet", or Horace Silver's "Song For My Father", quality is to be found in almost every musical genre. Having said that, you will not find any Jedward, or M. Farre & P. Gasparini "Piano Piano" type music on this blog ! Apologies to connoisseurs of this type of "music" ! Find out a lot more about Earthworks @ HERE

TRACKS / COMPOSERS

1 Nerve - Bill Bruford , Django Bates , Iain Ballamy
2 Up North - Bill Bruford , Django Bates , Iain Ballamy
3 A Stone's Throw - Bill Bruford , Django Bates , Iain Ballamy
4 Pilgrim's Way - Bill Bruford , Iain Ballamy
5 Emotional Shirt - Django Bates
6 It Needn't End In Tears - Iain Ballamy
7 All Heaven Broke Loose (includes 7a "Psalm" by Bill Bruford , Iain Ballamy, and 7b "Old Song" by Django Bates , Iain Ballamy
8 Candles Still Flicker In Romania's Dark - Django Bates
9 Bridge Of Inhibition - Bill Bruford , Django Bates , Iain Ballamy

Tracks 1, 4 to 8 were recorded live at the Bottom Line, New York, on March 14th & 15th, 1992, and tracks 2 and 3 at the Nightstage, Boston, MA, on March 18th, 1992. Track 9 was recorded at The Junction, Cambridge, England, on May 22nd, 1992.

CD also available with bonus track, "Hotel Splendour", and as a 2 X CD Edition, with "Hotel Splendour" , and 7 other tracks

MUSICIANS

Bass [Acoustic & Electric] - Tim Harries
Keyboards, e-flat peck horn, Trumpet - Django Bates
Drums [Electronic, Acoustic & Chordal] - Bill Bruford
Saxophone - Iain Ballamy

REVIEW

Even by the standards set on the previous three studio CDs by his band Earthworks, drummer Bill Bruford hits on all cylinders on the live 1994 release Stamping Ground. The music is practically uncategorizable, as Bruford and bassist Tim Harries set a muscular pace for saxophonist Iain Ballamy and keyboardist/horn player Django Bates on the serpentining opener "Nerve." "Up North" slows the pace and showcases Ballamy's melodic sensibilities, then the lengthier workouts begin. "A Stone's Throw" features a duet intro between Ballamy and Bruford (on percussion), then the saxophonist sways over the acoustic bassline of Harries and the embellishments of Bruford. The drummer toyed with the primary use of electronic drums on Earthworks releases in the 1980s, but reverts to a more acoustic format here -- yet the intro to the nine-minute "Pilgrim's Way" still shows the melodic possibilities of Bruford's creative electric "chordal drums." Bates' "Emotional Shirt" blends classical sensibilities with a shuffling jazz/fusion rhythmic pattern; Ballamy's "It Needn't End in Tears" is a stately ballad spotlighting the saxophonist's lyrical playing, and "All Heaven Broke Loose" lives up to its title with a sensitive intro and explosive buildup. Bates' brooding, seven-minute "Candles Still Flicker in Romania's Dark" is the official finale, but its subtitled, 11-minute part two ("Bridge of Inhibition") provides the exhilarating climax. Bruford's chordal patterns sound practically symphonic amid this epic's starts and stops -- further proof of the originality of one of the most musical drummers of all-time. Like all great live releases, Stamping Ground makes you wish you had been there. © Bill Meredith, All Music Guide © 2010 Answers Corporation http://www.answers.com/topic/stamping-ground-bill-bruford-s-earthworks-live

ABOUT BILL BRUFORD

b.bruford

Bill Bruford's career is like his drumming sound — inimitable. Known for his ringing metal snare drum, crisp cymbal work, and knack for complex time signatures, a young Bruford came to prominence in the late '60s with Yes. The drummer completed his British art rock trilogy by briefly joining Genesis in the 1970s and spending a quarter-century with King Crimson through the late '90s. In between King Crimson dates, Bruford led a dazzling self-titled jazz fusion solo band from 1978 to 1980 that featured guitarist Allan Holdsworth, bassist Jeff Berlin, and keyboardist Dave Stewart. And even as he leads his visionary jazz band, Bill Bruford's Earthworks, he maintains a career as a session drummer (with artists like guitarists Al DiMeola and David Torn, bassist Jamaaladeen Tacuma, and keyboardist Patrick Moraz). During one of King Crimson leader Robert Fripp's several lineup-shifting hiatuses in Bruford's 1972-1997 tenure, the drummer formed his self-titled Earthworks band in 1986. On its 1987 Earthworks debut album, Bruford often used electric Simmons drums to contrast acoustic horn players Iain Ballamy and Django Bates and upright bassist Mick Hutton, achieving the opposite of the standard lineup where drums are the only acoustic instrument. Subsequent releases like 1989's Dig? and 1991's All Heaven Broke Loose continued this forward-thinking trend, blending acoustic and electric instrumentation and jazz ideology with classical undertones. But by 1993's live Stamping Ground, Bruford had replaced Hutton with electric/acoustic bassist Tim Harries and was using keyboard-pitched electric chordal drums, the combined result being a more muscular and fuller sound. Bruford continued recording and touring with King Crimson through 1997, releasing the Earthworks compilation Heavenly Bodies just as he quit the venerable rock band with which he'd had his longest tenure. It would prove to be a transitional year, as Bruford recorded a jazz chamber trio solo CD called If Summer Had Its Ghosts with legendary jazz figures Ralph Towner (guitar/piano) and Eddie Gomez (acoustic bass). Between explorative electric recordings with bassist and fellow King Crimson alum Tony Levin, Bruford kept Earthworks closer to the chamber jazz mode on the 1999 CD A Part and Yet Apart. Likewise, the lineup of Bruford, saxophonist Patrick Clahar, pianist Steve Hamilton, and bassist Mark Hodgson started the new millennium with the 2001 CD The Sound of Surprise, an outstanding blend of jazz tradition and forward-thinking transition. © Bill Meredith © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aifixqw5ldde~T1

ABOUT BILL BRUFORD'S EARTHWORKS

In 1986, prog rock percussion legend Bill Bruford formed Bill Bruford's Earthworks as a venue to work on his true passion, jazz. For the formation, he recruited Django Bates, Mick Hutton, and Iain Ballamy. The group quickly set out to release their first album, simply called Earthworks. Their second album, Dig?, was released in 1989. They followed that one with All Heaven Broke Loose in 1993. Next, the group continued in rapid-fire fashion with Stamping Ground, their first live release. Bruford's attention was diverted from the band for a couple of years, concentrating on King Crimson. When he returned his focus to his own band the result was a best-of compilation with the addition of unreleased live recordings. The album, called Heavenly Bodies, was released in 1997. By the time they released 1999's A Part & Yet Apart, the group's lineup was composed of Bruford, Steve Hamilton, Patrick Clahar, and Mark Hodgson. This lineup was also responsible for The Sound of Surprise (2001), Footloose and Fancy Free (a live album released in 2002), and Footloose in New York City (a live DVD released 2002). Tim Garland has since replaced Clahar. © Gary Hill © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:0zfuxq90ld6e~T1

Steve Freund


s.freund-cfc

Steve Freund - 'C' for Chicago - 1999 - Delmark

No one will accuse Steve Freund of having the greatest voice in the blues world. While Freund is an impressive guitarist, he is merely adequate as a singer. But when you're evaluating an album, it is important to look at the big picture. Taking different things into consideration -- impressive chops, adequate singing, likable songwriting -- one concludes that "C" for Chicago, although slightly uneven, has more plusses than minuses. Freund won't blow you away with a great voice, but he still gets his points across on enjoyable (if derivative) Chicago-style blues numbers like "Everytime I Get to Drinking," "Working Man," and "Please Love Me" (which employs Boz Scaggs as a second guitarist). One of the CD's most memorable tracks is "I Love Money," a humorous account of having champagne tastes and a beer budget. Like so many blues songs that have been recorded over the years -- or, for that matter, country songs -- "I Love Money" manages to laugh at life's disappointments. Freund also provides a few instrumentals -- which include "Mr. Jackson's Boogie" and the jazz-influenced "Cool Dream" -- and that is a good thing because they give him a chance to really stretch out on electric guitar. Although "C" for Chicago is a Chicago blues album first and foremost, Freund shows his appreciation of jazz at times. And that is why he was lucky to have guitarist/singer Dave Specter produce this album. A versatile musician, Specter has one foot in the blues and the other in jazz, and he serves Freund well on this generally decent but imperfect effort. © Alex Henderson, All Music Guide © 2010 Answers Corporation http://www.answers.com/topic/c-for-chicago

Native New Yorker, Steve Freund plays some good traditional Texas and electric Chicago-style blues on this album. How many great musicians have come from Brooklyn? There are definite influences of Buddy Guy, Albert Collins, and James Cotton in Steve's playing, but nothing wrong in learning a few tricks from the blues masters. That's the natural evolution of blues music. This album also has some jazz in the mix. Listen to "Pallet on the Floor" or "Forbidden Stuff". Cool tracks ! Boz Scaggs plays good solo guitar on "Please Love Me", and rhythm guitar on "Jumping at Shadows". Other great musicians on this album include David Maxwell, Kim Wilson, and Willie Henderson. Try and listen to Steve's great "Set Me Free" album, and check out stevefreund.com

TRACKS / COMPOSERS

1. Please Love Me - B.B. King, Jules Taub
2. 'C' for Chicago - Steve Freund
3. I Love Money - Steve Freund, Harlan Terson
4. Wild Woman - Albert King
5. Jumping at Shadows - Duster Bennett
6. Working Man - Michael Bloomfield, Nick Gravenites
7. Forbidden Stuff - Steve Freund
8. Pallet on the Floor - Trad.
9. Highway Woman - Steve Freund
10. 38th Street Blues - B.B. King
11. Everytime I Get to Drinking - Albert Luandrew
12. Mr. Jackson's Boogie - Steve Freund, Pete Crawford, Mot Dutko, Justin O'Brien
13. Folks Like You - Steve Freund, Tom Bucy
14. Cool Dream - Steve Freund

MUSICIANS

Steve Freund - (guitar & vocals)
Dave Specter, Boz Scaggs, Pete Crawford - (guitar)
Harlan Terson, Tim Wagar, Justin O'Brien - (bass)
Rob Waters, Wendy DeWitt, David Maxwell, Austin DeLone - (keyboards)
Bob Carter, Kevin Coggins, Mot Dutko, Mark Fornek - (drums)
Sam Burckhardt, Terry Hanck, Willie Henderson - (tenor, alto, & baritone sax)
Kim Wilson - (harmonica)
Mark Hannon, Paula Burns -(bckgr vocals)

SHORT BIO

Although he's played all around the U.S. (including stops in New York, Chicago, etc.), blues guitarist Steve Freund is best-known in the San Francisco Bay Area. Born on July 20, 1952, in Brooklyn, NY, his mother (who played classical piano) initially inspired Freund, but it was around the age of 16 when he first picked up the guitar. In 1976, Freund moved to Chicago and began to play regularly with Sunnyland Slim, which then led to gigs playing alongside such blues notables as Hubert Sumlin, Big Walter Horton, Pinetop Perkins, Paul Butterfield, Luther Allison, Koko Taylor, and Little Charlie & the Nightcats. By the late '90s, Freund had begun a regular residency at the bar/club The Saloon in San Francisco, almost always playing alongside blues pianist Wendy DeWitt, while issuing several albums along the way -- Set Me Free, Romance Without Finance, C for Chicago, and I'll Be Your Mule. © Greg Prato, All Music Guide © 2010 Answers Corporation http://www.answers.com/topic/steve-freund-1

27.3.10

Michael Osborn


aoofc

Michael Osborn - A Case For The Blues - 1993 - Blue Rock'It

"A Case For The Blues" is fundamentally traditional "no frills" blues played with exceptional technique. His "traditional" style is gritty, sophisticated, and contemporary. Michael is his own man when it comes to blues guitar, and it is hard to pinpoint a definite influence on his playing. He plays with a very imaginative, and precise style in the "less means more" fashion. He never overdoes his playing, and still produces some very impressive solos. In blues circles, Michael Osborn is a very well known artist, and is admired and respected by some of the great blues guitarists, including Robben Ford. The late John Lee Hooker said that "Michael Osborn is one of the best blues guitarists around, he can really lay it down". Michael was JLH's band leader for several years, and remains a hugely popular guitarist and songwriter in the San Francisco area. Worldwide, he has shared the stage with legends like Robben Ford, the late Willie Dixon, Elvin Bishop, James Cotton, Robert Cray, Charlie Musselwhite, the late Brownie McGhee, Carlos Santana, John Hammond, Bonnie Raitt, the great Etta James and the list goes on. Musicians on this album include the late J.L Hooker on vocals and guitar, who sings on his own composition, "High Heels". The late Vala Cupp is on vocals. Charlie Musselwhite plays harmonica, and the great slide guitarist, Roy Rogers helps out. A special mention to the great sax blowing by Ken Baker, and Nancy Wright. An impressive album, and HR by A.O.O.F.C. Buy Michael's "What Goes Around" album, and check out his "Touch Tone" album @ MICHOSB/TT It is also worthwhile checking out albums by Robert Cray for more blues in this genre

TRACKS

1 T.S. Boogie [instrumental]
2 Lovesick
3 That's Right
4 Miniskirts and Make-Up
5 Bottleneck Blues
6 Spellbound
7 The Home of the Homeless
8 Crazy Life
9 High Heels
10 Foolin' With a Fool
11 Nightmare Blues
12 A Woman Never Forgets

All songs composed by Michael Osborn, except "High Heels" by John Lee Hooker

MUSICIANS

Michael Osborn - Guitar, Percussion, Guitar (Rhythm), Vocals
John Lee Hooker RIP - Guitar, Vocals
Roy Rogers - Slide Guitar
Bruce Kaphan - Pedal Steel, Lap Steel Guitar
Steve Hazlewood, Steve Ehrmann, Jim Guyett, John Mazzocco, Ron Gurewitz - Bass, Guitar (Bass)
Brent Rampone - Bass, Drums
Liz Fisher - Keyboards
Jimmy Sanchez, Brett Jackson, Bowen Brown - Drums
Ken Baker, Nancy Wright - Sax (Tenor)
Charlie Musselwhite - Harmonica
Vala Cupp RIP - Vocals

aoofc

BIO

During the mid-60's Michael Osborn was introduced to blues music through his friendship with Robben and Patrick Ford. Out of this association, Michael began playing bass guitar with the Ford brothers in various blues, rhythm & blues bands over a three-year period, from 1967 thiough 1969. In 1970, Michael (having switched to playing rhythm guitar, joined the first incarnation of the Charles Ford Band featuring Gary Smith on harmonica and Lou Bottoni on bass guitar. After many months of club dates, Pat and Robben left the band to join Charlie Musselwhite. (The Charles Ford Band disbanded until Pat and Robben reformed the following year as a quartet with Mark Ford on Harmonica and Stan Poplin on bass.) In the early 1970's, Michael recorded wlth the Charles Ford Band and Charlie Musselwhite. He also continued to build his guitar chops through the 70's while performing in various blues bands with Gary Smith, Mark Ford, Mixed Nuts (featuring Bonnie Raitt's brother, David Raitt) and an occasional Charles Ford Band reunion. In June of 1981 Michael became lead guitarist for the great John Lee Hooker. He toured all over North America, Europe, Japan and Brazil with John Lee for the next 13 years. During this same period, he backed such people as Robert Cray, Elvin Bishop, Brownie McGee, Willie Dixon, Jarnes Cotton and Charlie Musselwhite. He has also played on stage with such notables as Bonnie Raitt, Johnny Johnson, Albert Collins, Ry Cooder, Carlos Santana, John Hammond, Etta James, Curtis Salgado, and The Nighthawks. Michael has performed at many prestigious venues in the United States and Europe such as Carnegie Hall, Madison Square Garden, The Montreaux Jazz Festival in Switzerland, The North Sea Jazz Festival in Holland, The New Orleans Jazz and Heritage Festival, Newport Jazz Festival, Newport Folk Festival, The Hammersmith Odeon in London, The Monterey blues Festival,etc. Since he left John Lee Hooker's Coast to Coast Blues Band, Michael fronts his own band and also performs with blues singing sensation Sista Monica. He was one of the headliners at the Mountain Winery Summer Series blues Festival '94, and has toured Europe several times, playing festivals and clubs throughout, including Djurs Bluesland Festival in Denmark. He has toured Western Canada, the Pacific Northwest and various Northern California venues (including the Monterey Jazz Festival and the Sacramento Blues Festival) with great success. © Blue Rock'It Records 2001-2007

26.3.10

Jamiroquai


JamiroquaiPromo2002

Jamiroquai - 7 X EP CD MAXI Collection - 2002 - WorkSony

A collection of seven Jamiroquai EP's, CD singles, and maxi CD's ranging from 1996 - 2002. The compilation is comprised of 11 main tracks, remixed into 26 special remix versions. Some of these releases were issued in over 20 different versions, with incredible variations of different album covers, track remixes, sequences, etc. Some of the issues contained video tracks, none of which are included here. Sound quality varies over all these albums, and the original CD's, vinyl issues, no doubt sound a lot better. You would need to be in the money to buy Jamiroquai's amazing record catalogue. Listen to Jamiroquai's "Emergency on Planet Earth" album as a brilliant example of just how good acid jazz funk can be.

MAIN TRACKS

Cosmic Girl
Light Years
Half The Man
Canned Heat
You Give Me Something
Do It Like We Used To Do
Main Vein (Live)
Love Foolosophy
Picture Of My Live
Black Crow
Little L Blaze

TRACKS

COSMIC GIRL - 1996

1 Cosmic Girl (Album Version) 4:03
2 Cosmic Girl (Classic Mix) 9:22 Remix - David Morales
3 Cosmic Girl (Quasar Mix) 7:40 Remix - Al Stone , Derrick McKenzie , Jay Kay , Toby Smith
4 Cosmic Girl (Cosmic Dub) 6:48 Remix - David Morales
5 Cosmic Girl (Quasar Dub) 7:17 Remix - Al Stone , Derrick McKenzie , Jay Kay , Toby Smith

LIGHT YEARS - 1996

TRACKS

1 Light Years (Album Version) 5:56
2 Light Years (4 To Da Floor Mix) 5:23
3 Light Years (True Power Mix) 7:53
4 Light Years (Way Gone Mix) 7:33
5 Half The Man (Album Version) 4:46

All songs composed by Kay Smith

CANNED HEAT - 1999

TRACKS

1 Canned Heat (7" Edit) 3:46
2 Canned Heat (Radio Edit) 3:19

Written-By - Jay Kay
Written-by [Strings], Arranged By [Strings] - Jay Kay , Simon Hale

LITTLE L - 2001

TRACKS

1 Canned Heat (7" Edit) 3:46
2 Canned Heat (Radio Edit) 3:19

Written-By - Jay Kay
Written-by [Strings], Arranged By [Strings] - Jay Kay , Simon Hale


YOU GIVE ME SOMETHING - 2001

TRACKS

1 You Give Me Something (Commercial Edit)
2 You Give Me Something (Full Intention Remix)
Bass - James Winchester
Engineer [Additional] - David Snell
Remix - Full Intention
Remix [Credited To], Producer [Additional], Engineer, Performer [All Instruments] - Jon Pearn , Michael Gray
3 Do It Like We Used To Do
Mixed - Pope, The
4 Main Vein (Live)

Mixed By - Pope, The
Producer - JK , Pope, The
Programmed By - Paul Stoney
Written-By - JK , Fyffe , Harris

LOVE FOOLOSOPHY - 2002

TRACKS

1 Love Foolosophy
2 Picture Of My Live (Radio Acoustic Session)
3 Black Crow (Radio Acoustic Session)
4 Little L Blaze Remix

LOVE FOOLOSOPHY (MAXI) - 2002

TRACKS

Love Foolosophy 6.18
Love Foolosophy (Knee Deep's Re-edit) 8.27
Love Foolosophy (Twin Club Mix) 7.43

BIO (WIKI)

Jamiroquai (pronounced /dʒəˈmirəˌkwaj/) are an English jazz funk and acid jazz band. Jamiroquai were initially the most prominent component in the early-1990s London-based acid jazz movement, alongside groups such as Incognito, the James Taylor Quartet, the Brand New Heavies, Galliano, and Corduroy. Subsequent albums have explored other musical directions such as pop, rock and electronica. Jamiroquai have sold more than 35 million albums worldwide. The band name is a portmanteau of Jam session and "iroquai", based on the Iroquois, a Native American tribe. The original band was Jay Kay (vocals), Toby Smith (keys) Stuart Zender (bass), Nick Van Gelder (drums), Wallis Buchanan (didgeridoo). These are the founding members of the Jamiroquai and were involved in the writing and production of the first albums. The lineup of the band has changed several times, and the longest serving and now core members of the band are lead singer and songwriter Jason "Jay" Kay and drummer Derrick McKenzie (1994). Despite his self-professed attempts to treat Jamiroquai as a band, Kay has always been at the forefront of how the group is marketed, and has therefore always had the lion's share of media attention, to the point where he is viewed as almost a solo artist. He was the impetus behind the formation of Jamiroquai, deciding to form the band after an unsuccessful audition to become the singer of the Brand New Heavies. Jamiroquai's first single, "When You Gonna Learn", was released in 1992 on the Acid Jazz label. Following its success, Kay signed an eight-album record deal with Sony BMG Music Entertainment. The first Sony album, Emergency on Planet Earth was released in 1993. It was followed in 1994 by The Return of the Space Cowboy. The single "Space Cowboy" gained notice on the charts and in club rotation. While Jamiroquai was growing in popularity in the UK and Western Europe, they remained relatively unknown to U.S and other international audiences. The band's international breakthrough came with the third album, Travelling Without Moving in 1996, which yielded two big hits, "Virtual Insanity" and "Cosmic Girl". The success of "Virtual Insanity" was due in part to its Jonathan Glazer-directed video, which featured Kay's dance moves and some physics-defying images. At the 1997 MTV Video Music Awards, the creative music video for "Virtual Insanity" won four awards, including Best Video, Best Special Effects, Best Cinematography, and Breakthrough Video. In 2003 Jamiroquai compiled and mixed a DJ mix album for the Late Night Tales series for Azuli Records. The track selection shows some of the band's funk, soul and disco influences, including tracks from The Pointer Sisters, The Commodores, Johnny "Hammond" Smith and Johnny "Guitar" Watson. The acid jazz flavours and ethnic influences of the first three albums continued with the release of Synkronized in 1999. Jay Kay's interest in funk and disco music were shifting the band's directions towards such. By their fifth album, A Funk Odyssey (2001), they had evolved so drastically, that some critics and listeners would remark they lost the 'Jamiroquai sound'. With the departure of more and more original band members, including Wallis Buchanan and his didgeridoo, Jamiroquai had become a very different band than that of 1992. In spite of the changes, the fifth album's first single, "Little L", reached #1 in many charts worldwide. Their sixth album, titled Dynamite was released on 20 June 2005. It reached #3 on the UK charts. The first single, "Feels Just Like It Should" was released early in June, the second, "Seven Days in Sunny June" released on 15 August 2005, followed by the third, "(Don't) Give Hate A Chance" on 7 November 2005. Jamiroquai released a greatest hits collection, High Times: Singles 1992-2006 in November 2006. The release of this album marked the end of Kay’s eight-album contract with Sony. The album reached the number 1 spot in the UK album chart after its first week of release. The album featured two new tracks, "Runaway" and "Radio". On 18 September 2006, "Runaway" was given its first play by UK radio stations. It was released as a single on 30 October 2006. Kay remarked that compilation was released purely out of contractual obligation: "2006, they're out of the fucking picture." In October 2006, Jamiroquai recorded a live session for Live from Abbey Road at Abbey Road Studios. Their performance was shown alongside those of Damien Rice and the Goo Goo Dolls on the UK's Channel 4 in January 2007. In May 2006 Jamiroquai performed during the Laureus Sports Awards in Barcelona. the event was later televised by NBC in June. In March 2006, Jamiroquai announced their switch to Columbia Records. Future releases will appear under the Columbia imprint. During February in 2007 Jamiroquai performed the record breaking Gig in the Sky in association with Sony Ericsson. After leaving Sony, the band began work on their seventh project, and several collaborations and side-projects. In a very short mid-2007 interview with Jamirotalk, drummer Derrick McKenzie expressed his satisfaction with leaving Sony as the beginning of a period in which the band will have more creative control over their own work, together with plenty of room for experimentation and lack of pressure from a record company. On 11 January 2008, Jay Kay himself posted a news item in which he thanked everyone who wished him the best for his birthday, and announced that the writing process for the new album has just begun. Only a day earlier, drummer Derrick McKenzie posted an article on his MySpace weblog that the recording process for the same record has also begun. On 15 January 2008, the band confirmed that the recording process begun. According to the news item, eleven tracks have already been written for the new album, with more to come. As of now, none of the tracks' names are known. On 13 February 2008, the band announced from their website that it will perform at the World Stage of the Rock in Rio — Madrid festival, being held in Arganda del Rey, Madrid with others artists who have (then) yet to be announced. On 28 February 2008, Jamiroquai performed at the Khodynka Arena in Moscow, Russia at the launch of the new Audi A4 car. On 22 June 2008, Jamiroquai performed at the Wianki Festival in Kraków, Poland. On 4 July 2008, the band performed in front of a 75,000 people audience in the Rock in Rio Madrid festival. Tour dates were planned for July and August of 2008. On 5 April 2009, Jamiroquai performed at the closing concert of Malaysian F1 Grand Prix in Sepang International Circuit Malaysia, and on the 9th of April Jamiroquai played at the Sentul International Convention Centre in Jakarta, Indonesia. On 24 August 2009, Derrick McKenzie was interviewed on playvybz.com and talked about the upcoming album. He stated that Jamiroquai is now signed with Universal Records (UK) and that they have recorded more than 40 new tracks. Also the new album will be recorded live and have a style similar to the first three albums with the use of strings and horns. He claims the album will have less of a "disco sound" and will be a lot more funky and soulful. The album is uninfluenced by major record labels and will bring forth a new direction for the band. During the first week of February 2010, Jay Kay mentioned the upcoming album on Jamiroquai's Facebook site, saying, "Hi Everybody, just wanted to say how amazing it is to have so many Friends on Facebook, half a million I believe. Therefore it feels like the right time to let you know that we are alive and kicking and in the final stages of our 8th album. I really can't wait to get out there and play it for you live in the very near future. Sending you all lots of good luck and love, Jay." Buffalo Man is the name of the silhouette character featured on most of the covers of Jamiroquai's releases. Buffalo Man was created sometime prior to the release of their 1992 single When You Gonna Learn, allegedly it was originally sketched by the band's primary songwriter and front-man Jason Kay as Buffalo Man is seemingly a self portrait silhouette of Jason wearing a buffalo hat. The mark has been used on almost every commercial (and sometimes non-commercial) release of the band's output in some form or another; usually the unique symbol is pictured unaltered, but there have been times where it is shown in a stylised manner to suit the artwork or song. Over the years, Buffalo Man has seen some temporary changes or interesting thematic uses: "Half the Man", The Return of the Space Cowboy For the single "Half The Man", Buffalo Man is on the cover as a keyring with a heart in the clasp representing the fact it is a love song and the keyring itself is split down the middle in two halfs to represent the song title. Buffalo Man also has a silver heart. " Space Cowboy", The Return of the Space Cowboy For the single "Space Cowboy", Buffalo Man is present on the cover as a shaped cigarette paper for a half-complete cannabis joint, in reference to the song's praise of the drug. "Virtual Insanity", Travelling Without Moving For the single of "Virtual Insanity", Buffalo Man appears in the place of the Ferrari horse in an homage to Jason's love of sports cars. For the album cover to Travelling Without Moving, the artwork is similar, but takes on an embossed effect and is seen on a metal grille. "Cosmic Girl", "Everyday" For these two releases, Buffalo Man is pictured with a star over his heart and two intersecting orbital rings. Synkronized While the design remained fundamentally unaltered, Buffalo Man has been turned into a laser-cut mirror and photographed from interesting angles by Midori Tsukagoshi. On some editions, for the disc itself, no ink has been used on the character, but the same stone background found on the front cover has been used for the rest of the disc, thus allowing the consumer to recreate the photographed effect. A Funk Odyssey For this album, the Buffalo Man was notably absent from the cover; instead, the laser lights formed an outline of the Buffalo Man logo, which could be seen much more clearly in the album's liner notes. Dynamite Only the US release featured a gold Buffalo Man. Other releases saw a picture of Jay Kay instead. Just like the Buffalo Man, the Jamiroquai text logo has also had several variations depending on the theme. The oldest version of the logo is the one seen on the Acid Jazz Records release of When You Gonna Learn. In comparison to the current text logo one can see that the old Acid Jazz Records version of the logo was more angular at points, together with the letters being much thinner. Several variations of the current logo also exist. Releases of "Cosmic Girl" and the promo CD of Everyday had replaced the dots above the 'i' letters with stars. Other slight, temporary variations include a slight vertical stretch of the typeface, as seen on the cover art of A Funk Odyssey.

Sonny Moorman Group


s.moorman-powerblues2008

Sonny Moorman Group - Power Blues - 2008 - Atlas Records

The Sonny Moorman Group is a Cincinnati, Ohio-based Blues/Rock band in the classic "power trio" format, consisting of Sonny Moorman - guitar & vocals, Marc Hoffman - bass, and Dave Fair- drums & vocals. Sonny and the band are nine-time winners of CAMMY awards (Cincinnati Area Music awards sponsored by the Cincinnati Enquirer newspaper). The band was formed in 1994 and was signed to its first recording deal by 706 Records/Sun Studio at the 1994 Crossroads in Memphis. Since then the band has played 300 nights a year and has performed at regional festivals and clubs and toured the US with Easyriders Magazine, performing at all their events. Sonny Moorman won the 2006 Cincinnati Blues Challenge in the single/duo category. The Sonny Moorman Group was nominated by CityBeat Magazine for the 2005 Cincinnati Entertainment Awards in the Blues category and for Album of the Year for their latest release "Crossroads Motel." [ from http://www.culan.org/culanmusicmasterssummit%2008.htm ]

This is a dynamic power blues rock album in the Texas style from a great Cincinnati based Blues/Rock trio, and if you like The Allman Brothers Band., Stevie Ray Vaughan, or Peter Green, you will really enjoy this album, which is HR by A.O.O.F.C. Sonny Moorman's guitar playing is Grade A. Buy Sonny Moorman and the Dogs' great "Telegraph Road" album for more Grade A blues rock, and promote these guys

TRACKS

Last Call
Crossroads Motel
Chance We Take For Love
House of Thunder
Rainmaker
Up To My Neck In The Blues
Remembering Cal
Old Slow Blues
Blues After Dark
She's All That
Souled Out
Too Much Is Never Enough
Texas Blues

BAND

Sonny Moorman - guitar & vocals
Dennis "Willy D" Williams - bass & vocals
Dave Fair- drums & vocals

PRESS

"[Moorman and his band] take the blues ethos, plant it in the garden of their own experience, and let it grow into something which is natural, unforced, blues-drenched, and rocks like crazy." - Bill Shute, BLUES-L

"Power Blues is an apt description for a trio that treads the territory laid out by ZZ Top, Stevie Ray Vaughan, and the Allman Brothers. Watch out for these guys." -Editor - BLUES ACCESS Magazine

"Moorman plays guitar with precision, conviction, and a natural flow. The...songs [on Telegraph Road] are chock full of sinewy lyrics and hooks that sink deep." -Tom Clarke, Hittin' the Note Magazine

"[Moorman] can blister through metal blues, get raunchy with heavy slide, cry like an Atlanta Brave after the World Series, and be delicate and precise..." -Buz Morrison, GUITAR Magazine

"Sonny Moorman...pounding, high-volume blues/rock that opens the throttle..." Editor - LIVING BLUES Magazine

ABOUT SONNY MOORMAN / THE DOGS

Power blues" is how Ohio-based bluesman Sonny Moorman describes the music he creates with his trio, the Dogs. Moorman and his band have extended the 1960's blues and blues-rock revival into the new millennium, borrowing from their prime influences, black and white: Eric Clapton, early Fleetwood Mac, Rory Gallagher, Roy Buchanan, Jimi Hendrix and B.B. King. Moorman, raised by parents who ran nightclubs in the Cincinnati area, was exposed to guitar maestro Lonnie Mack, up close and personal, at an impressionable age. Moorman didn't begin playing out professionally until he was into his junior year in college at Michigan State University. After getting out of college, he spent 15 years playing in bands in the Detroit and Los Angeles areas before coming back home to Hamilton, Ohio, near Cincinnati. Highlights of his time in Los Angeles included tenures with the Tomcats, which included members of Sly and the Family Stone, as well as with Warren Zevon's touring band. After a show at Memphis' Crossroads festival in 1994, the group signed with Sun Records' 706 label. Moorman and the Dogs have two releases on 706 Records, Sun Studios' house label in Memphis. [The '706' refers to the studio's address on Union Avenue in Memphis.] Moorman and the Dogs' releases include "Live," and "Telegraph Road." "Telegraph Road" was recorded at Sun Studios, in the same room where Elvis Presley, Carl Perkins, Howlin' Wolf, Big Walter "Shakey" Horton and Jerry Lee Lewis made their first recordings. Moorman and the Dogs continue to perform regionally around southern Ohio, Kentucky, Memphis and parts of the south. © Richard Skelly, All Music Guide

BIO (Wikipedia)

Sonny Moorman is an American power blues guitarist from Cincinnati, Ohio. His style is sometimes compared to that of the legendary Allman Brothers, Gov't Mule, and occasional Dead guitarist Warren Haynes. He also owns a music lesson studio in Cincinnati, called Rock School. Sonny currently does solo acoustic performances and he also makes several appearances a week with his trio, the Sonny Moorman Group. They are: Sonny Moorman, Guitar and Vocals, Nick Giese, Bass Guitar, and Dave Fair, Drums and Percussion.

Melanie


melanie-acoustic blue

Melanie - Acoustic Blue (The Very Best Of Melanie) - 1997 - Laserlight

There are many Melanie "Best Of", and "Greatest Hits" compilations, but they are all songs found on other Melanie Safka albums. This is a good barebones acoustic album from Melanie, with ten re-recorded songs. Melanie has had an "up and down career". She was awarded Billboard's #1 Top Female Vocalist for 1972, and is probably best remembered for her songs, "Bobo's Party", "Lay Down (Candles in the Rain)", "What Have They Done to My Song Ma", "Nickel Song", "Brand New Key", "Love To Lose Again", and her version of Jagger & Richards' "Ruby Tuesday". With her unique "cracked" voice, full of passion and emotion, she has written many other great songs, and is an overlooked musician. She may have sold over 25 million albums, but most of her many albums were largely ignored. Although she penned hit songs for other bands, and has received many awards throughout her career for various music projects, to many people she will always be associated with the "hippy" Woodstock/Glastonbury/Isle Of Wight 70's period. Listen to her "Photograph", and "Stoneground Words" albums for examples of brilliant songwriting.

SONGS / COMPOSERS

Brand New Key - Melanie Safka
Long, Long Time - Gary White
Purple Haze - Jimi Hendrix
Candles in the Rain - Melanie Safka
Ruby Tuesday - Keith Richards, Mick Jagger
Peace Will Come (According to Plan) - Melanie Safka
Look What They've Done to My Song - Melanie Safka
Beautiful People - Melanie Safka
Rainbow Race - Pete Seeger
Babe Rainbow - Melanie Safka

MUSICIANS

Melanie Safka - Acoustic Guitar, Guitar, Vocals, Vocals (bckgr)
Sal DiTroia - Classical Guitar
Tim Franklin - Upright Bass
Leilah Schekeryk, Beau Jarred Schekeryk - Vocals (bckgr)

melanie safka

BIO

No talent who came out of Woodstock and who continued actively performing more than a quarter century later remained as closely associated with the 1960s and "flower power" than Melanie. Born Melanie Safka in Astoria, Queens, in 1947, she made her first public appearance at age four on a radio show, later studying at the New York Academy of Fine Arts. After mounting a singing career while in college, she later sang in clubs in Greenwich Village, and was signed to a publishing contract in 1967. She recorded her first single, "Beautiful People," for Columbia Records that same year. Her relationship with the record company was short-lived, however, and after one more single she left the label. In 1969, she chanced to meet producer Peter Schekeryk, and after a hastily arranged audition, he took charge of her career. Her first album, Born to Be, was recorded and released by Buddah later that same year. On August 16, Melanie took the stage at the Woodstock Music & Art Festival in Bethel, New York; her song "Birthday of the Sun" was later released on the Woodstock 2 album, and 20 years later it was released on video as part of Woodstock: The Lost Performances, alongside the work of Janis Joplin, Crosby, Stills & Nash, and the Who. Soon afterward, she cut her second album, Affectionately, which did slightly better than her first; however, her commercial breakthrough came 11 months after Woodstock, when she released the song "Lay Down (Candles in the Rain)," recorded with the Edwin Hawkins Singers. The song, written as a tribute to the audience at Woodstock and displaying the feel of a gospel hymn, rose to number six on the U.S. charts, while the accompanying LP, entitled Candles in the Rain, reached the Top 20. After 1970's Leftover Wine, a live album recorded at a Carnegie Hall concert, she issued a plaintive version of the Rolling Stones' "Ruby Tuesday." In January of 1971, Melanie's own version of "What Have They Done to My Song, Ma," a recent smash for the New Seekers, got to number 39 in Britain, where she emerged as a major star. In March, however, her new release, The Good Book, peaked on the U.S. charts at just number 80, despite the presence of several impressive tracks, among them a hauntingly beautiful cover of Phil Ochs' prophetic, doom-laden self-eulogy, "Chords of Fame." At around this time, Melanie rebelled against her contract with Buddah, which required her to supply albums more or less on demand — she'd had four LPs released in half as many years, and wanted more control over her work and career. With help from Schekeryk, whom she had married, she organized her own label, Neighborhood Records, during the summer of 1971. Her first subsequent single, "Brand New Key" hit number one on the U.S. charts while on its way to becoming a million seller; thanks to its not-so-subtle sexual undertones, the song became a kind of "in" dirty joke in some circles, and was even censored on some radio stations, but it also made Melanie one of the top-selling artists of the year 1971. The accompanying album, Gather Me, was the best produced long-player she had ever released, and reached a chart position of number 15, earning a gold record in the process. This huge success prompted Buddah to release Garden in the City, consisting of previously unreleased outtakes. At the same time that 1971's Gather Me spawned the single "Ring the Living Bell," Buddah decided to capitalize more directly on Melanie's catalog and released "The Nickel Song"; the presence of two singles in release simultaneously from two different labels and distributors — each competing for radio play and listener dollars — damaged both releases, and they effectively canceled each other out. Garden in the City rose to number 19, but her next new album on Neighborhood, Stoneground Words, only got to number 70 late in 1972. In June of 1973, her double-concert album, At Carnegie Hall, recorded the previous year, didn't even make the Top 100. By this time, Melanie had withdrawn from the stage, and was devoting her time to more personal and domestic concerns, having the first of three children in as many years. She re-emerged in 1974 for a short series of concerts, but her new album of that period, Madrugada, barely made it on to the charts, and her subsequent two LPs, As I See It Now and Sunset and Other Beginnings, released in 1975, barely sold. Neighborhood Records was later closed down. A year later, Photograph was released to lackluster sales on Atlantic; the follow-up, Phonogenic, also failed to chart, and her last album for the next five years, Ballroom Streets, appeared on the Tomato label in 1977. In 1982, Melanie cut a comeback album, Arabesque, for RCA; a year later, her single "Every Breath of the Way" scraped the middle of the British charts and led to a series of concerts in England. Neighborhood was soon reactivated just long enough for Melanie to release one last album, Seventh Wave. At the end of the 1980s, she re-emerged once again with her theme music for the popular television series Beauty and the Beast. By that time, Woodstock nostalgia was beginning to be stoked by the media and concert promoters, and Melanie appeared at one of the 20th anniversary events. She continued to periodically perform at clubs in the United States and larger festivals in Europe, where her association with the 1960s made her a major draw, and every so often released an album of new songs or re-recordings of her classic numbers. © Bruce Eder © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aifixqe5ldfe~T1

25.3.10

Judy Collins


Judy Collins Living 1971

Judy Collins - Living - 1971 - Elektra

Judy Collins has the voice of a nightingale. All the songs here have a beautiful graceful subtlety, so typical of Judy Collins' unique, pure, gorgeous voice. "Living" contains four live tracks from Judy's 1970 concert tour. Listen to Judy's great "Maid of Constant Sorrow, " and "Judy Sings Dylan... Just Like a Woman" albums. It is also worth hearing Judy's beautiful "In My Life" album, with covers of songs like Randy Newman's classic "I Think It's Going to Rain Today", Leonard Cohen's glorious "Suzanne", and Dylan's "Tom Thumb's Blues". Wikipedia notes that "Collins' version of the song "Suzanne" is considered to be the recording that first introduced Leonard Cohen's music to a wide audience". Judy's "Sings Lennon & McCartney" album is @ JUDYCOL/SL&MCC Her 1965 "Judy Collins' Fifth Album" is @ JUDYCOL5th and her wonderful 1967 "Wildflowers" album can be found @ JUDYCOL/WILFL N.B: There are confusing references to three 70's releases of this album. One album is from 1971 on Elektra. The other release was in 1972 on Elektra, and referred to as "partly live". Another 1971 release states that the tracks are all LP or single versions. The album posted here only seems to contain four live tracks, but dates from 1971. Has anybody more info on this album release?

TRACKS / COMPOSERS

1."Joan of Arc" (Leonard Cohen) – 5:55 *
2."Four Strong Winds" (Ian Tyson) – 3:45 *
3."Vietnam Love Song" (Eric Bentley, Arnold Black) – 3:56
4."Innisfree" (Hamilton Camp, Yeats) – 3:16 #
5."Song for Judith (Open The Door)" (Judy Collins) – 4:05
6."All Things Are Quite Silent" – 2:47
7."Easy Times" (Judy Collins, Stacy Keach) – 3:25
8."Chelsea Morning" (Joni Mitchell) – 3:15 *
9."Famous Blue Raincoat" (Leonard Cohen) – 5:34
10."Just Like Tom Thumb's Blues" (Bob Dylan) – 6:45 *

* Live tracks from Judy's 1970 concert tour
# The lyrics on Track 4 are based on the poem "The Lake Isle of Innisfree" by the Irish poet and playwright, William Butler Yeats. The music for this version was composed by Hamilton Camp

MUSICIANS

Judy Collins – vocals, guitar, piano, keyboards
Richard Bell – guitar, piano, choir, chorus
Ry Cooder – guitar
Gene Taylor - bass, choir, chorus
Sue Evans - drums, percussion, choir, chorus
Bob Zachary, Randy Nauert, Glenda Bickel, Tom Carvey, Vanessa Chartoff, Jolin Cooke, John Cooke, Nancy Carlen, Fritz Richmond, Paul Johnson - choir, chorus

SHORT BIO

Judy Collins was one of the major interpretive folksingers of the '60s. A child prodigy at classical piano, she turned to folk music at the age of 15 and released her first album, A Maid of Constant Sorrow, in 1961 when she was 22. That album and its follow-up, The Golden Apples of the Sun, consisted of traditional folk material, with Collins's pure, sweet soprano accompanied by her acoustic guitar playing. By the time of Judy Collins #3, she had begun to turn to contemporary material and to add other musicians. (Jim, later Roger, McGuinn tried out his first arrangements of "The Bells of Rhymney" and "Turn, Turn, Turn" on this album, before using them with The Byrds.) Collins's musical horizons were expanded further by 1966 and the release of In My Life, which added theater music to her repertoire and introduced her audience to the writing of Leonard Cohen; it was one of her six albums to go gold. Her first gold-seller, however, was 1967's Wildflowers, which contained her hit version of "Both Sides Now" by the then-little-known songwriter Joni Mitchell. By the '70s, Collins had come to be identified as much as an art song singer as a folksinger and had also begun to make a mark with her original compositions. Her best-known performances cover a wide stylistic range: the traditional gospel song "Amazing Grace," the Stephen Sondheim Broadway ballad "Send in the Clowns," and such songs of her own as "My Father" and "Born to the Breed." Collins recorded less frequently after the end of her 23-year association with Elektra Records in 1984, though she made two albums for Gold Castle. In 1990, she signed to Columbia Records and released Fires of Eden, her 23rd album. A move to Geffen preceded the 1993 release of Judy Sings Dylan...Just Like a Woman; Shameless followed on Atlantic in 1994. Six years later, Collins released All on a Wintry Night. © William Ruhlmann, All Music Guide

MORE ABOUT THE ARTIST

Judy Collins has thrilled audiences worldwide with her unique blend of interpretative folksongs and contemporary themes. Her impressive career has spanned more than 40 years. At 13, Judy Collins made her public debut performing Mozart's "Concerto for Two Pianos" but it was the music of such artists as Woody Guthrie and Pete Seeger, as well as the traditional songs of the folk revival, that sparked Judy Collins' love of lyrics. She soon moved away from the classical piano and began her lifelong love with the guitar. In 1961, Judy Collins released her first album, A Maid of Constant Sorrow, at the age of 22 and began a thirty-five year association with Jac Holzman and Elektra Records. Judy Collins is also noted for her rendition of Joni Mitchell's "Both Sides Now" on her classic 1967 album, Wildflowers. "Both Sides Now" has since been entered into the Grammy's Hall of Fame. Winning "Song of the Year" at the 1975 Grammy's Awards show was Judy's version of "Send in the Clowns," a ballad written by Stephen Sondheim for the Broadway musical "A Little Night Music." Released on September 29th, Judy's new book, Sanity and Grace, A Journey of Suicide, Survival and Strength, is a deeply moving memoir, focusing on the death of her only son and the healing process following the tragedy. The book speaks to all who have endured the sorrow of losing a loved one before their time. In the depths of her suffering, Judy found relief by reaching out to others for help and support. Now, she extends her hand to comfort other survivors whose lives have been affected by similar tragedy. In a recent appearance on ABC's Good Morning America, Judy performed "Wings of Angels," the heartbreaking ballad that she wrote about the loss of her son. The song is currently available on the newly released Judy Collins Wildflower Festival CD and DVD, which also feature guest artists Arlo Guthrie, Tom Rush and Eric Andersen. This extraordinary concert was filmed at the famed Humphrey's By the Bay in San Diego, CA. The concert was the culmination of a 25 city national tour. Judy Collins continues to create music of hope and healing that lights up the world and speaks to the heart. © HDtracks 2007 - 2008