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31.8.10

Bonnie Bramlett


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Bonnie Bramlett - Sweet Bonnie Bramlett - 1973 - Columbia

Let's name a few of the great modern jazz, soul, and blues singers. There are many. How about Rory Block, Bonnie Raitt, Maria Muldaur, Kyla Brox, Mary Coughlan, Carolyn Leonhart...We'll stop there, and add one more, - Bonnie Bramlett. Bonnie is without doubt one of the one of the most respected and talented female jazz/blues/soul/rock vocalists in music history. The famous music critic Robert K. Oermann said that "Bonnie Bramlett sings like she has walked through the fires of hell, and danced with the angels."She sings blues, jazz, soul, folk, and almost everything else with a beautiful vocal style that few are born with. A.O.O.F.C cannot extol the lady's talents highly enough. Bonnie was a back up singer for Albert King when she was just thirteen. She was one of Ike & Tina Turner's Ikettes. She married the late, great Delaney Bramlett in 1967, and the rest is history. "Sweet Bonnie Bramlett" was Bonnie's great solo debut album and is firmly rooted in the southern soul rock style. She is backed by artists including Lowell George and the Average White Band. Bonnie recalls: "The band played me a tape over the phone, so I sent them airfare and brought them over to the States. The Average White Band was my first band as a solo artist." "Sweet Bonnie Bramlett" is HR by A.O.O.F.C. Listen to Bonnie's "Roots, Blues & Jazz" album. Check out the Delaney & Bonnie "Accept No Substitute" album, and try and listen to the late Willie DeVille's "Backstreets Of Desire" album which features Bonnie on background vocals, and also the brilliant ex-Steely Dan guitarist Jeff "Skunk" Baxter on guitar. Her "I'm Still the Same" album is @ BONBRAM/ISTS N.B: Read more about the AWB's involvement with this album @ http://www.classicbands.com/AWBInterview.html

TRACKS / COMPOSERS

1. Able, Qualified And Ready - Leon Ware & Bonnie Bramlett
2. Singer Man - Durrie Parks
3. Crazy 'Bout My Baby - Robert Mosley
4. Got To Get Down - Gordon DeWitty
5. Good Vibrations - Gordon DeWitty
6. Rollin' - Marc Benno, Dan Penn, Rita Coolidge & Tommy McClure
7. Celebrate Life - Gordon DeWitty
8. The Sorrow Of Love - Daniel Moore
9. (You Don't Know) How Glad I Am - Jimmy Williams & Larry Harrison
10. Don't Wanna Go Down There - Trad. Arr. by Furry Lewis

CREDITS [Not a definitive list]

Bonnie Bramlett - Vocals, Background Vocals
Sephnie Spruill, Gloria Jones - Back-up Vocals
Lowell George
Average White Band - Rhythm Section
Van Dyke Parks - Marimba on track 2
Freddie Stone
Joe Sample
Bobby Womack

SHORT BIO

Bonnie Bramlett is an R&B/rock singer. She moved to Memphis in the early '60s and became a session and backup singer for R&B and blues performers such as Fontella Bass and Albert King. She then became a member of the Ikettes, the backup singers for Ike & Tina Turner. That brought her to Los Angeles in 1967, where she met Delaney Bramlett, who had been a member of the Shindogs, the resident group on the TV show Shindig; they married within five days and formed a musical act, Delaney and Bonnie. Delaney and Bonnie cut an album for Stax Records in Memphis, backed by Booker T. and the MG's, but it was not released at first. They then formed a group called Delaney and Bonnie and Friends, who featured Leon Russell among others, and cut Accept No Substitute (1969). After Delaney and Bonnie and Friends toured opening for Blind Faith, Eric Clapton left that group and joined them along with such notables as George Harrison and Dave Mason. This resulted in the On Tour album, after which members of the Friends band worked with Clapton and Harrison, and on Joe Cocker's Mad Dogs and Englishmen. Delaney and Bonnie made several more albums before divorcing. Bramlett then formed the Bonnie Bramlett Band and released her debut solo album, Sweet Bonnie Bramlett, backed by the Average White Band, in 1973. She then signed to Capricorn Records and made It's Time (1975), Lady's Choice (1976), and Memories (1978). She later became a born-again Christian and began singing gospel music. She turned to acting in 1987, under the name Bonnie Sheridan, and has since appeared in the film The Doors and the TV series Rosanne. In 2002 Bramlett returned to the music world with the release of her first album in over twenty years, I'm Still the Same on Audium. The record features Bramlett singing a variety of styles like jazz, blues and adult contemporary in a voice that has lost little of its power. © William Ruhlmann, allmusic.com

30.8.10

Jimmy Nalls


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Jimmy Nalls - Ain't No Stranger - 1999 - MRL

Jimmy Nalls returns to the studio to create an album of sheer perfection. With fluid, soulful guitar work that parallels and oftentimes even exceeds his Sea Level efforts, coupled with inspiring lyrics and vocal delivery, "Ain't No Stranger" will be one of the finer releases to make it's way into your CD player in many moons. Nalls was battling the pain and coordination disruption of Parkinson's disease the whole time this record was being tracked, but there are no signs of stress to be found. Rather, the music herein bubbles with inspiration, clarity, and precision playing. With guests that include veteran Rolling Stones and Allman Brothers keyboard wizard Chuck Leavell, slide king Lee Roy Parnell, and former touring partner T. Graham Brown, the album exhudes creativity and stellar musicianship from start to finish. With heavy doses of jazz and funk, and good old fashioned rock & roll, Ain't No Stranger is as good as it gets. © Michael B. Smith, All Music Guide © 2010 Answers Corporation http://www.answers.com/topic/ain-t-no-stranger

NOMINATED FOR MUSIC CITY BLUES CD OF THE YEAR 2000! The first solo cd by Sea Level founder and guitarist Jimmy Nalls features guest appearances by friends like Rolling Stones pianist Chuck Leavell, former Allman Brother Jack Pearson, Lee Roy Parnell, T. Graham Brown, Blues guitarist Mike Henderson and others. Jimmy Nalls is an alumni of Dr John's band, Alex Taylor's band (brother of James), The Nighthawks and and is a sought after session player and producer. A swampy rocker with shades of New Orleans, GREAT guitar players and cool songwriting. Critics love it (Blues Revue, Billboard Magazine, see Jimmy's web site) and you will too! - © http://www.cdbaby.com/cd/jimmynalls

"The opening track ("The Voo Doo In You") provides a preview of the elements that make this a great record: rich, roomy production, Nalls' warm, throaty singing, and a guitar tone to die for. In fact, if any element of "Ain't No Stranger" stands out, it's the various flavors of tone-with-a-capital-T that Nalls and his co-producer coax from his axe."- Blues Revue

"A dynamite package of Southern rock and blues. Complete with his own scorchin' guitars and vocal work, Nalls hosts a wide assortment of friends in the studio to support him. High-ended rockers and ball-breakin' bluesy ballads give Jimmy Nalls a guitarist's release destined to be a favorite of blues rockers and Southern rock fans." - Big City Blues

Jimmy Nalls sings in a laid-back, Mark Knopfler sort of voice and picks roots-soaked guitar that's given him such a prolonged career."- The Baton Rouge Advocate

"This album is packed with one gem after another. If you want to prove to anyone that a great Music City recording can be a lot besides country, just whip this bad boy on 'em. They'll be treated to endless thrills and chills." - Music City Blues Bluesletter

After playing with the great Sea Level and as a session man with the best in the business, Jimmy Nalls launched a solo career at age forty-eight. Critics lauded this album for it's “rich roomy production, Nalls’ warm, throaty singing, and a guitar tone to die for.” It was nominated for Best Blues Album by The Nashville Music Awards (The Nammys) and also The Music City Blues Society. The album is HR by A.O.O.F.C. Buy Jimmy's "No Stranger to the Blues" album, and listen to Sea Level's 1977 s/t album @ SEALEV/ST77 where Jimmy plays some great guitar.

TRACKS / COMPOSERS

The Voodoo in You - Jackie Avery
Down in New Orleans - Jim Nalls, Noel Roy, John Jaworowicz
It's Mighty Crazy - Lightnin' Slim, Jerry West
I Ain't No Stanger to the Blues - Dave Duncan, Jim Nalls, Phil Dillon
Devil at My Door - Jim Nalls
Mellow Down Easy - Willie Dixon
Hey Brother - Bill Edwards, Phil Dillon
Good Luck, Money & Gasoline - Jim Whitford
The Stroll - Clyde Otis, Nancy Lee Jim Nalls
Another Love Like Mine - Jim Nalls, Phil Dillon
I Got the Fever - Dave Duncan, Jim Nalls Jim Nalls
House of Love - Rick Moore, Will Rhodarmer
In the Time It Takes to Cry - Steve Bassett
Jennifer's Wheel - Jim Nalls

MUSICIANS

Jimmy Nalls - guitar & vocals
Jack Pearson - guitar & slide guitar
Mike Henderson, Lee Roy Parnell - slide guitar
Kris Grempler, Steve Mackey, Charlie Hayward - bass
Mark T. Jordan, Chuck Leavell - piano
Joe Warner, Carson Whitsett - organ
Greg Hicks, Mike Caputy, Maxwell Schauf, Tony Hajacos - drums
Richard Carter, Glen Caruba - percussion
Harry Stinson - percussion, background vocals
Doug Moffet, Wayne Jackson - horns
Will Rhodarmer - harmonica
Nanette Britt, Vicki Carrico, Willie Schoellkopf, Phil Dillon - background vocals

BIO / ALBUMS / INFO.

Guitarist Jimmy Nalls ain't no stranger to the world of music. His first-ever solo album, titled "Ain't No Stranger," features some of his close friends and recording buddies during his years of playing music. Friends like Chuck Leavell, Jack Pearson, Lee Roy Parnell, T. Graham Brown, Mike Henderson, Wayne Jackson, Charlie Hayward and more contribute to Jimmy Nalls' debut solo release. Recorded in Nashville and produced by Phil Dillon and Jimmy Nalls, the album, "doesn't sound like a Nashville album," says Nalls. "It almost feels like we went back to Macon to make this record." Jimmy Nalls spent a lot of time in Macon, Georgia, once the hotbed of the Southern Rock musical movement. In addition to the bands he worked with out of Macon, he also recorded on numerous albums including those by Gregg Allman, Bonnie Bramlett, Percy Sledge and Bobby Whitlock, to name a few. After living and working in New York for about a year, Nalls hooked up with singer Alex Taylor (older brother of James) and a kick-ass band that featured Chuck Leavell, Charlie Hayward, Lou Mullinex and for a time, Paul Hornsby. The band toured with Taylor in support of his two Capricorn releases "With Friends & Neighbors" and "Dinnertime." For about eight months in 1972, that same band went on the road to back Dr. John during his "Right Place, Wrong Time" period. "Working with Mac (Rebennack, aka Dr. John) was like going to school," says Nalls. "We all learned so much from that guy in such a short amount of time." In the mid '70s, after gigging around New York and his home area of Washington DC, Nalls got a call from Chuck Leavell who was now a member of The Allman Brothers Band. He reunited with Leavell at an ABB soundcheck, and the beginnings of what would become Sea Level started to simmer. Several months later, Chuck, bassist Lamar Williams and drummer Jai Johanny "Jaimoe" Johanson left The Allman Brothers Band to start their own band. Chuck called Jimmy to see if he would play guitar. Sea Level recorded five albums, four for Capricorn Records and one for Arista. Dissolving in 1981, Chuck joined the Rolling Stones, Jaimoe returned to The Allman Brothers Band, and Lamar's health continued to deteriorate. He died of cancer several years later. Jimmy Nalls headed up his own band for a time and continued with his session work. After a short 30-date Sea Level reunion tour, he re-connected with Noel Paul Stookey (of Peter, Paul & Mary) touring Europe, Australia and the States. It was Stookey who gave Nalls his first recording session on "The Wedding Song" album back in the early '70s. After a short stint touring with country singer B.J. Thomas, Nalls moved to Nashville in 1986, working with singer Charley McClain. Two years later he joined the legendary blues band The Nighthawks as lead guitarist along with former Wet Willie front-man Jimmy Hall, and for more than two years, "we were the band from hell," says Nalls. "That band was dangerous. We toured Japan and Europe several times during that time. It seemed that all we did was travel, but it sure was fun." Opting for more of a home life, Nalls quit the Nighthawks and accepted a more normal touring life working with country-soul singer T. Graham Brown. For four years, Nalls played guitar behind Brown's soulful country songs, recording with Brown on the album "You Can't Take It With You." In the fall of 1995 Nalls learned he was suffering from Parkinson's disease. "At first I didn't tell anybody about the Parkinson's," he admits. "It was such a shock to me and to my family. I wasn't sure what was going to happen or how the disease would progress." Moving at his own pace, Nalls turned down various opportunities to tour or do sessions. He did work on the Blues Co-Op project in 1997 and also produced Rick Moore & Mr. Lucky's first album, which was released last year. Both projects are on the MRL label. Work on his own album project began in late 1998 and proved to be strenuous at times. Recording for MRL Records, the pressure to deliver an album by a certain date did not exist, but the pressure to deliver a quality album did. Nalls and co-producer Phil Dillon worked at a pace that was comfortable, not frantic. The result is "Ain't No Stranger," a 14-song recording that runs the gamut from rock 'n' roll to blues to New Orleans funk to a touch of swamp music. Nalls wrote or co-wrote six of the songs and selected choice material such as Jackie Avery's "The Voo Doo In You" (first recorded by Johnny Jenkins in 1970), the Clyde Otis/ Nancy Lee classic "The Stroll," and Willie Dixon's "Mellow Down Easy." Bluebloods guitarist Mike Henderson adds his distinctive slide guitar to "Good Luck, Money & Gasoline," while Chuck Leavell plays piano on two songs, "Down In New Orleans" and the title track "I Ain't No Stranger To The Blues." Lee Roy Parnell and T. Graham Brown team up as guest vocalists on "Hey Brother" with Lee Roy adding his trademark slide guitar to the track. Current Allman Brothers Band guitarist Jack Pearson plays on "It's Mighty Crazy" and "In The Time It Takes To Cry," and Wayne Jackson of The Memphis Horns adds his sound to three tracks, "Another Love Like Mine," "The Stroll" and "Hey Brother." "This album has been a long time coming," says Jimmy Nalls. "If it hadn't been for my illness, it probably never would have been made. I'd still be out on the road guitar slinging for somebody. It's funny how things work out." With the release of "Ain't No Stranger," music fans will be reintroduced to Jimmy Nalls, an old friend who truly ain't no stranger. © Copyright M R L Records http://www.mrluckyband.com/cds/nalls/jnallsbio.html

Carole King


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Carole King - Crying In The Rain - 2006 - Pazzazz

Absolutely nothing new on this album. Seven of the tracks appear on Carole's 1971 "Music" album, and two tracks are from 1974's "Wrap Around Joy" album. The other three are from various compilation albums. There is no doubting Carole King's great talent, and the quality of these songs, but if you are a Carole King fan, you will have all these tracks in your collection. Search this blog for more Carole King albums

TRACKS / COMPOSERS / SOURCE

1 Jazzman - Gerry Goffin/Carole King [from Wrap Around Joy 1974]
2 Crying In The Rain - Howard Greenfield/Carole King [from Speeding Time 1983]
3 Breaking Up Is Hard To Do - Howard Greenfield/Neil Sedaka [from Plus 1992]
4 Some Kind Of Wonderful - Gerry Goffin/Carole King [from Music 1971]
5 A Night This Side Of Dying - Carole King/Dave Palmer [from Wrap Around Joy 1974]
6 Back To California - Carole King [from Music 1971]
7 Brighter - Carole King [from Music 1971]
8 Carry Your Load - Carole King [from Music 1971]
9 Change In Mind, Change In Heart - Gerry Goffin, Carole King, Rick Sorensen [from Jazzman 2000]
10 Growing Away From Me - Carole King [from Music 1971]
11 It's Going To Take Some Time - Carole King/Toni Stern [from Music 1971]
12 Music - Carole King/Toni Stern [from Music 1971]

28.8.10

Nic Potter


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Nic Potter - The Blue Zone - 1990 - Voiceprint

On "The Blue Zone" Gordon Dennis, among others, his former bandmate Guy Evans and Peter Hammill Hammill Potter and longtime musical companions Stuart supported. The result pleases me far better than the pop of "Mountain Music" (which is the only Potter album is that I can use for comparison). The elegiac synth sounds of "Blue Ocean" are characteristic of the entire album. Hammill liefert dazu dezente Gitarreneinsätze, Guy Evans steuert etwas Perkussion bei. Hammill returns to subtle guitar stakes, Guy Evans contributes some percussion. With "A Whiter Shade of Blue" is about something more upbeat. A slightly trendy pieces, comparable to the better things of ex-Camel keyboardist Peter Bardens. The highlight of the album are the three parts of the title track. Part 1 begins with a quick, sequencer-like rhythm changes, then in a powerful piece with a slight classical influence.Towards the end there is a short but beautiful guitar used by Huw Lloyd-Langton (ex-Hawkwind). The other two parts are kept much quieter. In Part 2, Potter provides only going a few gentle and forth flowing background sound to a long acoustic guitar solo. Similarly, part 3 is constructed, then come here to oboe, bassoon and violin. A very elegiac piece of already partly mystical atmosphere. With "Hard as Irony" it will be something more conventional, the saxophone I find this somewhat kitschy. This piece reminds us of solo stuff from Peter Bardens. Overall, a beautiful electronic record, with a fall season, just over half an hour but plenty of short! © Jochen Rindfrey Babyblaue Seiten, January 2005 [translated from German]

Everything is right: The Blue Zone is a CD filled with wonderful music. Nic Potter, former bassist of VdGG, creates haunted, dreamlike soundscapes and must be for it - unlike me not be ashamed because of the previous pompous phrase - in the least. The color blue is the focus of this work. The ocean is deep blue. In terms of music it is a piece like "Ocean Blue" out which borrows its musical theme, although lovingly made "Das Boot", but get along before his judges. Pure atmosphere grabs the listener and pulls him deep under the water, always sun rays break through the surface and I forget that I have no air to breathe for several minutes more had around me. Again bombastic? But if it's so ... The three "Blue Zone" titled pieces are not a cohesive movement, there are three individual beads, which certainly stands out part 2. Listening to this piece lying on a pleasant summer afternoon on the back, one must simply close its eyes to get fancy in a Greek olive grove Just the atmosphere begins a Nic at this piece, shaped by the acoustic guitar by Duncan Brown. Part 1, however, reminds us of the rightly At exceedingly popular "Watermark" album by Enya. Great, atmospheric instrumental music, which unfortunately was perceived to be wrong by as much as anyone on this blue planet is, and will be. Therefore, rather VdGG-lover, fan of instrumental music, BBS reader who likes chillt times and last but not least, all who are not heavy guitars and incredibly complicated, Oblique even need to elated listening to: strike looking, listening, and agree snatch this album from oblivion. © Günter pod Rating : 11/15 © 1999-2009, all text copyright by their respective authors, Babyblaue Seiten [translated from German]

Ex-Van der Graaf Generator's Nic Potter's "The Blue Zone" was recorded at sessions between 1989 and 1990. The album has been described as progressive folk music. It could also be described as New Age or electronica. Regardless of definitions, this is an album worth absorbing. Nothing groundbreaking or innovative here, but it's a pleasant aural experience, and a good instrumental album played by Nic Potter with contributions from experienced musicians like Peter Hammill, Snowy White, Lindsay Cooper, and Duncan Browne. Try and listen to Nic Potter with Peter Hammill's 1971 "Fool's Mate" album, and also Van der Graaf Generator's "The Least We Can Do Is Wave To Each Other" album

TRACKS

Ocean Blue [6:11]
A Whiter Shade of Blue [3:50]
Blue Zone: One [5:47]
Blue Zone: Two [3:30]
Blue Zone: Three (Gods and Ancestors) [11:13]
Hard as Irony [4:42]

All tracks composed by Nick Potter

MUSICIANS

Nick Potter - keyboards, bass
Peter Hammill - guitars (tr. 1)
Snowy White - guitar (tr. 2)
Huw Lloyd-Langton - guitar (tr. 3/6)
Duncan Browne - spanish guitar (tr. 4/5)
Guy Evans - woodblock percussion (tr. 1)
Malcolm Duncan - saxophone (tr. 6)
Stuart Gordon - violin (tr. 5)
Lindsay Cooper - bassoon (tr. 5)
Catherine Milliken - oboe (tr. 5)

BIO (WIKIPEDIA)

Nic Potter (born 18 October 1951 in Wiltshire) is a British bassist, composer and painter, best known for his work with the group Van der Graaf Generator in the 1970s. Before joining Van der Graaf Generator, Potter from a very early age (1968) played bass in The Misunderstood, and that's how he met Guy Evans who played the drums. He had left school at age fifteen to become a bass-player. In 1969 Potter and Evans both left The Misunderstood to join Van der Graaf Generator for the recording of their album The Least We Can Do Is Wave To Each Other. Halfway during the recording of the following VdGG-album H to He, Who Am the Only One (1970), Potter left VdGG, leaving the a-side of the album with his bass-guitar-sounds (tracks: Killer, The Emperor in his War Room and Lost) and side b with the organ-bass-pedal sounds by Hugh Banton, which would become one of the signature sounds for Van der Graaf Generator. In 1971 he played bass-guitar on Peter Hammill's first solo-album, Fool's Mate, on Colin Scot's album Colin Scot and with the band Magna Carta. In the 1970s he also played with Jeff Beck, Chuck Berry, Rare Bird and Steve Swindells. In 1973 he collaborated on The Long Hello project. His playing can also be heard on Peter Hammill's album Over (1977). In 1977, after Hugh Banton and David Jackson had left Van der Graaf Generator, Potter was asked to re-join. He plays on both The Quiet Zone/The Pleasure Dome (1977) and the double live-album Vital (1978). Throughout the 1980s and early 1990s Potter continued to record and tour with Peter Hammill, including being the bassist for the K-Group (from 1981-1985), and with the Tigers (in 1980) and Duncan Browne (in 1984). In 1983 he started a solo-career, and released a number of albums with mostly electronic music. In 1995 Nic produced and played the bass on the posthumous album Songs of Love and War by Duncan Browne. In 2008 Nic Potter published the live album "Live in Italy", together with many musicians like David Jackson and Tony Pagliuca (Le Orme).

Jan Akkerman


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Jan Akkerman Live In Concert-The Hague 2007 (Bonus Audio CD) - 2008 - Phantom

Dutch guitar legend Jan Akkerman has worked with BB King, Charlie Byrd, Cozy Powell, Claus Ogerman, and dozens more. He was a member of the mighty Focus band, and Brainbox. He plays without any boundaries or limitations. He explores and combines elements of rock, jazz, blues, classical or modern dance music and stamps them with his unique mark. He is the complete guitarist. Akkerman has toured the world, and has appeared at the Swiss Montreux Jazz Festival, and the Dutch North Sea Jazz Festival, just two of many. He is one of the great improvisators of the guitar. "Live In Concert-The Hague 2007" recorded at The Hague Jazz, Netherlands on 19/5/2007 demonstrates that very well. A brilliant performance from a dazzling guitarist who is equally adept in a multitude of styles. This concert has been released on different labels with different track listings. Check out Focus' classic "Live At The Rainbow" album, and Jan's brilliant "Tabernakel" album. Search this blog for more Jan Akkerman releases

TRACKS / COMPOSERS

1. Answers Questions - Akkerman, Bert Ruiter
2. Anonymous - van Leer, Akkerman, Ruiter, Pierre van der Linden
3. Palace Of The King - Akkerman
4. Tranquilizer - Akkerman
5. Dance The Blues Away - Muleta
6. In The Mood - Muleta
7. Slowman - R. Molendijk, M. Muleta, J. Rietbergen
8. Hocus Pocus - van Leer, Akkerman
9. Sylvia - Thijs van Leer
10. Urban String - W. Meischke, R. Molendijk, M. Muleta, J. Rietbergen
11. You Do Something To Me - Paul Weller

MUSICIANS

Jan Akkerman - Guitar, Vocals
Wilbrand Meischke - Bass
Coen Molenaar - Keyboards
Marijn van den Berg - Drums

BIO

A musician of nearly legendary prowess, Jan Akkerman for a time eclipsed Eric Clapton, Jimmy Page, and Jeff Beck among reader polls in England as the top guitarist in the world. Akkerman was born in Amsterdam, Holland, and showed his musical inclinations early, taking up the guitar while still in grade school. His taste and interests were extraordinarily wide-ranging, from pop/rock to classical, with room for blues, Latin, and other influences. He joined his first band, Johnny & His Cellar Rockers, in 1958, at age 11, which included his boyhood friend Pierre van der Linden on drums. Later on, the two were members of the Hunters, an instrumental group whose sound was heavily influenced by that of the Shadows. He acquired a special interest in the lute while on a visit to England during the mid-'60s, during which he saw a performance by legendary classical guitarist Julian Bream, whose repertoire of medieval works also fascinated Akkerman. This interest, which broadened to embrace a fixation on medieval England and its countryside, later manifested itself in such works as "Elspeth of Nottingham" from Focus III. During the late '60s, Akkerman, van der Linden, bassist Bert Ruiter, and singer Kaz Lux formed Brainbox, who were good enough to get a recording contract with Parlophone Records. He was involved with an early incarnation of the group Focus, founded by conservatory-trained flutist Thijs Van Leer, but didn't join until after that group had issued its unsuccessful debut album — he took Van der Linden with him from Brainbox and, with Van Leer and bassist Cyril Havermans (later succeeded by Ruiter) from the original Focus, formed a new group of that name. With Akkerman's virtuoso guitar work and arrangements coupled to Van Leer's classical influence (and his yodeling on their breakthrough hit, "Hocus Pocus"), the new group found a large international audience beginning in 1972, which transformed Akkerman into a superstar guitarist. His solo career actually dated from 1968, though his attempt at a solo album, later titled Guitar for Sale — containing his covers of numbers such as "What'd I Say," "Ode to Billy Joe," and "Green Onions" — was so primitive by the standards of the time that it was deemed unreleasable until Akkerman started topping reader surveys in the mid-'70s. Profile, released in 1972 after he'd begun making some headway with his reputation, also dated from 1969 and his days with Brainbox. Akkerman's first real solo album reflecting his music and interests at the time appeared in 1974, in the form of Tabernakel, which was recorded during the summer of that year at Atlantic Recording Studios in New York — having finally acquired a medieval lute of his own, he taught himself to play it and the results comprise more than half of this LP, made up of authentic medieval music and originals composed in a medieval mode. It was certainly the most unusual record ever to feature the playing of Tim Bogart (bass) and Carmine Appice (drums), as well as soul drummer Ray Lucas. After leaving Focus in 1976, Akkerman began releasing a stream of solo albums, which frequently embraced classical, jazz, and blues, and started leading his own bands. Much of his work during the 1980s wasn't released officially outside of Holland, but his periodic recordings with Van Leer, coupled with efforts to revive Focus with its two major stars, kept his name circulating in international music circles. The only problem that Akkerman faces derives from the sheer eclecticism of his work, which makes him very difficult to categorize — two different branches of Tower Records in the same city listed him as a jazz and a rock artist, respectively, but one could just as easily make a claim for him as a classical artist. © Bruce Eder © 2010 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kifqxqw5ldae~T1

27.8.10

Edgar Winter


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Edgar Winter - Jasmine Nightdreams - 1975 - Blue Sky

The great US blues rocker Edgar Winter's career was arguably, at it's best in the early '70's with his solo work and collaborations with brother Johnny. The pairs' early compositions were wonderful blends of R&B, rock, jazz, and soul. "Jasmine Nightdreams" was described by an Amazon reviewer as "pop, funk, R&B and pop rock to boogie, straight-ahead rock, acid rock, fusion, experimental synthesizer flights of fantasy, and straight jazz". A great description of this great album. In 1975, the Edgar Winter Group was riding high on success and on a creative roll. On "Jasmine Nightdreams", the band consisted of Edgar himself on keyboards, sax and vocals with help Dan Hartman on bass and vocals, shortly to have a worldwide hit with 'Instant Replay' and axe hero Rick Derringer on guitar and vocals. The later albums of Edgar, and Johnny, with White Trash, The Edgar Winter Group, and Roadwork were more pure rock orientated, had far less less jazz/soul influences, and appealed more to rock audiences, and nothing wrong with that. The 1976 "Edgar Winter and Johnny Winter Live" is a cracking album full of great Rock'N'Roll covers, and The Edgar Winter Group's 1972 "They Only Come Out at Night" album is one of the great rock albums of the early seventies. If you are not familiar with the more laid back, "gentler" side of Edgar Winter, you may like "Jasmine Nightdreams". Edgar Winter's "Entrance" album is @ EDGWIN/ENTR and his "Winter Blues" album @ EDGWIN/WINTBL

TRACKS

A1 One Day Tomorrow
A2 Little Brother 4:08
A3 Hello Mellow Feelin'
A4 Tell Me In A Whisper
A5 Shuffle Low
A6 Keep On Burnin'

B1 How Do You Like Your Love
B2 I Always Wanted You
B3 Outa Control
B4 All Out
B5 Sky Train
B6 Solar Strut

All songs composed by E.Winter except "One Day Tomorrow", and "Tell Me In A Whisper" by D. Hartman, & E. Winter

MUSICIANS

Johnny Winter - slide guitar, harmonica
Rick Derringer - guitar
Dan Hartman - bass, vocals
Edgar Winter - piano, vocals, saxophone, keyboards, synthesizer
Rick Marrota, Chuck Ruff - drums

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BIO

Although he's often skirted the edges of blues music, at heart, saxophonist, keyboardist and composer Edgar Winter is a blues musician. Raised in Beaumont, TX, the younger brother of ukulele player and guitarist Johnny Winter, Edgar Winter has always pushed himself in new directions, synthesizing the rock, blues and jazz melodies he hears in his head. As a consequence, his fan base may not be what it could have been, had he made a conscious effort -- like his brother Johnny -- to stay in a blues-rock mold over the years. He's one musician who's never been afraid to venture into multiple musical arenas, often times, within the space of one album, as in his debut, Entrance (1970 Columbia Records). Edgar Winter, the second son of John and Edwina Winter, was born December 28, 1946 in Beaumont, TX, and much of the credit for Edgar and Johnny's early musical awareness must go to the brothers' parents, who have been a constant source of encouragement throughout their respective musical careers. The boys' father sang in a barbershop quartet, in their church choir, and played saxophone in a jazz group. Edgar and Johnny, who's three years older, began performing together as teens, playing local watering holes like Tom's Fish Camp before they were old enough to drink. The pair's early R&B and blues groups included Johnny and the Jammers, the Crystaliers and the Black Plague. In high school, Edgar became fascinated with the saxophone stylings of Julian "Cannonball" Adderley and Hank Crawford, and he began playing alto sax in earnest. As a pre-teen, he had played ukulele, like his older brother. But by the time he was of college age, Edgar had become competent on keyboards, bass, guitar and drums. Edgar was signed to Epic Records in 1970 after performing on his brother's Second Winter album. He recorded Entrance, his debut, which featured himself on most of the instruments. After radio success accompanying his brother on Johnny Winter And, he formed a large horn ensemble called White Trash. Although it was a short-lived group which broke up in mid-'72, Winter assembled another group to record two more albums for Epic Records, White Trash and Roadwork. Winter's single, "Keep Playing That Rock 'n' Roll," reached number 70 on the U.S. rock radio charts, and the album Roadwork hit number 23 on the album charts. By the summer of 1972, through constant touring, (and a ready willingness to do interviews, unlike his older brother), Winter formed the Edgar Winter Group in the summer of 1972. In January, 1973, Epic released They Only Come Out at Night, produced by guitarist Rick Derringer, which reached number three in the U.S. This album had Winter's most famous song, "Frankenstein," which reached number one in the U.S. in May of 1973. Later that year, "Free Ride" from the same album reached number 14. Although he's never matched that kind of commercial radio success again, Winter has continued to tour and record at a prolific pace. He relocated from New York City to Beverly Hills in 1989 to pursue movie score work, which he's had some success with, most notably with a slightly reworked version of "Frankenstein" for the movie Wayne's World II. Although his early-'70s albums like Entrance, White Trash, They Only Come Out at Night and Shock Treatment are bluesier affairs than some of his later albums, there are blues tunes like "Big City Woman" on one of his 1990s releases, Not a Kid Anymore (1994), on the Intersound label, and 1999's Winter Blues was almost wholly devoted to the idiom. A good introduction to Winter for those who weren't around in the early '70s is The Edgar Winter Collection (1993) on Rhino Records. © Richard Skelly, All Music Guide

ta Taste (aka Taste)


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ta Taste (aka Taste) - Wall to Wall - 2006 - Alikath Stephnick Music

Even in your wildest dreams, you’d never imagine it but it’s happened: Taste is back! In 2006, John Wilson, the legendary drummer from the original line-up decided to reform Taste together with Richard McCracken and a virtually unknown Irish guitar player, Sam Davidson. They played a few gigs and the pressure from the public was such that they decided to release “Wall To Wall”. The opening track, ‘Going Home’ is powerful (as intense as Alvin Lee’s and its Ten Years After) sending thousands of shivers down the spine. The drums are enormous, the bass (played by Albert Mills replacing Richard) is perforating and on guitar, Sam reignites the light we thought had gone out for ever. With tracks such as ‘Daytona Dreaming’ and ‘Devil’s Woman’, it’s as if a star is watching over them, a star called Rory Gallagher. And as if to be faithful to Rory and the original ‘60s trio, there is an unbelievably beautiful and moving track: ‘Wall To Wall’. It’s the story of an impossible love between two people separated by a wall (real or not). There is also a breathtaking instrumental version of that song at the end of the album with some guitar soli which will make you climb up the curtains. This track should have been this year’s song for the 20th anniversary of the fall of the Berlin Wall. Just imagine, Taste performing ‘Wall To Wall’ at the Brandenburg Gate. Stupendous! One of the best albums of 2009 if not the decade. © Nathalie ‘Nat’ Harrap Blues Matters! © 2008 Accord All rights reserved http://www.paris-move.com/zik-cd-dedicated.php?id=451&lang=2

A few years ago Universal Records released a few remastered Taste albums. After a demand from fans and friends, John Wilson and Sam Davidson began playing again using the name "ta Taste". They used different bass players including Richie McCracken, the original Taste bassist. The band toured in numerous cities including Moscow and San Francisco, and played new reworkings of old Taste tunes. They introduced the late great Rory Gallagher's music to many people. The band released two CD's in 2006 including the one posted here. Up to 2007 ta Taste with the line-up of drummer, John Wilson, guitarist and vocalist Sam Davidson, and bassist Nicky Scott were still gigging and impressing audiences worldwide. N.B: ta Taste's "Wall to Wall" was reissued in 2009 on the Bad Reputation label using the original Taste band name. Many people will regard these albums as "cashing in" on the old Taste/Rory Gallagher reputation. However ta Taste has played many concerts to very appreciative audiences, and artists like Sam Davidson can really play and know what blues rock is all about. Check out Taste's "On The Boards" album and Rory Gallagher's brilliant "Calling Card" album

TRACKS

1. Going Home
2. Daytona Dreaming
3. The Drifter
4. The Wall
5. Devils Woman
6. Home Blues
7. Big Ship
8. Pretty Woman Of Mine
9. Lucy May
10. The Wall (Instrumental)

All songs composed by Sam Davidson & John Wilson

N.B: ta Taste's "Wall to Wall" was reissued in 2009 on the Bad Reputation label using the original Taste band name.

2006 BAND

John Wilson - Drums
Richie McCracken, Albert Mills - Bass
Sam Davidson - Guitar, Vocals

OLD TASTE BIO

Before becoming a solo star, Rory Gallagher fronted the blues-rock trio Taste, which experienced reasonable success in the U.K. in the late '60s and early '70s. Taste was molded very much on the model of Cream, adding some folk, pop, and jazz elements to a blues-rock base, and featuring a virtuosic guitarist. They weren't in the same league as Cream, particularly in the songwriting department, and were (like Cream) prone to occasional blues-rock bombast. But they weren't a bad band in their own right, exhibiting a lighter touch than most British blues boom outfits. The focus of Taste was always upon Gallagher. In addition to playing accomplished and versatile lead guitar, he sang in a gentle but convincing fashion, and wrote the band's original material. Much of Taste's repertoire was more restrained and balanced than the territory Gallagher would explore on his '70s outings, which placed more emphasis upon him as guitar hero. Gallagher also played occasional saxophone and harmonica with the group. Gallagher formed the first version of Taste in his native Ireland in 1966, with bassist Eric Kittringham and drummer Norman Damery. In May of 1968, he relocated to London and, still months shy of his 20th birthday, formed a new version of Taste with bassist Charlie McCracken (who had played bass with Spencer Davis, though not at the peak of Davis' hit-making days) and drummer John Wilson (who had been a drummer with Them, likewise not during one of their well-known incarnations). Two studio albums followed in 1969 and 1970, the second of which made the British Top 20. Taste was still virtually unknown in the States when they broke up shortly afterwards, although a couple of live albums were released in the early '70s to keep some product on the shelves. © Richie Unterberger © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3pfexq95ldte~T1

NEW TASTE BIO

Taste was formed in Cork, Ireland in August 1966 as a trio consisting of Rory Gallagher on guitars & vocals, Eric Kitteringham on bass, and Norman Damery on drums. In their early years Taste played around the UK before becoming regulars at Maritime Hotel, an R&B club in Belfast, Northern Ireland. In 1968 the original lineup split. The new lineup formed with Richard McCracken on bass and John Wilson on drums. The new Taste moved permanently to London where they signed with the record label Polydor. In 1969 Taste released their first two studio recordings, the self-titled Taste" first and "On The Boards" soon following, the latter showing Rory and the band's jazz influences with Gallagher playing saxophone on numerous tracks. In November 1968 the band opened for Cream at Cream's farewell concerts in London. Taste then began touring the United States and Canada opening for Eric Clapton and Ginger Bakers new band Blind Faith. Perhaps their most notable performance came in 1970 as part of the Isle of Wight Festival, joining such notable musicians as Jimi Hendrix and The Who. They were well-received by those in attendance, ultimately being called back for five encores. Later the same year Taste would once more tour Europe before performing their last show on New Year's Eve in Belfast. In 1970 Taste split leaving front man Rory Gallagher to pursue his solo career. In the August 2006 issue of Blues in Britain it was revealed that John Wilson had made Taste active once again. John has been at the fore front of the Irish Blues and R&B scene ever since his days in THEM with Van Morrison,and of course in TASTE with Rory Gallagher. Along with with Richard McCracken on bass and Belfast guitarist and singer Sam Davidson,who worked with John in the BELFAST BLUES BAND. Taste have performed at Blues and R&B festivals around the world with Richard McCracken playing bass when his other commitments allow, and Nicky Scott (Van Morrison Band) on bass when Richard is not.The band perform a lot of their own music,keeping alive the best traditions of the old band,and along with many other bands and musicians around the world keeping the music and memory of Rory alive. 2009 marks the 40th anniversary of the bands debut on Polydor records and this year we will be playing shows featuring the music Rory wrote and the band recorded during our time with the label.Along with many other bands and musicians around the world we are working to keep the music and memory of Rory alive.We look forward to playing for you in 2009-2010. © 2003-2005 by Just For Kicks Music, OxygenMedia. All rights reserved. http://www.justforkicks.de/detail.asp?sid=897902m213n216n199n30&uid=0&id=10227&lid=2

25.8.10

Ian Wallace


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Ian Wallace - Happiness With Minimal Side Effects - 2003 - Ian Wallace

Ian Wallace (born September 29, 1946 in Bury, England) is best known to GEPR readers as the drummer for King Crimson for the Islands studio album (1971) and subsequent live album Earthbound (1972). Chronologically, in the realm of progressive and related rock, one of his earliest bands was The Warriors, along with Jon Anderson (in his pre-Yes days, known then as "Johnny Anderson"). Wallace was also briefly a member of the Bonzo Dog Doo-Dah Band, but never recorded anything with them. In May 1972, at the end of King Crimson's US tour, he and fellow Crimson members Mel Collins and Boz Burrell left to join Alexis Korner's Snape. In 2003, he had begun to return to his progressive roots, joining 21st Century Schizoid Band and playing on progressive offerings from Jakko Jakszyk and Fission Trip. Wallace has played drums for many big name stars outside of the prog arena as well. He worked with Peter Frampton in 1975, Bob Dylan's band in 1978, Ry Cooder in 1979 and Don Henley in the 1980's and 90's. The list of bands and artists he's played with in the studio and on tour includes Bonnie Raitt, Joe Walsh, Johnny Hallyday, Keith Emerson, Roy Orbison, Jackson Browne, The Travelling Wilburys, Eric Clapton, Alvin Lee, Crosby Stills and Nash, Brian Eno, Larry Coryell, John Fogerty, Stevie Nicks, Lindsey Buckingham, Steve Marriott, Badger, Al Kooper, Glen Frey, Tim Buckley, Lonnie Mack, Billy Joel, Otis Spann, Sting, Steve Winwood, Bob Seger, Jimmy Buffett, Procol Harum, Robben Ford, Linda Ronstadt and Warren Zevon. On August 10, 2006, Wallace was diagnosed with esophageal cancer. He died on February 22, 2007 in Los Angeles - http://www.gepr.net/w.html

A fusion tinged jazz pop/progressive rock album with clever lyrics.There are definite John Lennon, Steely Dan, King Crimson, Gentle Giant, Frank Zappa, Steve Hackett, and Genesis elements throughout the album. Sounds like a strange mix, but overall the sounds fit perfectly together. Listen to King Crimson's "Islands", and Alexis Korner's "Mr. Blues" albums, both featuring Ian Wallace. "Happiness With Minimal Side Effects" is Ian Wallace's only official solo release, and is HR by A.O.O.F.C

TRACKS

1. Too Much Dogma
2. Castaway +(Instrumental Outro: Tai Phun)
3. I Can't Breathe +(Instrumental Intro: Network News)
4. Bad Boy
5. Captain of Industry
6. Spotlight, The
7. Pilgrim's Progress +(Instrumental Intro: Dis Traction)

All tracks composed by Ian Wallace

MUSICIANS

Drums, Percussion, Keyboards [Electric Piano, Mellotron, Synthesizer], Guitar, Vocals - Ian Wallace
Guitar - Kenny Vaughan (tracks: 1, 2)
Guitar [Acoustic, Electric, Steel] - Clive Gregson (tracks: 3, 4, 6, 7)
Bass - John Billings (tracks: 2, 3, 4, 5, 6) , Michael Rhodes (tracks: 1, 7)
Drums - Pat Mastelotto (tracks: 5)
Saxophone [Tenor] - Jeffrey Scott Wills (tracks: 2)
Flute - Ian McDonald (tracks: 4, 6)
Vocals - Barry Stock (tracks: 1)
Written-By - Ian Wallace

BIO

Best known as the drummer in one of the longer incarnations of King Crimson (January 1971-April 1972) and as a drummer for Bob Dylan, Jackson Browne, Bonnie Raitt, and Crosby, Stills & Nash, Ian Wallace was one of rock's busier drummers for more than a quarter century. Wallace's rock credentials went back to 1963 and a band called the Warriors, whose membership included a young vocalist named Jon Anderson, as well as future Badger bassman David Foster. The Warriors lasted until the end of 1967 — Wallace's next band was the World, featuring the Bonzo Dog Band's Neil Innes on vocals, guitar, and keyboards, which lasted six months in 1970. Finally, in the spring of 1971, Wallace joined King Crimson in the wake of the collapse of the interim lineup of the group. This version of King Crimson was a great performing unit, but its unity was always in doubt, especially when rumors began abounding of an impending breakup within six months of its formation. They toured extensively and won a serious following, but internally their relations were a nightmare, as Wallace and his bandmates Boz Burrell and Mel Collins insisted on a degree of autonomy as composers that clashed with guitarist and original bandmember Robert Fripp's musical vision of the group. During the first six months of his work with Crimson, Wallace's playing broke some new ground on-stage when Peter Sinfield, the group's lyricist and computer expert, used a VCS-3 synthesizer to process the sound of Wallace's drums. Additionally, subsequently released live tapes of that version of King Crimson, following Sinfield's exit but before the breakup of the whole unit, have revealed the full complexity of Wallace's playing with the band, and even Fripp has noted the quality of his work in live performance during those years. As it turned out, Wallace, Burrell, and Collins turned out to enjoy working together more than they did working for Fripp, and they quit the band en masse in the early spring of 1972. They immediately hooked up with Alexis Korner and Peter Thorup, playing with them of the remainder of 1972. Wallace continued working with Korner for two years and on four albums, and also played with Steve Marriott, Big Jim Sullivan, and Alvin Lee. In 1978, he became Bob Dylan's drummer, beginning with the Street Legal album and continuing on the subsequent tour and the Live at Budokan album as well. During the 1980s, Wallace also played with Ron Wood, David Lindley, Jon Anderson, Stevie Nicks, Don Henley, Graham Nash, Jackson Browne, Bonnie Raitt, the Traveling Wilburys, and Roy Orbison. In the 1990s, he played with Joe Walsh and Don Henley, but much of Wallace's activity centered around his own label, Artist Road Records of Santa Fe, NM. Wallace's work moved more in the direction of jazz in tandem with his business partner in Artist Road, pianist Brian Trainor, and guitarist Larry Coryell was among the musicians he played with during this period. During the 2000s Wallace issued his only solo album, Happiness with Minimal Side Effects (2003), and he also revisited his King Crimson legacy, joining the Crimson Jazz Trio (appearing on the group’s 2005 release King Crimson Songbook, Vol. 1) and the 21st Century Schizoid Band (appearing on the 2006 album Pictures of a City: Live in New York). In 2006 Wallace was diagnosed with esophageal cancer, and he succumbed to the disease at 60 years of age on February 22, 2007, in Los Angeles. The Crimson Jazz Trio’s King Crimson Songbook, Vol. 2 had been completed — with assistance from Crimson reedman Mel Collins on two tracks — prior to Wallace’s death, and was released in 2009. © Bruce Eder © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hzfuxqrgldse~T1

The James Gang


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The James Gang - Live In Concert - 1971 - ABC/Dunhill

Recorded live at Carnegie Hall, New York. "These recordings confimed that Joe Walsh was everything people were saying about him...a great guitarist and vocalist. He had taken The James Gang from obscurity to heights of stardom....and ultimately legend. A solid rockin outfit, the addition of Walsh provided the catalyst that brought them to the forefront of progressive rock n roll". - (cduniverse.com). Listen to the band's "Rides Again" album

TRACKS / COMPOSERS

1 Stop - Jerry Ragovoy/Mort Shuman/Roger Waters
2 You're Gonna Need Me - Albert King
3 Take A Look Around - Barrett Strong/Joe Walsh/Norman Whitfield
4 Tend My Garden - Joe Walsh
5 Ashes, The Rain And I - Dale Peters/Joe Walsh
6 Walk Away - Joe Walsh
7 Lost Woman - Jeff Beck/\/Jim McCarty/Keith Relf/Paul Samwell-Smith (Yardbirds)

BAND

Joe Walsh - Electric Guitar, 12 String Guitar, Vocals
Dale Peters - Bass Guitar, Acoustic Guitar, Percussion, Vocals
Jim Fox - Hammond Organ, Keyboards, Drums, Vocals

BIO

With the emergence of Cream and the Jimi Hendrix Experience during the late '60s, the path was cleared for other hard-rockin' "trios." Arguably, the finest to emerge from the subsequent American crop was the James Gang. Despite penning a few of classic rock radio's most enduring songs, the James Gang ultimately failed to deliver on their initial promise, as constant lineup juggling ultimately derailed the group. The Gang's roots stretch back to 1966 in Cleveland, OH, where drummer Jim Fox formed the group with a few fellow Kent State University students, guitarist Glenn Schwartz and bassist Tom Kriss. But when Schwartz left to join Pacific Gas & Electric, Fox and Kriss opted to carry on with new singer/guitarist Joe Walsh. The James Gang's debut album, Yer' Album, followed in 1969, and while it didn't spawn any hits, it did set the stage perfectly for their next few releases. (The album was also one of the first recordings that noted producer Bill Szymczyk worked on.) Prior to sessions for the group's sophomore effort, Kriss exited the group, and was replaced by Dale Peters, resulting in the James Gang's definitive lineup. Peters soon proved to be the missing piece to the puzzle, as evidenced by the group's subsequent album, 1970's classic Rides Again, which spawned the rock gem "Funk #49." Although the song didn't come close to the top of the singles charts at the time of its release, it later became one of rock's most instantly identifiable tracks, and also established Walsh's talent for penning exceptional guitar riffs. (Pete Townshend became a vocal supporter of Walsh's guitar skills, and the Who took the James Gang on a European tour around the same time.) Although it appeared that the James Gang was just hitting their stride, Walsh was growing increasingly disinterested with the group; he longed to launch a solo career. He managed to hang in there for another top-notch studio album, 1971's Thirds, which spawned an additional classic rock radio standard, "Walk Away." Around the same time as the appearance of a live set later the same year (Live in Concert), Walsh departed the group, first focusing on solo work before joining up with one of the '70s' biggest bands, the Eagles. Once more, Fox opted to keep the group afloat and expanded the band to a quartet, greeting new bandmembers Roy Kenner (vocals) and Domenic Troiano (guitar). Walsh's shoes proved hard to fill, though, as two lackluster albums released back-to-back in 1972, Straight Shooter and Passin' Thru, failed to expand the group's following. Troiano exited the group to join up with the Guess Who, leaving the James Gang's guitar slot vacant once more. Troiano's departure proved to be a blessing in disguise, however, as the guitarist who replaced him, Tommy Bolin (supposedly at the recommendation of old friend Walsh), instantly breathed life back into the floundering group. Bolin's red-hot and versatile guitar playing (as well as compositional talents; he and songwriting partner John Tesar wrote the majority of the songs) helped reinvigorate the group, as two fine yet underrated albums followed: 1973's Bang! and 1974's Miami. However, just like the previous guitarists to play with the James Gang, Bolin grew disenchanted quickly, and exited in 1974. Following in Walsh's footsteps, he subsequently launched a solo career of his own before briefly serving as a member of Deep Purple. Sadly, Bolin passed away from a senseless drug overdose in 1976. The James Gang decided to call it quits after Bolin's departure, but not for long. Fox and Peters launched a new version of the group in 1975, complete with new members Bubba Keith (vocals, guitar) and Richard Shack (guitar). Predictably, the latest version of the group only lasted for a pair of ignored recordings, 1975's Newborn and 1976's Jesse Come Home, before the James Gang finally called it a day for good. Subsequently, little was heard from the group besides the appearances of several best-of compilations (including 2000's Greatest Hits). By the late '90s, the group (with Walsh) reunited for sporadic appearances, including a performance at the 1996 election rally for then-President Bill Clinton at the Cleveland State University Convocation Center, as well as an appearance on The Drew Carey Show. In February of 2001, the James Gang played at the Rock & Roll Hall of Fame in Cleveland, OH, and performed a pair of sold-out shows the same week at the Allen Theater. © Greg Prato © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aifixqe5ldae~T1

24.8.10

Jimmy Witherspoon & Robben Ford


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Jimmy Witherspoon & Robben Ford - Live: Jimmy Witherspoon & Robben Ford - 1993 - Avenue Records

Very difficult to get definitive venues for this album. Possibly taken from gigs at the Ash Grove, Hollywood, California; the Golden Bear, Huntington Beach, California; and The Marquee Club, London, England in 1972. Stunning guitar from a young Robben Ford. Can anybody supply an exact venue list with dates?

TRACKS / COMPOSERS

1. Low Down Dirty Shame - Johnson, Turner
2. Goin' Down Slow - Oden
3. Kansas City - Leiber, Stoller
4. Past Forty Blues - Witherspoon, Roach
5. Times Are Getting Tough - Witherspoon
6. I'm Gonna Move to the Outskirts of Town - Razaf, Weldon
7. S-K Blues - Saunders, King
8. Around the Clock - Harris
9. Walkin' by Myself - Lane, Rogers
10. No Rollin' Blues - Jimmy Witherspoon

MUSICIANS

Jimmy Witherspoon - Vocals
Robben Ford - Guitar, Vocals, Sax
Stanley Poplin - Bass, Guitar (Bass)
Paul Nagle - Keyboards
Jim Baum - Drums

ABOUT JIMMY WITHERSPOON

One of the great blues singers of the post-World War II period, Jimmy Witherspoon was also versatile enough to fit comfortably into the jazz world. Witherspoon was born on August 8, 1920, in Gurdon, AR. As a child, he sang in a church choir, and made his debut recordings with Jay McShann for Philo and Mercury in 1945 and 1946. His own first recordings, using McShann's band, resulted in a number one R&B hit in 1949 with "Ain't Nobody's Business, Pts. 1 & 2" on Supreme Records. Live performances of "No Rollin' Blues" and "Big Fine Girl" provided 'Spoon with two more hits in 1950. The mid-'50s were a lean time, with his style of shouting blues temporarily out of fashion; singles were tried for Federal, Chess, Atco, Vee Jay, and others, with little success. Jimmy Witherspoon at the Monterey Jazz Festival (HiFi Jazz) from 1959 lifted him back into the limelight. Partnerships with Ben Webster or Groove Holmes were recorded, and he toured Europe in 1961 with Buck Clayton, performing overseas many more times in the decades to follow; some memorable music resulted, but Witherspoon's best 1960s album is Evening Blues (Prestige), which features T-Bone Walker on guitar and Clifford Scott on saxophone. As the '70s began, Witherspoon decided to take a short break from live performances, settled in Los Angeles, took a job as a disc jockey, and continued making records. In 1971 Witherspoon teamed up with former Animals vocalist Eric Burdon for the album Guilty. Unfortunately it sold poorly. By 1973 his short retirement from live performances was over. Witherspoon was ready to get back on the road and assembled an amazing band featuring a young Robben Ford on lead guitar. Those live shows had received positive reviews, rejuvenating Witherspoon's move toward a definite rock/soul sound. He traveled to London in 1974 to record Love Is a Five Letter Word with British blues producer Mike Vernon. Vernon had produced critically acclaimed British blues albums by John Mayall, Fleetwood Mac, and Ten Years After. By the early '80s, Witherspoon was diagnosed with throat cancer. Although he remained active and was a popular concert attraction, the effect of the disease on his vocals was obvious. Witherspoon passed away on September 18, 1997, at the age of 77. © Bob Porter, Scott Yanow & Al Campbell © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:azfrxq8gldje~T1

ABOUT ROBBEN FORD (WIKIPEDIA)

Ford was born in Woodlake but raised in Ukiah, California, and began playing the saxophone at age 10, picking up the guitar at age 13. Robben and his brothers Mark (mouthharp) and Patrick Ford (drums) had a band they named the Charles Ford Blues Band in honor of their father. Ford began playing professionally at age 18 when the Charles Ford Blues Band got a gig backing Charlie Musselwhite. The band also recorded two albums The Charles Ford Band and Discovering the Blues. Next Ford put together a band with Bay Area musicians that became Jimmy Witherspoon's backup band. Ford recorded two albums with Witherspoon, Live and Spoonful'. The Ford Blues Band reunites periodically, and released live albums in the 1980s and 1990s. In the 1970s, Ford began to branch out into Jazz fusion, and joined L.A. Express led by saxophonist Tom Scott in 1974. That same year they backed George Harrison on his American tour. In addition to recording fusion albums, they served as Joni Mitchell's backup band on Hissing of Summer Lawns and her live album, Miles of Aisles. After leaving L.A. Express in 1976, Ford recorded his solo album, The Inside Story with a band that was to become the Yellowjackets. He went on to play a starring role on the first two Yellowjackets albums, although he was listed as a guest artist due to recording contract arrangements. Ford worked briefly with Miles Davis in 1986; he can be heard on Davis' Montreux box set. Ford released his next album, called Talk to Your Daughter in 1988, a return to his blues roots. In 1989 he joined Philippe Saisse, Marcus Miller and J.T. Lewis in the cast of The Sunday Night Band for the second and final season of the acclaimed late-night NBC television musical performance program, Sunday Night. His best work in the 1990s include Robben Ford and the Blue Line, and Tiger Walk. In addition to recording and touring with his own blues band, Ford continued to tour and play with other bands/artists such as Jing Chi (his fusion band), Gregg Allman and Phil Lesh. He has received nominations for four Grammy Awards. Several Ford tribute bands exist, a statement to his artistry and popularity with the cognoscenti. Ford was named one of the "100 Greatest Guitarists of the 20th Century" by Musician magazine. Ford uses Dumble Amplifiers. When travelling abroad he tends to use rented Fender amplifiers along with a Zendrive overdrive pedal by Hermida Audio. Guitar manufacturer Fender used to make a Robben Ford signature guitar, although lately Ford tends to favour Gibson Les Pauls and a custom-made model by Sakashta Guitars. Ford is married to the cabaret singer, Anne Kerry Ford, and collaborated with her on various projects.

23.8.10

Donald Fagen


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Donald Fagen - 10 Extras Bonus CD from Nightfly Trilogy - 2007 - Warner Brothers

Chances are, Donald Fagen didn't envision The Nightfly as the beginning of a trilogy when he released it in 1982, but as he slowly toiled away at his solo career, its blend of autobiography and smooth, soulful jazz became the template for his music outside of Steely Dan. As the albums slowly unveiled, it became evident that each covered a different stage in Fagen's life: the first, 1982's The Nightfly, was a wry nostalgic look back at his younger years; the second, 1993's Kamakiriad, was middle-age with a sci-fi spin; the third, 2006's Morph the Cat, looked at mortality through the veil of the new frontier of the post-9/11 world. Each album felt more personal than a Steely Dan record and also had a similar sound — reminiscent of Gaucho, but with an even heavier jazz bent — so they fit together well as a trilogy, each gaining strength from the other two, so it makes sense that Rhino would package them as a box set called The Nightfly Trilogy. In many ways, this box is indeed essential to Fagen diehards, as it adds a fourth disc of rarities, including soundtrack contributions and unreleased songs, along with 5.1 mixes of the three albums and all the music videos for each record. Given this generous bonus material, it's slightly frustrating that The Nightfly Trilogy is presented as a collection of MVIs — aka Music Video Interactive — which is partially spectacular and partially irritating. MVIs are designed to play in either computers or DVD players — not CD players, hence the "bonus" CDs of the three albums, bonus CDs that do not contain the bonus tracks on the set; those are compiled on a separate fourth CD — as those are the players that can take full advantage of the multimedia capabilities of the MVI, playing the video footage and the high-resolution Surround Sound mixes, and there are "easy to load" MP3s so you can transfer the files to a portable player and they have liner notes embedded on the disc. Sounds good, but it's not the easiest thing to use, as there is, naturally, a separate application on each of the discs to run the audio and showcase the extra material, which is the only way to access the very good liner notes here, as none of the discs have inserts bearing either credits or Fagen's track-by-track breakdowns. In theory, it's nice to have this all digitally, but it's hard not to wish that you could just open up a booklet and read it all at once instead of cycling through each individual disc. Also, the bonus CDs do not necessarily read in computers, which is frustrating, even if the MVIs have the MP3s embedded on them (including MP3s of the bonus tracks compiled on the separate CD that is readable by computer; the bonus tracks on the MVIs lack artist or title information, however). Despite these format problems, The Nightfly Trilogy is easy to recommend to Fagen diehards, as the three DVD Surround mixes do indeed sound great and it's quite wonderful to have the music videos for all three albums at easy disposal. Plus, there's the bonus material, which contains a wealth of great music, highlighted by "True Companion" (taken from the 1981 soundtrack to Heavy Metal); "Century's End" (taken from the 1985 soundtrack to Bright Lights, Big City); "Big Noise New York," which Fagen wrote for a Spike Lee film but was never used; the publishing demo "Confide in Me"; "Hank's Pad," a reworked Henry Mancini instrumental from Peter Gunn to which Fagen added lyrics; and, most of all, a terrific cover of Al Green's "Rhymes," co-produced by and featuring Todd Rundgren. There's not a bad cut on this ten-track bonus disc, and it's a sublime supplement that helps justify the purchase of this maddening but ultimately satisfying box. Stephen Thomas Erlewine © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jcfexq9rldhe~T1

The genius that is Donald Fagen was involved in two of the greatest jazz rock albums of the 20th Century, namely Steely Dan's "Aja" album, and his own solo "The Nightfly" album. This 10 track bonus CD was released as part of the Nightfly Trilogy box set, which also contained Donald's "The Nightfly", "Kamakiriad", and "Morph The Cat" albums, along with three more bonus audio, and 3-MVI DVD bonus video features. The music on this bonus disc speaks for itself. Some of the highlights include a live retake of Mancini's "Pete's Pad" called "Hank's Pad" here with lyrics by Donald Fagen, "Viva Viva Rock "n" Roll" a hard-rocking live track from Donald's tour in support of his "Morph The Cat" album, (The latter two tracks mentioned have previously only been available on poor quality soundboard recordings. This is their first official release),"True Companion," from the soundtrack to the 1981 movie Heavy Metal (1981), which features a terrific performance by Steve Khan on acoustic and electric guitars, "Century's End," from the soundtrack to the 1988 Bright Lights, Big City movie, a brilliant funk track that uses the same synth harmonica that Don used on The Nightfly's "I.G.Y", and "Green Flower Street" is from the wonderful New York Rock & Soul Review "Live At The Beacon" album. If you are a Steely Dan fan you probably have all these tracks in your collection, however it's still great to hear a collection of tracks from one of the greatest jazz rock musicians of all time. Check out the amazing credits on this album! The album is VHR by A.O.O.F.C. [All Tracks @ 320 Kbps: File size = 104 Mb]

BONUS CD 4

TRACKS / COMPOSERS

01. Rhymes - Al Green, Mabon "Teenie" Hodges, Leslie Sarony
02. Big Noise New York - Donald Fagen (Music), Marcelle Clements (Lyrics)
03. True Companion - Donald Fagen
04. Confide In Me - Donald Fagen
05. Blue Lou - Donald Fagen
06. Shanghai Confidential - Jerry Leiber, Mike Stoller
07. Green Flower Street (Live) - Donald Fagen
08. Century's End - Donald Fagen, Timothy Meher
09. Hank's Pad (Live) [retake of Henry Mancini"s "Pete"s Pad"] - Donald Fagen (Lyrics), Henry Mancini (Music)
10. Viva Via Rock N Roll (Live) - Chuck Berry

MUSICIANS

Donald Fagen: vocals, tambourine (1), keyboard sequencing (2), backup vocals (2, 4), piano (3, 4), kalimba (3), keyboards (6, 8), sequencing (6, 8), melodica (7), Fender piano (10)
Wayne Krantz: guitar (1, 10)
Drew Zingg: guitar (4, 7)
Steve Khan: guitar (6)
Jon Herrington: guitar (9, 10)
Georg Wadenius: guitar (8)
Tom Barney: bass guitar (9)
Will Lee: bass (3)
Lincoln Schleiffer: bass (4, 7)
Marcus Miller: bass (6)
Jimmy Haslip: bass (8)
Freddie Washington: bass guitar (10)
Don Grolnick: Fender piano (3)
Ted Baker: piano (9)
Todd Rundgren: keyboards, sequencing and backup vocals (1)
Jeff Young: organ (4, 6), backup vocals (6), piano (7)
Keith Carlock: drums (10)
Steve Jordan: drums (3)
Denny McDermott: drums (4, 7)
Leroy Clouden: drums (8)
Ricky Lawson: drums (9)
Crusher Bennett: percussion (3)
Manolo Badrena: percussion (6)
Walt Weiskopf: tenor saxophone (1, 10), alto saxophone (1)
Bob Sheppard: tenor saxophone (9), tenor saxophone solo (9)
Lou Marini: tenor saxophone (5)
John Hagen: tenor saxophone (7)
Cornelius Bumpus: tenor saxophone (7, 9)
Harold Vick: tenor saxophone (8)
Ronnie Cuber: baritone saxophone (8)
Michael Leonhard: trumpet (1, 9, 10)
Chris Anderson: trumpet (7)
Lew Soloff: trumpet (8)
Larry Farrell: trombone (1)
Dave Bargeron: trombone (8)
Jim Pugh: trombone (9)
Mindy Jostyn: backup vocals (4, 7), harmonica (4)
Zack Sanders: vocals (3), backup vocals (8)
Amy Helm: backup vocals and whistling (1)
Ula Hedwig: backujp vocals (7)
Dian Sorel: backup vocals (7)
Frank Floyd: backup vocals (8)
Angela Patrick: backup vocals (8)
Carolyn Leonhard: backup vocals (9, 10)
Victoria Cave: backup vocals (9)
Cindy Calhoun: backup vocals (9)
Cindy Mizelle: backup vocals (10)
The Joe Roccisano Orchestra (5)

VERY SHORT BIO

Donald Fagen was one of the two masterminds behind Steely Dan, the seminal jazz-pop band of the '70s. Fagen's solo work has been a continuation of the band's work of the early '80s — carefully constructed and arranged, intricately detailed pop songs that are more substantial than their stylish surface may indicate. His 1982 solo debut, The Nightfly, was the best album he had made in years; it covered the same ground as the last two Steely Dan albums, yet surpassed them in terms of ambition and achievement. After the success of The Nightfly, Fagen suffered a case of writer's block; for the rest of the decade he contributed music to the occasional film and briefly wrote a column for Premiere magazine in the mid-'80s. In the early '90s, he toured with the New York Rock and Soul Revue as he finished the material for his second album. With his former Steely Dan partner Walter Becker producing, 1993's Kamakiriad sounded like Aja recorded with '90s technology. It had some success on the adult contemporary charts, but it was overshadowed by the duo's decision to re-form Steely Dan and tour for the first time in nearly 20 years; the tour was a massive success. One more album — 2003's Everything Must Go — came out of the reunion before Fagen decided to begin work on his third solo album. With death as its main theme, Morph the Cat appeared in March 2006. Soon after the album's release, Fagen embarked on his first solo tour. © Stephen Thomas Erlewine © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3ifwxqe5ldje~T1

22.8.10

Jorma Kaukonen Trio


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Jorma Kaukonen Trio - Live - 2001 - Relix Records

Taken from performances from Jorma's 1999 tour. Playing with him were Michael Falzarano and Pete Sears who had played on his previous "Too Many Years" album, and had also played on Hot Tuna's "And Furthurmore"album. "Live" includes good arrangements of some well known blues and blues roots tunes including Gary Davis' "Death Don't Have No Mercy", Jesse Fuller's "San Francisco Bay Blues", Leroy Carr's "How Long Blues", and The Grateful Dead's "Friend of the Devil". Four of the tracks are self penned, and Jorma's trademark fingerpicking guitar style is great to hear. Listen to Jorma's "Embryonic Journey" album with Tim Constanten, and his "Magic Two" album

TRACKS / COMPOSERS

1."True Religion" (Jorma Kaukonen) – 4:54
2."How Long Blues" (Leroy Carr) – 4:02
3."Death Don't Have No Mercy" (Rev. Gary Davis) – 5:47
4."Do Not Go Gentle" (Kaukonen) – 3:44
5."I See the Light" (Kaukonen) – 6:05
6."Embryonic Journey" (Kaukonen) – 2:11
7."Good Shepherd" (Traditional) – 6:31
8."San Francisco Bay Blues" (Jesse Fuller) – 3:48
9."I Know You Rider" (Traditional) – 5:07
10."Just My Way" (Michael Falzarano) – 9:12
11."Friend of the Devil" (Jerry Garcia, Robert Hunter, John Dawson) – 6:03

MUSICIANS

Jorma Kaukonen – guitars, vocals
Michael Falzarano – rhythm guitar, vocals
Pete Sears – keyboards

BIO

In a career that has already spanned a half-century, Jorma Kaukonen has been the leading practitioner and teacher of fingerstyle guitar, one of the most highly respected interpreters of American roots music, blues, and Americana, and at the forefront of popular rock-and-roll. He was a founding member of two legendary bands, The Jefferson Airplane and the still-touring Hot Tuna, a Grammy nominee, a member of the Rock & Roll Hall of Fame and the most in-demand instructor in the galaxy of stars who teach at the Fur Peace Ranch Guitar Camp that he and his wife operate in picturesque Southeastern Ohio. The son of a State Department official, Jorma Kaukonen, Jr. was born and raised in the Washington D.C. area, with occasional extended trips outside the United States. He was a devotee of rock-and-roll in the Buddy Holly era but soon developed a love for the blues and bluegrass that were profuse in the clubs and concerts in the nation’s capitol. He wanted to take up guitar and make that kind of music himself. Soon he met Jack Casady, the younger brother of a friend and a guitar player in his own right. Though they could not have known it, they were beginning a musical partnership that has continues for over 50 years. Jorma graduated from high school and headed off for Antioch College in Ohio, where he met Ian Buchanan, who introduced him to the elaborate fingerstyle fretwork of the Rev. Gary Davis. A work-study program in New York introduced the increasingly skilled guitarist to that city’s burgeoning folk-blues-bluegrass scene and many of its players. After a break from college and travel overseas, Jorma moved to California, where he returned to classes and earned money by teaching guitar. It was at this time, that a banjo-playing friend invited him to join a rock band, and although Jorma’s true passion was roots music, he decided to join. In fact, the new band The Jefferson Airplane got its name from Jorma, who was given the joke nickname Blind Thomas Jefferson Airplane, parodying the names of blues legends. Jorma invited his old musical partner Jack Casady to come out to San Francisco and play electric bass for The Jefferson Airplane, and together they created much of The Jefferson Airplane’s signature sound. Jorma and Jack would jam whenever they could and would sometimes perform sets within sets at Airplane concerts. The two would often play clubs following Airplane performances. Making a name for themselves as a duo, they struck a record deal, and Hot Tuna was born. Jorma left The Jefferson Airplane after the band’s most productive five years, pursuing his full-time job with Hot Tuna. Over the next three and a half decades Hot Tuna would perform thousands of concerts and release more than two-dozen records. The musicians who performed with them were many and widely varied, as were their styles—from acoustic to long and loud electric jams but never straying far from their musical roots. What is remarkable is that they have never coasted. Hot Tuna today sounds better than ever, playing with the energy of their youth and the skill that they have developed over the year. In addition to his work with Hot Tuna, Jorma has recorded more than a dozen solo albums on major labels and on his own, beginning with 1974’s Quah and continuing with his recent acoustic releases on Red House Records—2007’s Stars in My Crown and his new CD River of Time, produced by Larry Campbell and featuring Levon Helm. With experience that would have many musicians putting together retrospectives. But performance and recording are only part of the story. Jorma and his wife Vanessa Lillian have operated one of the worlds most unique center’s for the study of guitar and other instruments. Jorma Kaukonen’s Fur Peace Ranch Guitar Camp is located on 125 acres of fields, woods, hills, and streams in the Appalachian foothills of Southeastern Ohio. Since it opened in 1998, thousands of musicians whose skills range from basic to highly accomplished gather for weekends of master instruction offered by Jorma and other instructors who are leaders in their musical fields. A multitude of renowned performers make the trek to Ohio to teach at Fur Peace Ranch and play at the performance hall, Fur Peace Station. It has become an important stop on the touring circuit for artists who do not normally play intimate 200-seat venues, bringing such artists as David Bromberg, Roger McGuinn, Ramblin’ Jack Elliott, Warren Haynes, Lee Roy Parnell, and Chris Hillman. Students, instructors, and visiting artists alike welcome the peace and tranquility -- as well as the great music and great instruction -- that Fur Peace Ranch offers. Jorma Kaukonen is constantly looking to take his musical horizons further still, always moving forward and he is quick to say that teaching is among the most rewarding aspects of his career. “You just can’t go backward. The arrow of time only goes in one direction.” http://jormakaukonen.com/bio.html

21.8.10

Adrian Belew


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Adrian Belew - The Acoustic Adrian Belew - 1993 - Discipline Global Mobile

Packaged in a sleeve that (not accidentally) reminds one of the Beatles' White Album, this first released collection of Belew's acoustic renderings is all around a pleasant listen. The classic Adrian Belew songs are great. It is refreshing to hear songs like "The Man in the Moon" and "The Rail Song" with new life breathed into them. Belew's delivery is a little subdued, which at times can have a postured to be included on an acoustic release feel to it at times, but, for the most part, the music sounds fresh and revitalized. He does include a couple treats on this outing. The first of these is a cover of the Beatles "If I Fell," which sounds like a dead-on impersonation of the John and Paul vocal harmonies from the original. Very cool. Also included is a Roy Orbison's "Crying," which is a nice as well. King Crimson's "Matte Kudesai" has some issues here — the verses are accompanied by a low somewhat seasick two-note guitar riff that at best is not very appropriate for the song. The final number on this collection is a tune called "Martha Adored," which is recording of "Dream Life" played backwards in its entirety. Unexpectedly and astonishingly beautiful. This track alone makes the whole set worthwhile. © Mark W. B. Allender © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:kpfyxq9hldke

Nice "stripped to the bone" acoustic 11 track album by the very underrated ex-King Crimson guitarist. Adrian provides all the vocals and instrumentation on the album. Some reviewers have criticized the album as being worthless, and one reviewer called Adrian's guitar playing mediocre. They are missing the point. The album "is what it is" - a simple acoustic album of 11 short songs played without any fancy frills or guitar pyrotechnics. Adrian includes The Beatle's "If I Fell" and Roy Orbison's "Crying". The album was obviously done for Adrian's enjoyment, and it's a great listen. Listen to Adrian's "Belew Prints: The Acoustic Adrian Belew, Vol. 2" album.

TRACKS / COMPOSERS

1 The Lone Rhinoceros - Belew 2:37
2 Peace on Earth - Belew 2:49
3 The Man in the Moon - Belew 2:12
4 The Rail Song - Belew 3:42
5 If I Fell - Lennon, McCartney 2:18
6 Burned by the Fire We Make - Belew 2:50
7 Matte Kudasai - Belew, Bruford, Fripp, Levin 2:18
8 Dream Life - Belew 2:19
9 Old Fat Cadillac - Belew 3:12
10 Crying - Melson, Orbison 2:39
11 Martha Adored - Belew 2:19

Adrian Belew - Guitar (Acoustic), Guitar, Vocals, Voices

BIO

Although Adrian Belew has played with some of rock's biggest names over the years (Frank Zappa, David Bowie, the Talking Heads, King Crimson, etc.), he remains one of the most underrated and woefully overlooked guitarists of recent times. Like all great guitarists, Belew has his own recognizable style/sound (one that admittedly tends to be quirky and off-the-wall at times), and is an incredibly versatile player, as he's always found a way to make his signature style fit into a wide variety of musical genres: hard rock, funk, new wave, experimental, Beatlesque pop, and more. Born Robert Steven Belew on December 23, 1949, in Covington, KY, Belew's first instrument of interest was the drums, as he soon kept the backbeat in his high school's marching band. But not long after his discovery of the Beatles, Belew picked up the guitar, teaching himself how to play and to write original songs. Spending the remainder of the '60s and early '70s honing his skills, Belew opted to change his first name to Adrian in 1975 (for the simple reason that it was a name he'd always admired), as he joined a Nashville, TN-based cover band, Sweetheart, the same year. The group performed in '40s-era suits and became a popular local attraction — resulting in Frank Zappa checking out a show in 1977. With an opening for a guitarist in his touring band, Zappa invited Belew on the spot to come and audition for his band, which Belew eventually landed. It was during Zappa's lengthy 1978 U.S. tour (documented in the concert movie Baby Snakes) that David Bowie came to see a performance, which resulted in Belew being invited to join Bowie's touring band when the Zappa tour wrapped up. Once more, Belew accepted, touring the world alongside Bowie and appearing on his 1978 live recording, Stage, and 1979 studio effort, Lodger. Once more, just as Belew's latest gig was about to wind down, he received an offer he couldn't refuse from another artist. Through guitarist Robert Fripp, Belew met renowned producer Brian Eno, who in turn introduced the guitarist to the Talking Heads, who were in the middle of recording their classic 1980 release Remain in Light. Belew was invited to lay down guitar for the songs, which led to his participation on the album's supporting tour (which a portion of the live compilation The Name of This Band Is Talking Heads showcased). Belew also contributed to the Talking Heads' offshoot project, the Tom Tom Club, appearing on their self-titled 1981 debut album, as well as their hit single "Genius of Love" (although he wasn't given a songwriting credit originally, it became known years later that Belew helped co-pen the tune with the others). It was during The Tom Tom Club recording sessions (in the Bahamas) that Belew also began work on his first solo album, issued in 1982 as Lone Rhino. Predictably, it wasn't long before Belew was offered his next gig, this time with a newly reconstructed King Crimson. Belew, who handled lead vocal duties in addition to guitar, was joined by Crimson vets Robert Fripp (guitar) and Bill Bruford (drums), in addition to session ace Tony Levin (bass). With the group eschewing their previous prog rock leanings in favor of a more "modern" sound (akin to the Talking Heads), the '80s version of Crimson issued three outstanding albums: 1981's Discipline, 1982's Beat, and 1984's Three of a Perfect Pair (during which time Belew found the time to issue a second solo release, 1983's Twang Bar King). With Crimson on hiatus once more by the mid-'80s, Belew focused on further solo work (1986's Desire Caught by the Tail, 1989's Mr. Music Head), session work (most notably, Paul Simon's mega-hit Graceland), and also served as a member/producer of a new group, the Bears (1987's The Bears and 1988's Rise and Shine). The '90s continued to see Belew keep a busy schedule, as he hooked up once more with his old pal David Bowie, who named the guitarist musical director for his massive 1990 Sound and Vision tour. Also during the decade, Belew issued several more solo releases (including 1990's Young Lions, 1992's Inner Revolution, 1994's Here, and 1996's Op Zop Too Wah, the latter two of which Belew played all the instruments), in addition to guesting on other artist's recordings (Nine Inch Nails' The Downward Spiral and The Fragile), and producing others (Jars of Clay). After a near-ten-year hiatus, King Crimson reunited, resulting in the 1995 album THRAK and supporting tour. Belew has shown little signs of slowing down in the 21st century, as he continued to tour and record with Crimson (2000's ConstruKction of Light, 2003's The Power to Believe), issued a third recording with the Bears (2001's Car Caught Fire), and is hard at work on compiling an extensive box set of rarities from throughout his career, to be titled Dust. 2004 saw rehearsals with the newest King Crimson lineup, additional recordings by the Bears and the completion of 3 (!) solo albums to be released in 2005. The first and third of these (Side One and Side Three) have Primus bassist Les Claypool and Tool drummer Danny Carey lending a hand while Side Two is more of a completely solo affair, with just a couple guest spots. © Greg Prato © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:hiftxqw5ldse~T1

20.8.10

Jessie Grace


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Jessie Grace - Asleep On The Good Foot - 2009 - Follow The Mole

Jessie Grace's EP, 'Asleep On The Good Foot' came to me as the finished article as far as the studio was concerned but it's that new that I don't have any details at all about this amazing new talent - no artwork, no biog, no nothin'! So, maybe not a bad thing, I'll just let the music tell the story! And, what a story! 'Asleep On The Good Foot' really is the musical equivalent of a 'page turner' - unputdownable, all chills and thrills, eight small chapters in a real thriller that excites and entices as it soothes and caresses. Great work, great musician, great EP! Jessie Grace writes a bit like KT Tunstall but her music sits somewhere between the nu-folk of the aforementioned and some of the more angularly jazzy Joni Mitchell works. Add to that a very commercial sounding vocal delivery; something again between Tunstall, Judie Tzuke and Dido and you've got yourselves a very viable, workmanlike chunk of work! Jessie Grace keeps this work very fluid, it's continually changing, evolving; just when you think you've got her sorted and labelled she hits you with something that refuses to be pigeonholed and you have to start re-thinking your initial assessment. Eclectic I suppose, is how best to describe this, eclectic/alt/other or something like that! Grace takes the listener on a mystical journey by way of bright and sensitive acoustic and fx laced electric guitar, dark haunting keys, strings and 'things' - it's organic, it's truly alive! It's all beautiful crafted and lovingly assembled - and as tantalising as fuck!!Vocally Grace shows massive maturity; this young lady is sensitive and sensual but at the same time she's gritty, punchy and evocative. As an EP this is pretty much an album! Eight bloody great tracks that clearly demonstrate Grace's massive potential. Several of the songs here would work brilliantly as stand-alone singles to compete on a major scale with the established female 'stars' of the contemporary scene. This lady is special and could easily find herself becoming a household name. Ok, to get to that stage there has to be some pretty hefty and effective promo work to get her name and her music out to the masses. But, there will be plenty of radio 'jocks' who would die to get these songs onto their playlists - no probs! 'Asleep On The Good Foot' by Jessie Grace meets all the required criteria, as far as I can see, to become a major release. Jessie Grace is clearly a fantastic musical poet and her songs are convincing and compelling - Grace delivers her impressive songs with total belief and 'Asleep On The Good Foot' is an awesome introduction to someone who surely has a massive future in the business. Pretty much as good as it gets, 'Asleep On The Good Foot' by Jessie Grace deserves to reap rich rewards; Grace's ability to move the listener is impressive and her overall musical skills are clearly right up there with the best of 'em. Definitely one to look out for - if Jessie Grace can get the promotional support she deserves this lady is gonna be a 'name' and a 'force' to contend with. Brilliant!! Peter J Brown aka toxic pete ( toxicpete.co.uk)

Jessie studied commercial music at the University Of Westminster and also played bass in a London band. Originally a classical pianist, some of Jessie's songs are keyboard based, but she mainly plays guitar. Some of her influences include Nirvana, Bjork and PJ Harvey. She has a unique sound and is noted for her fabulous live performances. "Asleep On The Good Foot" is a great debut album in the folk/blues style from a lady who is destined for greater things. You may have heard her great song, "Science Tree" which has been used for a TV ad. Well, there are other songs on AOTGF equally good. If you like artists in the vein of Sia or Morcheeba, you may like this one. The album is HR by A.O.O.F.C. A new album is in the pipeline, and if it's as good as this one, buy it and support this beautiful and talented lady

TRACKS

1. Beautiful
2. Science Tree
3. L.O.V.E.
4. Gingerbread House
5. Firmly Down
6. Fool
7. King Of Villains
8. Spring Time

All songs composed by Jessie Grace, except “Beautiful” by Jessie Grace & James Barnett

CREDITS

All songs performed by Jessie Grace and Dave Draper in various forms apart from guitar on “Beautiful” performed by Jimmy Flanders. LIVE: JESSIE GRACE ON GUITAR/KEYS/VOCALS, FROG ON BASS, SHANKS/TWITCHER ON DRUMS

SHORT BIO

Jessie Grace is a singer/songwriter who plays both the piano and guitar and who has become prolific in both the London and Oxford music scenes. The mother-of-one got involved in writing and playing music from a young age before going on to study the subject at school and university. She is currently a solo artist having cut her teeth in a few bands. Her musical influences include Radiohead, Raconteurs, Nirvana, Bjork and PJ Harvey and her music has been described as a cross between KT Tunstall and Joni Mitchell. Her first solo album, Asleep on the Good Foot, was produced in her front room at home in Wooburn Green and she hopes its imminent release will represent a strong beginning to a long career producing world-class music. A Nashville-based record company Per Capita Records are currently negotiating a deal to sign her but for now her album can be downloaded at iTunes. Tracks from the album have also featured on several BBC 'Introducing' shows and the opening track from her album - Beautiful - featured on Tom Robinson's BBC6 show. © http://www.maidenhead-advertiser.co.uk/leisure/article-12229-jessie-grace/