Get this crazy baby off my head!


Anders Osborne

Anders Osborne - Ash Wednesday Blues - 2001 - Shanachie

New Orleans is known for producing musicians in search of a good time, men who are long on boogie, but short on content. Osborne just might be the exception. He owes as much to artists like Jackson Browne and early Bruce Springsteen as he does to Dr. John or Professor Longhair. Have no fear, most of these songs still bring the slurry wobble most people love about the Big Easy, but there's a self-deprecation to these lyrics and enough dark imagery to make sure you take Osborne seriously. Whether he turns into Townes Van Zandt (hopefully), or Bob Seger (hopefully not), remains to be seen. This is a snapshot of an artist discovering himself. Very good in its own right, it leads one to believe the next record just might be a classic. Stay tuned. © Rob Ferrier © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/ash-wednesday-blues-mw0000116357

Get your beads, Mildred, we're off to N'awlins for Mardi Gras. Polish up your yatspeak, relearn your tolerance for Cajun food, and take your Lactose, because we're gonna café au lait ourselves into insensibility. And while you're at it, fire up the CD player for Anders Osborne's new release, Ash Wednesday Blues, a love letter to and about New Orleans. There are certain artists that are, at least to me, immutably tied up with one city or location. Jimmy Buffett hangs his parrothead in Key West, Marc Cohn will forever be Memphis for me, Styx belongs in Chicago, and now Osborne joins the list, tied forever in my mind to the Crescent City, the French Quarter, New Orleans. This is not slightly zydecized, sanitized, weakling music, but (as near as this Northern boy knows) some pretty real stuff. And you know what? It's pretty good. (Somewhat surprising, given Osborne hails from not New Orleans, but Sweden). Osborne writes his own songs, and plays a pretty mean guitar too. (Don't go looking for stinging licks, though; on almost all of this CD, it's vocals, drum, and horns that get center stage). His band is good as well - as mentioned earlier, the percussion is in many ways what holds the CD together, and Cyril Neville should be congratulated for a hell of a performance. The guest performances are a who's who of young blues artists; Jonny Lang sings background on several tracks, and Keb' Mo contributes to two tracks. Ash Wednesday Blues isn't just blues, though; at various points, Osborne flirts with N'awlins jazz, rock, rockabilly, barrelhouse, Cajun, and balladeering. Osborne rarely misses on this CD. Highlights include the raucous "Ho-Di-Ko-Di-Ya-La-Ma-Ma", which sounds like the background music for a Storyville madam's parlor; "Stuck On My Baby", with its spare, fine banjo line (played by the aforementioned Keb' Mo); the driving blues-rock sound of "Kingdom Come"; and the surprisingly poignant piano of "Ash Wednesday Blues". When there's a problem, it's usually related to Osborne's vocals. "Every Bit Of Love" is a sweet song, and I suspect there's a personal reason it's on the recording, but Osborne sounds almost strained on it, reaching for notes. And I just couldn't warm to the Jimmy-Buffett-as-lounge-singer "Me And Lola", finding it unsuited to Osborne's voice. Next time, I hope he cuts loose a little more, because when he's on, he's on. He just tried to do a bit much here. Go get yourself a case of the Ash Wednesday Blues. Throw Mildred in the minivan and head down for some beignets. It's worth the trip: Rating: A-REVIEW BY: & © Duke Egbert ORIGINALLY PUBLISHED: 04/06/2001 - © 2001 Duke Egbert and The Daily Vault. All rights reserved. http://dailyvault.com/toc.php5?review=4040

You would never guess from his music that Anders Osborne was born in Uddevalla, Sweden, and raised on Gotland Island in the Baltic Sea. Anders became interested in music at an early age by listening to his father, a professional pop and jazz drummer who played the same German club circuit as bands like the Beatles. Anders originally played drums but switched to guitar. By 17, he had already travelled through Europe and the Middle East, eventually arriving in the U.S. At different times, he lived in New York, California, and New Orleans. Never settling he toured Southeast Asia finally returning to New Orleans, where he's lived now for over ten years. “Ash Wednesday Blues” is a great album and a typical Anders Osborne recording. Anders combines roots rock, blues, folk and R&B all influenced by the lively and diverse music scene of New Orleans clubs. Some of the artists backing Anders include Neville Brother Cyril Neville, the New Orlean's keyboard wizard Davell Crawford, Keb' Mo and Johnny Lang. Anders has said that, "I don't look at music in categories at all. I like all kinds of music, but as long as I can feel the roots, feel some sort of heart and soul, feel the connection to everything, then it's real for me." This album is HR by A.O.O.F.C. Check Anders’ “Living Room” album on this blog, and buy his “Peace” album and support real music [All tracks @ 320 Kbps: File size = 151 MB]


1 Stoned, Drunk and Naked 4:52
2 Ho-Di-Ko-Di-Ya-La-Ma-La 3:58
3 Every Bit of Love 5:26
4 Stuck on My Baby 4:12
5 Snake Bit Again 5:25
6 Soul Livin' 4:46
7 Me and Lola 5:37
8 Kingdom Come 5:00
9 Kiddin' Me 4:50
10 Life Is Strange 5:57
11 Aim Way High 5:11
12 Improvise 4:33
13 Ash Wednesday Blues 4:06
14 Through and Through 3:53

All tracks composed by Anders Osborne except “Kingdom Come” composed by Anders Osborne & Louie Ludwig


Anders Osborne - Guitar, Organ, Piano
Jonny Lang - Guitar, Background Vocals
Leon Medica - Bass
Davell Crawford - Organ, Piano, Background Vocals
Keb' Mo' - Banjo, Percussion, Background Vocals
Kevin O'Day - Drums
Cyril Neville - Percussion
Tim Green - Tenor Sax
David Grillier - Clarinet
Charles Joseph - Trombone
Kirk Joseph - Sousaphone
Charlene Howard - Background Vocals


"Up and coming" may have been a good way to describe guitarist, singer, and songwriter Anders Osborne earlier in his career, but Osborne's fame has now spread beyond the borders of New Orleans, a city where he first cut his teeth and developed a reputation for incendiary live shows. Osborne was born in Sweden in 1966. His father was a professional drummer and a jazz fan whose early-'60s jazz combo played clubs throughout Europe. At a young age, he became fascinated with the singer/songwriters of the '60s and '70s, but then traced those artists' roots back to more basic blues. He traveled around the world, earning money from shows, and settled in New Orleans, where he has been based since 1990. Osborne artfully blends blues, funk, soul, and classic R&B to create his own distinctive synthesis of styles. Osborne's most widely available early album is 1995's Which Way To Here, recorded for OKeh/Sony; two other independent label releases from the late '90s and early 2000s may still be around for those willing to search: Live at Tipitina's appeared on Shanachie in 1998, followed by Living Room the next year. The introspective Ash Wednesday Blues was issued in early 2001. In 2002, Osborne cut his final two albums for Shanachie, the wonderfully raucous, enigmatic collaboration Bury the Hatchet with Big Chief Monk Boudreaux of the Mardi Gras Indian Tribe the Golden Eagles, and the blues- and Americana-drenched Break the Chain. He didn't record again until 2006, when he released the larger band session Osborne Orchestra. Osborne was playing nonstop in New Orleans and occasionally in Europe during this period. His 2007 recording, Coming Down, issued on the M.C. imprint, was the most intimate collection of songs he released to date, and walked the line between the nakedly confessional and his observations about living in N.O. after Hurricane Katrina. Live at Jazz Fest 2008, featuring Osborne's killer road band, appeared that year. In 2009 he signed with Chicago's Alligator label. His first offering for the imprint was the driving, boisterous American Patchwork, issued in 2010. Osborne toured nearly nonstop after the album and produced recordings for Johnny Sansone, Tab Benoit, and Mike Zito. He released Black Eye Galaxy in the spring of 2012; he co-produced the album with Galactic's Stanton Moore and Warren Ricker. During relentless touring to celebrate what was his most critically acclaimed album, Osborne took a break late in the year to record the uncharacteristically casual Three Free Amigos, a semi-acoustic, six-track EP which was released in Feburary of the following year. Later that fall he returned with the full-length Peace. © Richard Skelly © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/anders-osborne-mn0000026276


Walter Becker (Steely Dan Related)

Walter Becker - 1o Trax o’ Wax Demos - 1994 - g1ant 10tow

"Fifteen years later, we find out who put the edge into Steely Dan... Becker brings back everything fans cherished about Steely Dan: the desperate characters and elliptical narratives, the jazz harmonies and the ingeniously warped structures. And it turns out he has exactly the right voice for his own words: a groan that's jaded, long-suffering, cranky and shrewd...He's still smart, still a wise guy, still as cagey as any songwriter in pop." - Jon Pareles, New York Times, Top 10 of 1994

These demos by Walter Becker from the recording of his “11 Tracks of Whack” album have been released in dozens of different versions. Up to recently, they were almost impossible to find. This issue is the only one I know to include the very rare track, “Three Sisters Shakin'” composed by Walter and Donald Fagen. The issue here is called “1o Trax o’ Wax Demos”. The track “Medical Science” originally only appeared on the Japanese CD issue. There are no demos here of “Down In The Bottom”, “Surf And/Or Die”, “Lucky Henry”, “Hard Up Case”, “My Waterloo”, “This Moody Bastard”, or “Little Kawai” all of which appeared on the original official release. This is an album well worth having by one half of the great Steely Dan nucleus, Walter Becker [All tracks @ 320 Kbps: File size = 94.6 Mb]


1 Junkie Girl (demo)
2 Girlfriend (demo)
3 Cringemaker (demo)
4 Medical Science (demo)
5 Sanpaiku
6 Ghost of Hipness Past aka The Ghost Of Hypnos Past
7 Lies I Can Believe
8 Three Sisters Shakin'
9 Book of Liars (demo)
10 Hat Too Flat (demo)

All tracks composed by Walter Becker except “Cringemaker by Walter Becker & Dean Parks, and “Three Sisters Shakin'” composed by Walter Becker & Donald Fagen


Walter Becker - Bass, Solo Guitars, Ukulele, Vocals
Dean Parks - Electric & Acoustic Guitar
Adam Rogers - Electric Guitar on Hat Too Flat
Fima Ephron - Bass on Hat Too Flat
Donald Fagen, John Beasley - Keyboards
Ben Perowsky - Drums on Hat Too Flat
Paulinho Da Costa - Percussion
Backing Vocals - Katherine Russell, Brenda White-King
Bob Sheppard - Saxophone, Woodwind Solos
Bruce Paulson - Trombone
Jon Papenbrook - Trumpet


Peter Frampton

Peter Frampton - Fingerprints - 2006 - Steamhammer

Peter Frampton was once known as "The Face of 1968" by the British music media. He has been a member of the great blues rock band, Humble Pie, a platinum-selling '70s megastar, and a session guitarist for David Bowie. “Fingerprints” was his first all instrumental album and features legendary artists including saxophonist Courtney Pine, the Shadows’ guitarist Hank Marvin, and the Rolling Stones' rhythm section of Bill Wyman and Charlie Watts. Peter covers the contemporary musical spectrum including Blues, R&B, Latin, funk, Django Reinhardt-influenced jazz, and hard rock. This is a marvellous instrumental album and HR by A.O.O.F.C. Listen to Peter's "Frampton's Camel" and "I'm in You" albums, The Herd's "From the Underworld" album, and Humble Pie's great "Performance Rockin' the Fillmore" album [All tracks @ 320 Kbps: File size = 134 Mb]


1 Boot It Up - Peter Frampton / John Regan 3:28
2 Ida y Vuelta (Out and Back) - Shawn Fichter / Peter Frampton / Stanley Sheldon 3:24
3 Black Hole Sun - Chris Cornell 5:25
4 Float - Peter Frampton / Gordon Kennedy 4:03
5 My Cup of Tea - Brian Bennett / Peter Frampton / Gordon Kennedy / Hank Marvin 4:52
6 Shewango Way - Peter Frampton / Gordon Kennedy 3:19
7 Blooze - Peter Frampton 5:14
8 Cornerstones - Peter Frampton / Chris Stainton / Bill Wyman 3:13
9 Grab a Chicken (Put It Back) - Peter Frampton / Gordon Kennedy 3:52
10 Double Nickels - Peter Frampton / Gordon Kennedy 3:48
11 Smoky - Peter Frampton 4:51
12 Blowin' Smoke - Matt Cameron / Peter Frampton / Mike McCready / Gary Westlake 3:49
13 Oh When... - Peter Frampton 1:19
14 Souvenirs de Nos Pères (Memories of Our Fathers) - John Jorgenson 4:58


Lead Guitar, Acoustic Guitar, Rhythm Guitar, E-bow – Peter Frampton
Lead & Rhythm Guitar – John Jorgenson
Guitar – Mike McCready, Hank Marvin, Gordon Kennedy, Warren Haynes
Electric & Acoustic Guitar - Gordon Kennedy
Pedal Steel Guitar - Paul Franklin
Bass – Gary Westlake, Mark Griffiths, Bill Wyman
Bass [Fretless] – Stanley Sheldon
Acoustic Bass – Charlie Chadwick
Bass Guitar, Double Bass - John Regan
Grand Piano, Keyboards – Arthur Stead
Grand Piano, Organ – Chris Stainton
Organ – Mark Harris
Grand Piano – Gustavo Ramirez
Drums, Cymbal – Chad Cromwell, Matt Cameron, Shawn Fichter, Charlie Watts, Brian Bennett
Percussion – Daniel de los Reyes
Tenor Saxophone – Courtney Pine
Cello [Sample] – Blair Masters
Viola – Stephan Dudash

Please check http://www.discogs.com/Peter-Frampton-Fingerprints/release/3520713 for full artist credits


Peter Frampton was one of the biggest arena rock stars of the '70s, making his name largely on the double-LP concert set Frampton Comes Alive! Frampton was one of several '70s rock artists (Kiss, Cheap Trick, etc.) to break through to a wide audience with a live album; much like the others, he'd recorded several previous albums and built a following through extensive touring, in the process honing an exciting concert presence. That helped Frampton Comes Alive! become the best-selling live album of all time (up to that point), with eventual sales of over six million units in the U.S. and over 16 million copies worldwide. Frampton had paid nearly a decade's worth of dues before reaching superstardom, and unfortunately for him, it proved to be short-lived -- bad luck and a failure to duplicate the phenomenon of Frampton Comes Alive! conspired to halt his career momentum. Peter Frampton was born April 22, 1950, in the town of Beckenham in Kent. He started playing guitar at age eight, and took several years of classical lessons. In his early teens, he played with rock & roll combos like the Little Ravens, the Trubeats, and the Preachers, the latter of which were managed by the Rolling Stones' Bill Wyman and appeared on the TV show Ready, Steady, Go. In 1966, Frampton dropped out of school to join the mod-pop group the Herd, where he got his first taste of success. The Herd scored several British hits over 1967-1968, and Frampton's youthful good looks made him a teen idol, earning him the tag the "Face of 1968" from the music press. In 1969, Frampton left the Herd to form the harder-rocking Humble Pie with erstwhile Small Faces frontman Steve Marriott. Although Humble Pie was poised for a breakthrough after two years of touring, Frampton departed in 1971 over differences in musical direction, and decided to start a solo career. Having already performed on George Harrison's landmark All Things Must Pass, Frampton contributed guitar work to Nilsson's Son of Schmilsson, and released his debut solo album, Wind of Change, in 1972. Despite help from the likes of Ringo Starr and Billy Preston, it failed to make much of an impact. Frampton next formed an official backing band dubbed Frampton's Camel, which included keyboardist Mickey Gallagher (Cochise), bassist Rick Wills (Bell & Arc), and drummer Mike Kellie (Spooky Tooth). Their 1973 album, Frampton's Camel, also sold disappointingly, but Frampton began to build a following through near-constant touring over the next few years. He broke up Frampton's Camel prior to the release of his next album, 1974's Somethin's Happening. The title would prove prophetic: The follow-up, Frampton, became his first hit LP in America, climbing into the Top 40 in 1975 and going gold. By this point, Frampton had amassed a considerable catalog of underexposed songs, the best of which were tightly constructed and laden with hooks. He'd also developed into a top concert draw, since he was able to inject those songs with an energy that was sometimes missing from his studio outings. Plus, in concert, he often expanded the songs into vehicles for his economical, tasteful guitar playing, and his pioneering use of the talk-box guitar effect became a trademark part of his performances. All those elements came together on Frampton Comes Alive!, a double-LP set recorded at San Francisco's Winterland in 1975. The album was a surprise smash, rocketing to the top of the charts (where it stayed for ten weeks) and selling over 16 million copies worldwide to become the most popular live album yet released. It stayed on the charts for nearly two years, and spawned Frampton's first three hit singles: "Baby, I Love Your Way" and the Top Tens "Do You Feel Like We Do" and "Show Me the Way." Naturally, his supporting tour was a multimillion-dollar blockbuster as well. When the dust settled, Frampton was a star, and Rolling Stone named him its Artist of the Year. Frampton Comes Alive! is no longer the top-selling live album of all time; that honor goes to Garth Brooks' 16-times platinum Double Live set. The category of best-selling live rock album is more debatable. Bruce Springsteen's five-LP/triple-CD box set Live/1975-85 has been certified for sales of 13 million units, as opposed to six million for Frampton Comes Alive! However, since the RIAA counts "units" rather than the number of actual copies sold (i.e., one double-disc set equals two units), it's harder to determine who holds the edge in raw sales over time. Under pressure from A&M to deliver a quick follow-up, Frampton fought his better judgment and went back to the studio, instead of taking a break to rest and let his success sink in. The result was I'm in You, which rose to the number two spot on the album charts soon after its release in 1977. Its title track did the same on the singles charts, giving Frampton the biggest hit of his career. In the wake of the Frampton Comes Alive! phenomenon, it was perhaps inevitable that many fans would regard I'm in You as a disappointment; even if it sold over three million copies, its hasty writing process showed through in spots. Unfortunately, 1978 was a disastrous year for Frampton. He made a high-profile acting debut playing Billy Shears in the big-budget film version of Sgt. Pepper's Lonely Hearts Club Band, a tremendous critical and commercial flop. In June, he was involved in a near-fatal car accident in the Bahamas, sustaining a concussion, multiple broken bones, and muscle damage; to make matters worse, he and his longtime girlfriend also ended their relationship. Frampton recovered fully from his accident, only to endure a brief slide into drug abuse. His 1979 album Where I Should Be only went gold, and its biggest hit was the Top 20 "I Can't Stand It No More" -- respectable, but nonetheless a startling drop-off from the success Frampton had just recently enjoyed. Frampton seemed increasingly directionless as the '80s dawned. He cut his hair prior to the release of 1981's Breaking All the Rules, but the new image failed to send it higher than the lower reaches of the Top 50. The following year's The Art of Control was an unequivocal flop, and Frampton retreated from the music business for several years. He returned on Virgin in 1986 with Premonition, and though it wasn't a smash hit, he did get substantial rock radio airplay for the cut "Lying." The following year, Frampton played on onetime schoolmate David Bowie's Never Let Me Down album and accompanying tour. He recorded another new album, When All the Pieces Fit, for Atlantic in 1989, and had been planning a reunion with Steve Marriott not long before Marriott's tragic death in a 1991 house fire. Frampton subsequently started touring again, and cut an eponymous album for Relativity in 1994 that was later reissued by Sony Legacy. The following year, he issued the newly recorded live album Frampton Comes Alive II on IRS. During the late '90s, he recorded and toured with Bill Wyman & the Rhythm Kings and Ringo Starr's All-Starr Band. Frampton's first DVD, Live in Detroit, a newly recorded concert that was also issued on CD by CMC International, was released in 2000. Now, his first studio album in nine years, arrived in 2004. It was followed in 2006 by the all-instrumental Fingerprints. © Steve Huey © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/peter-frampton-p4302/biography


Project Steiger

Project Steiger - Defiance - 2003 - Project Steiger

Labeled as "Instra-Metal Guitar", this CD from virtuoso guitarist Ken Steiger totally lives up to the bill. Supported by a great cast of musicians, including Planet X'ers Derek Sherinian and Virgil Donati, plus bassist Tony Franklin, as well as a little help from guitarist Gary Hoey and keyboard player Michael T. Ross, this album shreds from start to finish, but also contains some memorable melodies amidst the complex metal thunder. The first thing I noticed is that Steiger is by no means a member of the neo-classical, Yngwie-clone camp, which is a good thing. That style seems to encompass 90% of the instrumental guitar albums these days, but Steiger falls more into the James Murphy, Chris Poland school, mixing tons of heavy rhythms with speedy & melodic lead lines dripping with serious tone. "Run 4 Cover" is a great example of his style, as it starts off as a melodic and passionate ballad before blasting into a rocking metal anthem, complete with bombastic rhythms, whammy bar trills, and furious right hand tapping. Sherinian lets Steiger do most of the soloing on the album, as he settles in more with the rhythms and harmony lines with his keyboards. Donati however is like a man possessed-listen to his furious onslaught during the manic "Vertical Integration (V.I.)", a rampaging metal machine fueled by Steiger's heavy licks and Donati's pounding drum work. There's also some real catchy stuff here too, such as the alluring "Child of the Storm", where Steiger out-does Joe Satriani, or the mosh pit stomp rendition of Santana's "Persuasion", where Steiger duels with Gary Hoey. While Steiger has a completely different touring band, it's great hearing him with these world class musicians on Defiance. To add even more credibility, the CD was co-produced by Sherinian, and engineered by former Ozzy bandmate Phil Soussan and ex-Guns N Roses guitarist Gilby Clarke. There's a new player in town folks, and his name is Ken Steiger! Reviewed by & © Pete Pardo, Added: March 31st 2004, Score: **** © 2004 Sea Of Tranquility http://www.seaoftranquility.org/reviews.php?op=showcontent&id=1284

"By the second listen I was thinking that this (DEFIANCE) could be the best rock/shred CD I've experienced. By the third listen I was convinced this is the quintessential rock/shred CD, bar none." - TheGuitarists.com

"The songs are a wet dream for fans of the instrumental cd's Mike Varney released in the eighties, on his own Shrapnel label. Ken Steiger is a shredder similar to Jason Becker, Greg Howe, Richie Kotzen, etc." - Lords Of Metal

"If you love instrumental CDs that actually possess dignity, then you WANT this disc." - Keeper Magazine - Issue #11

"What Steiger has is a very progressive approach to shred composition, sort of a Satriani style of music that stays fast, while adding deeper levels of changes and progressions." - Proggnosis

"...fuel-injected fretwork." - Music Connection Magazine

"...the music is encompassing and nearly overwhelming." - Music Connection

We had a great surprise when we received this great album from USA. A great guitar-oriented album by the guitarist Ken Steiger. Graduated with honor in 1992, Ken already has taken many years fighting in what refers to the soloist guitar way as people like Tony Macalpine, Vinnie Moore, Richie Kotzen etc.. Defiance is mainly an instrumental album dedicated mainly to the guitar world. We can find stellar collaborations in this album as Virgil Donati (drums) nowadays considered as one the best drummers in the world, Tony Franklin (bass guitar) who all will know for his extensive career as a musician & of course Mr Derek Sherinian (keyboards) known by everybody (Dream Theater, Kiss, Alice Cooper..) We can´t say much more about the collaborations in this album becauseKen Steiger takes all the protagonism eclipsing the other ones with his guitar riffs & licks. We put the album in the CD player and begin the listening session of this great album: "Prince of souls" is the name of the first track and listening it, the musical atmosphere embraces us from the beginning during the whole CD. A lot of time have passed since we receive the last solo album by a guitarist like him. Pure 80s style. A very personal way of playing guitar that was already forgotten. "Rock it" and "Run for Cover" reminds us to great albums like “Perpetual Burn” of the amazing Jason Becker and others like him. Some aggressive riffs and a powerful heavy rhythmic base. A lot of melody and of course a big dose of speed metal. Without rest we find "Vertical Integration" and "Child of the storm". Two good references that maybe remember us a bit to Satriani´s songs in early career. In my opinion Ken Steiger is better than Satriani… faster and heavier. "Neutron Flux" is a calmer song. In that one he show us his melodic and more sensitive side but without leaving the dark atmospheres that prevail during the whole album. Maybe sometimes this song could remember to Planet X (it is obvious because there are two members of the band in this album). "Edge of forever" take us in route to other two songs of pure instrumental metal called "KT Boundary event" and "Persuasion" that continues in the same wave than the previous ones. "Anti-gone" it is practically the most progressive song of the album. In this one Virgil Donati sow us a good sample of his handling drums. A song a la Pantera with hard riffs and heavy all around. To conclude the album we listen to "Here come the heroes" undoubtedly the most melodic and with some touches a la Steve Vai. In short: we can say that this is a great guitar solo album. Pure heavy American style of the latest 80s. I will highlight his virtuosity, his catching melodies and his purified technique. A real great musician of the old school of pure heavy metal. On the other hand we don't appreciate many progressive elements in his music and the sound maybe could be better. Apart from this we can say that “Defiance” is an amazing album. If you are guitarist you have to buy this album. A great CD that reminds us to styles that were almost forgotten. Congratulations! © Germán Villén - May 2004 © 2000-2011 progVisions - All rights reserved. http://www.progvisions.com/reviews_uk/ps_def_uk.htm

Ken Steiger described “Defiance” as “Instra-metal” and “Combing all elements of Metal and Rock and applying them into an instrumental format that can be appreciated by all cultures”. He also said, “A real exciting album. I got to work with the world’s finest musicians. When Derek Sherinian (Ex-Dream Theater, Malmsteen) approached me to help me co-produce the album “DEFIANCE”. I was excited. Then he helped me hire Virgil Donati (Steve Vai, Planet X) and Tony Franklin (The Firm, Blue Murder) to do their parts it was all coming together. We ended up engineering the Drums at Gilby Clarke’s house, and recording a lot of Tony’s bass lines there. Tom Fletcher and Albert Law helped me engineer the rest of the album over at Derek Sherinian’s home in the Hollywood hills. Pretty cool. Sharon Farias and Phil Soussan helped in the production and mixing as well”. Some critics have labelled this album as “guitar wankery”. Well if you want some “piano wankery”, listen to Chopin. This is a great instrumental guitar orientated progressive hard rock/metal album [All tracks @ 320 Kbps: File size = 111 Mb]


1. Prince of Souls 4:35
2. Rock-It 4:19
3. Run 4 Cover 4:58
4. Vertical Integration (V.I.) 3:54
5. Child of the Storm 5:03
6. Neutron Flux 6:25
7. Edge of Forever 00.46
8. KT Boundary Event 2:51
9. Persuasion 6:13
10. Anti-Gone 4:38
11. Here Come the Heroes 4:03

All tracks composed by Ken Steiger except “Persuasion” by Gregg Rolie & Carlos Santana


Ken Steiger - Guitar
Gary Hoey - Lead guitar exchange with Ken Steiger on "Persuasion"
Tony Franklin - Fretless Bass
Yolen Farias - Bass on “Persuasion” and “Vertical Integration”
Derek Sherinian - Keyboards
Michael T. Ross - Keyboards on “Edge of Forever
Virgil Donati - Drums
Gene McEwen - Drums on “Persuasion” and “Vertical Integration”


Ken picked up the guitar in 1980's, and was immediately influenced by the heavy music adorning the airwaves at the time. Bands like Sabbath and OZZY, Priest and Iron Maiden AC/DC and KISS, had a profound influence and his future playing style. Born in California, but raised in Washington state Ken immersed himself in guitar and music. After many years of study and wood shedding, Ken found himself immersed in the Neo-Classical guitar stylings of Yngwie Malmsteen, Tony MacAlpine and Randy Rhoads. This eventually lead him into the virtuoso playing of Joe Satriani, Steve Vai and Eddie Van Halen. After years of self-teaching through books and magazines, Ken enrolled in a community college where he rounded out his studies on Theory, Rhythm and Ear training and reading. Ken had his sights set on the famous G.I.T. (Musicians Institute) in Hollywood California. After saving his pennies for a few years arrived in Hollywood, CA in 1991, enrolled in G.I.T. and graduated with honors in 1992. In 1997 Ken was hired to teach at M.I. (Musicians Institute) where he now teaches the METAL - Live Playing Workshop (LPW) and recently wrote the cirriculum for the new METAL GUITAR ELECTIVE, where students get college credits learning how to play bands like SLAYER, PANTERA, OZZY, METALLICA, MEGADETH, etc. In 2000 Ken was hired by EMI Publishing to be the "Guitar Coach" for stars Mark Wahlberg, Tim Olyphant and Dominic West in the Warner Bros. movie "ROCK STAR", released in September 2001. Throughout all this time Ken was creating in his home studio many un-released demos that he coined Instra-METAL (Instrumental/Metal) music. Heavy, fast, hard-hitting over-the-top shred guitar music for those who really wanted to ROCK!! Which led him to the introduction to Derek Sherinian, a famous Keyboardist who has worked with some amazing bands, including Dream Theater, KISS, Alice Cooper, Yngwie Malmsteen, Billy Idol, etc. Derek had approached Ken about producing an album for him, offering top-notch players to perform on the album with him. This led to Ken's latest release "PROJECT STEIGER - DEFIANCE", which as you can see, has some amazing players on it. This album was released in the Summer of 2003. In the mean time Ken Steiger has also been a contributing writer for "GUITAR PLAYER" magazine. Doing columns on the styles of Randy Rhoads and Yngwie Malmsteen. Ken is currently playing shows in the Southern California area with his band "PROJECT STEIGER" providing an intense show of guitar virtuosity to the public. Recently opening for National acts such as: George Lynch (Dokken, Lynch Mob), Pat Travers, Dick Dale, Rob Balducci (Favored Nations Artist). He also teaches for the National Guitar Workshop in Los Angeles. (Rock Summit 2004 / 2005 /2006) during the summers. Be sure to check out all the latest information on STEIGER at WWW.PROJECTSTEIGER.COM WWW.MYSPACE.COM/PROJECTSTEIGER or email to: STEIGER@ROCKGUITAR.NET Proud D'Addario Rock Artist Since 1991. © 2008 D'Addario & Co. All Rights Reserved http://www.daddario.com/DaddarioArtistDetails.Page?ActiveID=3777&ArtistId=40052&sid=0e534f24-dbe3-423a-a80a-5494be5c25d0


Various Artists

Various Artists - Magna Carta Guitar Greats I - 2007 - Magna Carta

It must have been difficult for Magna Carta’s Pete Morticelli to assemble this compilation of fine guitar driven performances. Probe him about his choices and he’ll divulge a tale about each of the creative aggregations featured on this album—aggregations that he fostered and nurtured. No question, to stand objectively, sometimes years after the fact, and single out ten tracks representative of the guitarist’s a “Fate Speaks” rumbles relentlessly forward. Culled from the first Explorers Club outing (Age Of Impact) on Magna Carta, it is distinguished by four-to-the-bar snare drum from Terry Bozzio and Yes-styled vocals from Bret Douglas and Trent Gardner. We’re listening to three guitarists here, la crème de la crème. For the solo, Dream Theater’s John Petrucci, at first almost audible in the shadows and then bursts forth, delivering his patent dancing, tugging lines with a dramatic resolution that sets up the vocal refrain. Don’t ignore the solid pad and sometimes-intricate contributions of James Murphy and Wayne Gardner as well as Derek Sherinian on keys! The ending is, again, a Yes-like (or maybe Crimson?) staggered eighth note figure that delivers the knock out punch. Shades of Jethro Tull! This personnel configuration finessed together again by Magna Carta founder Peter Morticelli on the blues standard “Cat’s Squirrel” (from To Cry You A Song) is a real cracker! All that’s missing is Ian Anderson standing on one plaid leg. But Tull’s Clive Bunker and Mick Abrahams were members of the rhythm section that made Jethro Tull one of the biggest bands in the world circa 1971. There’s no mistaking Mick’s wet guitar textures or Bunker’s powerful and lumpy drumming. But here’s the real kicker. Then nineteen year-old Derek Trucks (notable now for his membership in the Allman Brothers Band, Eric Clapton’s band and his own Derek Trucks Band) meets the vibe head on with his slide work, best evidenced around 4:15, and then in the dual guitar with Abrahams. Nineteen years old! Derek wasn’t even born until well after Tull had peaked in popularity, yet he owns this track. Michael Romeo (Symphony X) is up for a run at “Analog Kid” from Working Man. Only occasionally does vocalist Jack Russell reach up to stratospheric ranges of Geddy’s voice, but Romeo is more than willing to deal in the upper register, generating some palpable excitement. Portnoy is obviously comfortable interpreting the drumming of one of his main influences. Here’s a treasure, an unreleased track from the Black Light Syndrome sessions: “Roadside America Medley”. Steve Stevens sets up a dreamy, slide-y vamp, broken only by an ostinato from Levin and light percussion from Bozzio. After a few minutes the trio steps up the energy, with Stevens alternating between sharing Levin’s ostinato and going into solo flight; meanwhile Bozzio mixes it up, displacing the backbeat and stating strict time. By the six-minute mark, Stevens has forgone the languid guitar texture of the intro and is full over-drive. From Jordan Rudess we have “Screaming Head”, which may refer somehow to Joe Satriani’s amp and which is certainly howling off the top. As he is want to do, Satriani kicks up excitement with any means at his disposal: flurries of notes, bends, octave jumps, and so forth. Rudess’ baroque interlude at 3:20 is somewhat at odds with the preceding feel, and certainly respite from Satriani, who comes on like a freight train immediately following the keyboard spot. His “octavider” device is particularly effective and he negotiates the upcoming modulation with a guitar phrase that’ll give you goose bumps. Time for a slow, six-feel and Niacin’s “Things Ain’t Like They Used to Be”. Glenn Hughes is in his element; his range is wide and he is soulful. And Lukather is, well, Lukather. Whether comping, chording, or soloing, he is plain exciting—really at the top of his form. This is a track not to miss. It stitches a line between blues and rock, employing the full drama of each form. At times you wonder if it’s, maybe, Robert Cray lamenting about the man next door but you don’t dwell on the similarities because Lukather launches into one of the hottest solos on this album at around 4:20. At first glance you wouldn’t believe it, but that’s Dennis Chambers on drums and he’s digging in, sitting proud against the Hammond pad. Hard to follow that one. So we take a left turn and re-visit “Working Man” (from Tribute to Rush of the same name). Sebastian Bach’s guttural vocals work a charm, while Mike Portnoy adds a playful drum track, filling holes with regularity. Then about two minutes from the intro comes Jake E. Lee’s guitar solo. For the most part, it’s in the upper register, which seems right for the song, as do his crazed bends, before he lapses into the ensemble figure on which the band fades. Rarely has a track been as well named as “Cool Wind, Green Hills”, judging from the lush, open guitar intro. This is pleasant, tranquil stuff, well recorded, with the picking well articulated. Van Romaine constructs a drum part that is as Wertico is to Metheny—a marching travelogue. Steve Morse’s guitar part is a thing of beauty. Gradually, electric textures appear but never supercede the basic, acoustic vibe. Relentless, over-driven fuzz guitar can add weight and glue to a tricky arrangement, especially one that fluctuates in terms of feel, time signature, and dynamics. Case in point: “Time Crunch”, from Jordan Rudess’ album Rhythm of Time. It’s precisely as the title suggests, a crunching of the numbers. The track could have been a mere series of exercises in manipulation of the basic quarter/eighth note tallies—were it not for Jordan’s overriding sense of melody. And you must check out the riveting solo by Vinnie Moore at 4:43: the Thinking Man’s flailing guitar! It’s unpredictable as all get out and pushes the composition along to its dramatic conclusion. Another anthem from Working Man, in fact, “Anthem”. While we’re on the topic of time signatures, let’s vamp in 7/4, shall we, in this tribute to Rush. While Mark Slaughter gives Geddy a serious run for his money in the vocal department—a serious run—George Lynch is holding down the fort, until, he magically emerges from behind Slaughter’s trailing high register vocal line for a compelling solo. Deen Castronovo does a fine job of interpreting Rush without mimicking everybody’s drum idol, Mr. Peart. The wait was worth it, speaking of the last tune on this excellent compilation. We have before us “Western Sabbath Stomp” (from Alex Skolnick trio’s Last Day In Paradise) and the haunting slide strains of Alex Skolnick’s guitar, first quoting a solo phrase from some lost backwoods broadcast and then with the full band center stage. This minor key lament is less the stuff of virtuosity than of superb taste and heaviness. These three musicians clearly listen: they nudge, probe, and shadow each other right to the last note, which, incidentally, comes all too soon. Peter Morticelli has again assembled a collection that does two things: It provides a diverse selection of tracks of interest to guitarists, memorable for their overriding musicality. And it is a sign that perhaps Pete will free up more tracks from the Magna Carta vault and share them. That would be nice. © http://www.magnacarta.net/guitar_greats/guitargreats.html

[All tracks @ 320 Kbps: File size = 150 Mb]


1. John Petrucci - Fate Speaks [6:35]
2. Derek Trucks - Cat's Squirrel [5:53]
3. Michael Romeo - Analog Kid [5:19]
4. Steve Stevens - Roadside America Medley [8:18]
5. Joe Satriani - Screaming Head [7:20]
6. Steve Lukather - Things Ain't What They Used To Be [7:23]
7. Jake E Lee - Working Man [3:55]
8. Steve Morse - Cool Wind, Green Hills [3:55]
9. Vinnie Moore - Time Crunch [6:26]
10. George Lynch - Anthem [4:16]
11. Alex Skolnick - Western Sabbath Stomp [5:25]


1. John Petrucci - “Fate Speaks” from Explorers Club - “Age Of Impact” MA-9021
2. Derek Trucks - “Cat’s Squirrel” from the Jethro Tull tribute - “To Cry You A Song” MA-9009
3. Michael Romeo - “Analog Kid” from the Rush tribute - “Working Man” MA-9010
4. Steve Stevens - “Roadside America Medley”previously unreleased from Bozzio Levin Stevens - “Black Light Syndrome” sessions
5. Joe Satriani - “Screaming Head” from Jordan Rudess’ “Rhythm Of Time” MA-9068
6. Steve Lukather - “Things Ain’t What They Used To Be”from Niacin - “Deep” MA-9048
7. Jake E Lee - “Working Man”from the Rush tribute - “Working Man” MA-9010
8. Steve Morse - “Cool Wind, Green Hills” from Steve Morse - “Major Impacts 2” MA-9070
9. Vinnie Moore - “Time Crunch” from Jordan Rudess’ “Rhythm Of Time” MA-9068
10. George Lynch - “Anthem” from the Rush tribute - “Working Man” MA-9010
11. Alex Skolnick - “Western Sabbath Stomp” from Alex Skolnick Trio - “Last Day In Paradise“ MT-2312


Jake E. Lee, Steve Lukather, George Lynch, Vinnie Moore, Steve Morse, John Petrucci, Michael Romeo, Joe Satriani, Alex Skolnick, Steve Stevens - Guitar, Soloist
Mick Abrahams, Wayne Gardner - Guitar
Derek Trucks - Guitar, Slide Guitar, Soloist
James Murphy - Guitar, Rhythm Guitar
Brendt Allman - Rhythm Guitar
Stuart Hamm, Dave LaRue, Tony Levin, Billy Sheehan, Mike Summerland - Bass
Nathan Peck - Double Bass
Robert Berry, Matt Guillory, Mike Panella, Jordan Rudess - Keyboards
Trent Gardner - Keyboards, Vocals
Derek Sherinian - Keyboards, Soloist
John Novello - Hammond Organ
Terry Bozzio, Clive Bunker, Deen Castronovo, Dennis Chambers, Rod Morgenstein, Mike Portnoy, Matt Zebroski - Drums
Charlie Musselwhite - Harmonica
Sebastian Bach, Brett Douglas, Mark Slaughter - Vocals


Tony MacAlpine, Bunny Brunel, Dennis Chambers

Tony MacAlpine, Bunny Brunel, Dennis Chambers - CAB - 2000 - Tone Center

Guitarist/keyboardist Tony MacAlpine, known for chest-swelling rock-classical hybrids, has occasionally tinkered with jazz-rock elements on earlier releases. Here, he fully invests himself in a fusion trio that includes bassist Bunny Brunel (who owns credits with Chick Corea and Herbie Hancock) and David Chambers (Parliament-Funkadelic). Along with being the album's featured instrumentalist, Brunel wrote seven of the disc's 10 tracks, with MacAlpine penning the final three. The results are attractive, if not always arresting. MacAlpine takes flight as a soloist only sporadically, most memorably when responding to his own meaty rock chops in the title track and during an elaborate run on the concluding selection, "Bernard." MacAlpine's output on keyboards surfaces almost as often as his riffing, lending a Return to Forever vibe to a package that shines more brightly when MacAlpine and Brunel give themselves room to cook (as on the Satriani-like "Boogie Me") rather than simmer. © Terry Wood Amazon.com http://www.amazon.com/Cab-Tony-MacAlpine/dp/B00004NRWT

This hard-driving fusion power trio packs a mighty punch on CAB, its inaugural release. On this outing, guitarist Tony MacAlpine renders his customary rippling sheets of sound along with electric bassist Bunny Brunel's sinewy lines and drummer Dennis Chambers' heavy-handed polyrhythms. There are no hidden agendas here as the soloists surge into the stratosphere with ominous intentions via blazingly fast unison choruses and Chambers' propulsive backbeats and hybrid funk-rock rhythms. The trio also engages in a few call-and-response type episodes in concert with intermittent doses of fiercely stated jazz-based passages. However, MacAlpine steers the charge with blistering lead soloing to complement his effective utilization of electronic keyboards. Essentially, the band abides by a democratic approach, where everyone gets ample breathing room amid a series of nicely arranged compositions and turbocharged improvisational sequences. Overall, this impressive 2000 effort provides the world of fusion with a much-needed shot of adrenaline. © Glenn Astarita © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/cab-mw0000054246

CAB makes its debut with drummer extraordinaire Dennis Chambers, renowned axeman and keyboardist Tony MacAlpine, and bouncing bassman Bunny Brunel teaming up to serve up a collection of aggressive jazz fusion tracks to expand MacAlpine's scope further into this genre that the others already have a firm foothold. The tracks on CAB can be characterized as funk/groove-oriented, theme-centric arrangements having an aggressive drive to them but that are balanced with complex yet digestible rhythms, tonal backdrops, exploratory yet accessible themes, and lead work that trades off between bass, guitar, keys, and drums bringing to view the talents of all three contributors. The format seems to be a forum mainly to display the improvisational capabilities in the realm of fusion for the three comparably matched solo acts that collaborate on this effort. CAB is reminiscent of the rock group Cream in concept, but with a jazz fusion spin-off. CAB is definitely leaning toward the rock edge of fusion in its feel, guitar work, and arrangements, though it does seem that Brunel and Chambers are tugging the rope vehemently in the other direction. And, it is kind of a paradox that MacAlpine's keyboard work on this effort is more jazz-oriented than rock, and yet his lead guitar work has a decisive rock edge to it. CAB takes it straight to you with "Night Splash", a track that is pretty representative of what you are in for with this CD. "Night Splash" lays out the format of improvisation built around shared thematic development as a center with the improvisation collaborated by all four instruments involved, usually with one instrument in the spotlight, and definitely with all instruments being managed by players of near-equally matched skills in the supergroup tradition. What is nice about this format is that the thematic center gives some cohesion to the track that the improvisation can then venture out from and return to when it is time to trade off. This format works well for me as a listener. There are a number of tracks on CAB that make it worthwhile, each having a different feel that is pulled from some different influence or creative facility. In fact, the effort is pretty solid from beginning to end. So, if you like jazz fusion with a rock edge, it is a good one to pick up. Some of the other tracks that grabbed my attention were "So There Is Love", "Boogie Me", and my favorite on the album, "Elastic Man". I think the CAB formula works best on the track "Elastic Man" that sets a nice backdrop with the smooth jazzish progressions, grooving rhythms and spunky basslines, that are contrasted by the opening, teasing theme. This backdrop and intro are then decimated first with MacAlpine's soulful keyboard solo and then his full-frontal assault of ripping guitar work featuring some really cool muted, speedy runs that gives the track its character and title. MacAlpine then with a single grinding stretch lets you know that it is time to pull out the stops and lets the shrapnel fly with some shredding that works nicely over the jazz foundations. If that weren't enough, Brunel lays down some incredible bass work throughout and especially in his solo that is able to keep things going even after MacAlpine's inspired solo that doesn't leave much room for conversation afterwards. I think that "Elastic Man" is the type of arrangement that would have a broad appeal that spans well beyond the jazz fusion listening audience... it is coooool!!! {8{) I enjoyed CAB for its listener accessibility, aggressive brand of rock-edged fusion, and impressive soloing, especially on bass and guitar, though the keboards and drumming are really entertaining too! The tonality is both interesting and satisfying. But, from an listener's viewpoint it is good how CAB balances complexity and jazz-isms with listener accessibility; a touch juggling act for any arranger, but one that CAB has pulled off pretty well. © 2001 - 2003 Christopher Ruel. All Rights Reserved http://www.chrisruel.com/ChrisRuel.com/MusicReviews/TonyMacAlpineReviews.htm

Tone Center has become the haven for fusion fans. This is one of their best releases; of which there are many. CAB features the guitar madness of Tony Macalpine. Tony was one of the leaders of the neo-classical fusion movement of the mid eighties. On this disc he plays over chord changes and doesn't purely shred. He also does all of the keyboard work except for one song. Once again, Tony shows that he is as proficient on keyboards as he is on the guitar. Not many multi-instrumentalists can be virtuostic on both of their instruments. If you are familiar with and like Tony's neo-classical and Rock fusion albums you won't be dissapointed here. Bunny Brunel is a great fusion bassist who specializes in fretless work. If you like Jaco,Victor Bailey, or Percy Jones you will love this guy. Dennis Chambers is, in my opinion, the greatest drummer on the planet. His playing on this is typically amazing. Most of the songs were written by Brunel but Tony does contribute a couple of compostions. As far as the playing all of the voices of the musicians are heard. This is a complete collaboration and a fan of any of the three will get to hear his favorite do his thing. The songs don't take the genre to any new levels. However, there is some diversity and the musicians are excellent throughout. Highlight tunes include. "Night Splash" which has a theme that is repeated while each member of the band trades solos with the others. Tony does double duty on this one. "One for Stern" is , I believe, dedicated to guitar great Mike Stern. The tune has a bebopish groove and all three contribute solos. Dennis Chambers is unreal on this one which is fitting seeing that he and Stern have been collaborating for years. "Boogie Me" is an uptempo boogie in the vein of other instrumental boogies such as "The Satch Boogie" and "West Side Boogie". Once again all three members are awesome on this rock injected tune. Overall CAB is a disc that fusion fans should love. If you like any of these three musicians you'll be happy with the results and might become a fan of the others. I recommend this to fusion fans. -from ****/5 Catch a CAB, April 10, 2002 By & © Jeff Arenson (Colorado Springs, CO United States) © 1996-2012, Amazon.com, Inc. or its affiliates http://www.amazon.com/Cab-Tony-MacAlpine/product-reviews/B00004NRWT/ref=cm_cr_dp_synop?ie=UTF8&showViewpoints=0&sortBy=bySubmissionDateDescending#R13H59MJAMDOAI

Guitarist Tony MacAlpine, bassist Bunny Brunel and drummer Dennis Chambers deliver some terrific aggressive heavy fusion with a funky edge. Tony Macalpine provides some powerful guitar solos, and dizzying keyboard work. The great Dennis Chambers lays down incredible rhythms. Bunny Brunel plays some of the best bass solos you will ever hear. The legendary Brian Auger plays an organ solo and bridge melody on "One For Stern". Check out CAB's "Live At The Baked Potato" album. Dennis Chambers plays on Steely Dan's "Alive In America" album. Try and listen to the great Greg Howe, Tetsuo Sakurai, & Dennis Chambers' "Vital World" album, Tony MacAlpine's "Maximum Security" album, and Bunny Brunel's "Brunel's L.A. Zoo" album [All tracks @ 320 Kbps: File size = 117 Mb]


1. Night Splash - Bunny Brunel
2. CAB - Bunny Brunel
3. So There Is Love - Tony MacAlpine
4. Just Perfect - Bunny Brunel
5. One For Stern - Bunny Brunel
6. The Watcher - Tony MacAlpine
7. Atamanashi - Bunny Brunel, Kazumi Watanabe
8. Boogie Me - Bunny Brunel
9. Elastic Man - Tony MacAlpine
10. Bernard - Bunny Brunel


Tony MacAlpine - Guitar, Keyboards
Bunny Brunel - 4 String Fretless Bass, 4 String Fretted Bass, 5 String Fretless Bass, 5 String Piccolo Synth Bass, Keyboards
Brian Auger - Organ Solo and Bridge Melody on "One For Stern"
Dennis Chambers - Drums

Ian Dury & The Music Students (Ian Dury Related)

Ian Dury & The Music Students - 4000 Weeks Holiday (remastered Bonus) - 2013 - Salvo

Originally, “4,000 Weeks' Holiday” was a 1984 album released by Ian Dury & The Music Students on Polydor Records. Its title is a reference to the length of an average human lifespan (4000 weeks). In 1984 Ian Dury was an official face for the Campaign for Nuclear Disarmament in Britain and went so far as to shave a peace symbol into his hair, this can be seen on the cover to the album (and the "Ban the Bomb" Single). The album's song credits and lyrics are hand written. Accompanying each song's information are strange catchphrases such as "when flies fly, flies fly behind flies", "a gaudy morning bodes a wet afternoon" and most bizarre of all "my, how we apples swim quoth the dogshit" 4,000 Weeks Holiday was not reissued on CD in the UK until 2013, but was released in that format in Japan in 2007. If accounts by Dury himself and Music Student member Merlin Rhys-Jones (who would continue to work with Dury and co-write songs with him until his death) from Sex and Drugs and Rock and Roll: The Life of Ian Dury are correct, it would appear that it was Polydor records who suggested and insisted on Dury working with young musicians. Contradictorily, Ian Dury & The Blockheads: Song By Song purports that Polydor had wanted The Blockheads to play on the album, with the group rejecting the idea after learning they wouldn't be paid due to Dury spending most of his advance on his previous solo effort Lord Upminster. Song By Song's account is corroborated by Norman-Watt Roy (bassist for the Blockheads). Both versions are questionable. (source?) Chaz Jankel, Dury's primary songwriting partner, was busy with his solo career in America and with no Blockheads present, Dury turned to his old songwriting partner from his pub rock days Russell Hardy (and another Rod Melvin it would seem), and worked with a young American songwriter/multi-instrumentalist Michael McEvoy, who had been introduced to him by Blockheads and Kilburn and the High Roads member Davey Payne after McEvoy had played on the saxophonist's solo album for Stiff Records. Adam Kidron, who had produced Payne's album, had hired McEvoy as on a number of projects (including Orange Juice's debut album and Scritti Politti's Songs to Remember) which he produced before 4000 Weeks Holiday. Rehearsals for the album began in 1982 in Hammersmith, London, not very far from Dury's current flat in luxurious Thames-side apartments, and was recorded the following year in Basing Street Studios, Notting Hill and later The Townhouse. Though Jankel did not write any of the songs, he did play lead guitar as a guest. Ed Speight and Geoff Castle, who had played on Dury's seminal New Boots and Panties!! LP in 1977, guested on guitar and Moog synthesizer. The sessions also featured an extra special guest, celebrated reggae/ska trombone player Rico Rodriguez MBE (known to UK youth from The Specials), but most of the recordings were performed by the 'Music Students', i.e. McEvoy, Rhys-Jones, drummer Tag Lamche and saxophonist Jamie Talbot. Critically the album is often considered the weakest of Dury's output, Ian Dury apparently never even played it once. Dury was forced by Polydor to remove one of the album's stronger (and controversial) songs "Fuck off Noddy" (and another about Billy Butlin) because of high profile paedophile and child pornography cases at the time (there was also rumours of a proposed lawsuit by the estate of Enid Blyton). The song puts down children's television and contained such lines as: “Winnie The Pooh is having a wank. And what are you up too? Said Thomas the Tank” and “Fuck off Noddy you stupid prat. Fuck off Noddy in your rotten hat.” Dury was determined not to cut the song (an illegal MP3 can be found on some download services) and arguments about it delayed the record's release for over half a year. The single "Really Glad You Came / (You're My) Inspiration" was released during that time, the songs were two different lyrics put to an almost identical tune (by McEvoy) and the single was a total failure (though these are the two tracks most often used on Greatest Hits compilations) and its follow up single "Ban The Bomb / Very Personal" was actually mocked by critics, the first time this had happened to Ian Dury in his career thus far. Despite heavy promotion and touring by Ian Dury & The Music Students, including a week's residency in Tel Aviv, Israel and an appearance on influential music show The Tube the album's sales were poor, though the album reached number 54 in the UK Album Charts. The album also contains a noteworthy track: "Peter the Painter" was written (with McEvoy) on request from British Pop artist Peter Blake, Blake had been Dury's teacher at London's Royal College of Art and the two remained good friends until Dury's death in 2000. Blake was having his own exhibition at The Tate Gallery, London and asked Dury to compose a theme tune for it. "Peter the Painter" was that theme tune. – Wiki.
Ian Dury’s last LP for Polydor was, as usual, full of memorable lyrics, keenly added to a tableau of multi-faceted musical muscle – this time provided by a fine young band of musicians he dubbed the Music Students. With 4000 Weeks’…, Dury demonstrated, once again, his supremacy as champion of the written word. And you can’t help but marvel at the dexterity of his delivery. Remastered from the original tapes, this version features six bonus tracks, five of them previously unreleased, as well as 20-page booklet complete with lyrics and new sleeve notes. © http://www.salvo-music.co.uk/shop/cdtop.asp?Marid=379&arid=2357

“If Lord Upminster was Dury’s ‘holiday album’ as he himself described it, then 4000 Weeks Holiday has its feet firmly set back on UK soil. The music is still far removed from his debut album but this time the groove is noticeably slower and less upbeat. The album’s clear standout is ‘The Man With no Face’, described in the album’s liner notes as “the best ever example of Brit Noir in song”. Dury flatly tells a story of drug running and femme fatales, his monotone declarations sitting over a louche jazz vibe and giving the track a menacingly matter-of-fact air. The album is perhaps the weaker of the two, but not devoid of good songs; ‘I’m Really Glad You Came’ recaptures some of the better, funk led moments of the previous album, and ‘Percy the Poet’ is a flash of this wordsmith’s peculiar genius. Mention also has to go to ‘Ban the Bomb’, where the acapella nursery rhyme opening creates a darkly humorous juxtaposition with the lyrical content. These two records have never been overly praised by critics, and are perhaps not the best starting point for someone discovering Dury’s music for the first time. However they are in no way to be dismissed completely – they create a detailed insight into the artist’s sometimes troubled but often genius musical vision. With bonus tracks and an in-depth booklet to go with each album, they are a must for any Ian Dury fan”. By & © Jono Coote June 10, 2013 © http://musosguide.com/ian-dury-lord-upminster4000-weeks-holiday/28328

The late Ian Dury will forever be associated with the classic “New Boots and Panties” album, and Ian Dury himself, regarded “4000 Weeks Holiday” as being disappointing. See what you think. Ian Dury, and Russell Hardy wrote "Einstein can't be classed as witless. He claimed atoms were the littlest. When you did a bit of splitting-em-ness. Frighten everybody shitless" from the song "There Ain't Half Been Some Clever Bastards", and Ian was one of them! An ace geezer! If you’re an Ian Dury fan you may not have this bonus version album. [All tracks @ 320 Kbps: File size = 158 Mb]


1.(You're My) Inspiration - Dury, McEvoy 4:15
2.Friends - Dury, Hardy 2:57
3.Tell Your Daddy - Dury, Melvin 2:47
4.Peter The Painter - Dury, McEvoy 3:54
5.Ban The Bomb - Dury, Hardy 4:20
6.Percy The Poet - Dury, McEvoy 3:28
7.Very Personal - Dury, Hardy 3:55
8.Take Me To The Cleaners - Dury, McEvoy 2:37
9.The Man With No Face - Dury, Hardy 4:48
10.Really Glad You Came - Dury, McEvoy 4:36
11.The Sky's The Limit (B-side) - Dury/Hardy
12.You're My Inspiration (long version) - Dury, McEvoy
13.Peter The Painter (long version) - Dury, McEvoy
14.I Weighed Myself Up - Dury/McEvoy
15.I Weighed Myself Up (Trident 1 March 1983 long version) - Dury/McEvoy
16.Percy The Poet (full version) - Dury, McEvoy


Ian Dury – Vocals (credited by the pseudonym 'D. Poundcake' on "Peter The Painter")
Merlin Rhys-Jones – Guitar
Chaz Jankel – Lead guitar on "Percy The Poet"
Ed Speight – Lead guitar on "Ban the Bomb"
Michael McEvoy – Bass, Keyboards, Synthesizers, Brass Arranger
Geoff Castle – Synthesisers
Tag Lamche – Drums
Ray Cooper – Percussion
Jamie Talbot – Saxophones
Davey Payne – Saxophones on "Peter The Painter"
Steve Sidwell – Trumpet, Clarinet on "The Man With No Face"
Neil Sidwell – Trombone
Rico Rodriguez – Trombone on "Friends"


Rock & roll has always been populated by fringe figures, cult artists that managed to develop a fanatical following because of their outsized quirks, but few cult rockers have ever been quite as weird, or beloved, as Ian Dury. As the leader of the underappreciated and ill-fated pub-rockers Kilburn & the High Roads, Dury cut a striking figure -- he remained handicapped from a childhood bout with polio, yet stalked the stage with dynamic charisma, spitting out music-hall numbers and rockers in his thick Cockney accent. Dury was 28 at the time he formed Kilburn, and once they disbanded, conventional wisdom would have suggested that he was far too old to become a pop star, but conventional wisdom never played much of a role in Dury's career. Signing with the fledgling indie label Stiff in 1978, Dury developed a strange fusion of music-hall, punk rock and disco that brought him to stardom in his native England. Driven by a warped sense of humor and a pulsating beat, singles like "Hit Me With Your Rhythm Stick," "Sex & Drugs & Rock & Roll" and "Reasons to Be Cheerful (Part 3)" became Top Ten hits in the U.K., yet Dury's most distinctive qualities -- his dry wit and wordplay, thick Cockney brogue, and fascination with music-hall -- kept him from gaining popularity outside of England. After his second album, Dury's style became formulaic, and he faded away in the early '80s, turning to an acting career instead. At the age of seven, Ian Dury was stricken with polio. After spending two years in hospital, he attended a school for the physically handicapped. Following high school, he attended to the Royal College of Art, and after his graduation, he taught painting at the Canterbury Art College. In 1970, when he was 28 years old, Dury formed his first band, Kilburn & the High Roads. The Kilburns played simple,'50s rock & roll, occasionally making a detour into jazz. Over the next three years, they became a fixture on England's pub-rock circuit. By 1973, their following was large enough that Dury could quit his teaching job. Several British critics became dedicated fans, and one of them, Charlie Gillett, became their manager. Gillett helped the band sign to the Warner subsidiary Raft, and the group recorded an album for the label in 1974. Warner refused to release the album, and after some struggling, the Kilburns broke away from Raft and signed with the Pye subsidiary Dawn in 1975. Dawn released Handsome in 1975, but by that point, the pub-rock scene was in decline, and the album was ignored. Kilburn & the High Roads disbanded by the end of the year. Following the dissolution of the Kilburns, Dury continued to work with the band's pianist/guitarist, Chaz Jankel. By 1977, Dury had secured a contract with Stiff Records, and he recorded his debut with Jankel and a variety of pub-rock veterans -- including former Kilburn Davey Payne -- and session musicians. Stiff had Dury play the 1977 package tour Live Stiffs in order to support his debut album New Boots and Panties!!, so he and Jankel assembled the Blockheads, recruiting guitarist John Turnbull, pianist Mickey Gallagher, bassist Norman Watt Roy and drummer Charley Charles. Dury and the Blockheads became a very popular act shortly after the Live Stiffs tour, and New Boots and Panties!! became a major hit, staying on the U.K. charts for nearly two years; it would eventually sell over a million copies worldwide. The album's first single, "What A Waste," reached the British Top Ten, while the subsequent non-LP single "Hit Me With Your Rhythm Stick" climbed all the way to number one. Ian Dury had unexpectedly become a superstar in Britain, and American record companies were suddenly very interested in him. Arista won the rights to distribute Dury's Stiff recordings in the U.S., but despite overwhelmingly positive reviews, New Boots and Panties!! stiffed in America, and the label instantly dropped him. Despite his poor U.S. sales, Dury was still riding high in his homeland, with his second album, Do It Yourself, entering the U.K. charts upon its summer release in 1979. Dury supported the acclaimed album, which saw him delving deeply into disco, with an extensive tour capped off by the release of the single "Reasons to Be Cheerful (Part 3)," which climbed to number three. Once the tour was completed, Jankel left the band and Dury replaced him with Wilko Johnson, former lead guitarist for Dr. Feelgood. With Johnson, Dury released his last Stiff album, Laughter, which received mixed reviews but respectable sales upon its 1980 release. The following year, he signed with Polydor Records and reunited with Jankel. The pair flew to the Bahamas to record his Polydor debut with reggae superstars Sly Dunbar and Robbie Shakespeare. The resulting album, Lord Upminster, received mixed reviews and poor sales upon its 1981 release; the album was notable for the inclusion of the single "Spasticus Autisticus," a song Dury wrote for the United Nations Year of the Disabled, but was rejected. Following the failure of Lord Upminster, Dury quietly backed away from a recording career and began to concentrate on acting; 1984's 4000 Weeks Holiday, an album recorded with his new band the Music Students, was his last major record of the '80s. He appeared in several plays and television shows, as well as the Peter Greenaway film The Cook, the Thief, His Wife and Her Lover and Roman Polanski's movie Pirates. He also began to write jingles for British commercials. In 1989, he wrote the musical Apples with Mickey Gallagher, and he also appeared in the stage production of the play. Dury returned to recording in 1992 with The Bus Driver's Prayer and Other Stories. In May 1998, Dury announced that he had be diagnosed with colon cancer in 1995 and that the disease had spread to his liver. He decided to release the information the weekend of his 56th birthday, in hopes of offering encouragement for others battling the disease. For the next year, he battled the disease while keeping a public profile -- in the fall of 1999, he was inducted into Q magazine's songwriting hall of fame, and he appeared at the ceremony. Sadly, it was his last public appearance. Dury succumbed to cancer on March 27, 2000. He left behind a truly unique, individual body of work. © Stephen Thomas Erlewine , All Music Guide


Born on May 12, 1942, in Harrow, west London, England, and raised in Upminster, Essex; died of cancer on March 27, 2000, in London, England; married Betty, 1985 (divorced); married Sophie Tilson, a sculptor, c. 1996; children: (first marriage) Jemima and Baxter; (second marriage) Bill and Albert. Education: Graduated from Walthamstow Art College and the Royal College of Art. Pop icon Ian Dury, the man responsible for coining the expression "Sex and drugs and rock 'n' roll," succumbed to cancer on March 27, 2000. His songs, including the innuendo-laden number-one hit "Hit Me With Your Rhythm Stick," were instantly memorable, combining streetwise humor with verbal cleverness. Paying tribute to the life and career of his close friend, Madness frontman Suggs, also known as Graham McPherson, called Dury "the people's poet laureate, one of the finest lyricists this country has produced," as quoted in the Mirror, "he was still giving it his all to the end." In addition to his contributions to pop music, Dury was equally regarded for his warmth, humor, and charitable endeavors, despite all his efforts to remain the naughty cockney rocker in the eyes of his fans. He always maintained a positive outlook about his own physical limitations, resulting from a bout with childhood polio, as well as his later struggles with depression and colon cancer. Even while performing a charity concert at the London Palladium just one month before his death he remained upbeat. "I believe in the power of positive thinking. I think 51 percent of it is down to spirit, whatever you're fighting," he told the Daily Express, speaking bravely and matter-of-factly about facing his own death. "The polio has made me fatalistic, able to laugh at most things--I'm a pretty cheerful person in most of my doings." Aside from music and later acting, Dury spent much of his energy campaigning for the disabled, working with those with mental illnesses, and helping others stricken with polio and cancer, and actively supported charitable causes like the United Nations Children's Fund (UNICEF), and Cancer BACUP. Born on May 12, 1942, in Harrow, west London, England, and later moving with his family to Upminster, Essex, Dury contracted polio at the age of seven, leaving him partially crippled. In a strange way, he later told the Daily Express, the polio actually helped him deal with cancer later on. As a boy, he grew accustomed to dealing with pain and coping with periods of incapacitation, but refused to feel sorry for himself or allow a disability to disrupt his life's plans. In spite of teasing, stares, and physical limitations, he would become one of Great Britain's most beloved rock stars, never letting the fact that his left hand and leg were lacking in muscle tone stand in his way. According to Dury, who always felt uncomfortable when people pitied him, he never saw any point in being bitter. Likewise with cancer, he decided, "I'm not here to be remembered. I'm here to be alive." After spending two years in a hospital recovering from polio, Dury attended a school for disabled children for many years, leaving at the age of 16 to study art at Walthamstow Art College in London. Subsequently, he won admittance to the Royal College of Art. Upon graduation in 1967, he took a position lecturing and teaching painting at the Canterbury Art College. Around the same time, Dury also began writing and playing songs. In 1971 at the age of 28, he formed his first band, Kilburn and The High Roads, and embarked on the pub/college circuit in London playing simple, '50s-style rock and roll with an occasional detour into jazz. Over the next three years, the band became a fixture on the pub-rock circuit as Dury honed his lyrical prowess with songs like "Billy Bentley" and "Upminster Kid."By 1973, the group's success allowed Dury to quit his teaching job. Among Kilburn and The High Roads' legion of dedicated fans were several British music critics, and one of them, Charlie Gillett, signed on as the band's manager, helping them to secure a record deal with the Warner imprint Raft Records. In 1974, the group presented Warner with an album that the label refused to release, though it was later issued under the title Wotabunch after Dury became popular. After some struggling, Kilburn and The High Roads broke away from Warner and signed with Dawn, a subsidiary of Pye Records, who released the Warner-rejected material as Handsome in 1975. By now, however, the pub scene was in decline, and the record went largely unnoticed. Thus, after one album and many line-up changes, Kilburn and The High Roads called it quits at the end of the year. Afterward, guitarist Keith Lucas formed the band 999, while an undeterred Dury concentrated on a solo career. Continuing to work with Kilburn pianist and guitarist Chaz Jankel to write new songs, Dury in 1977 secured a contract with Jack Riviera's new indie label, Stiff Records. Joined by Jankel, whose compositions now suggested a move away from solid rock toward a lighter, jazzy style, Dury gathered a variety of session players and pub-rock veterans for studio work. Many of the participants--including former Kilburn saxophonist Davey Payne, drummer Charley Charles, and bassist Norman Watt-Roy--would become The Blockheads. During the recording sessions, Jankel's musical sophistication, along with Dury's earthy delivery and a skilled backing band, resulted in a formula that was to produce some of the singer's biggest hits. In August of 1977, Dury released his first solo record, "Sex and Drugs and Rock and Roll," a single that became the definitive statement on the rock 'n' roll lifestyle that also appeared on New Boots and Panties, released in November. Widely hailed as a brilliant debut LP, New Boots and Panties demonstrated Dury's talent for writing punchy couplets and music-hall parodies ("Billericay Dickie" and "Clever Trevor"), showing his street smarts and rougher edge ("Blockheads" and "Plaistow Patricia"), and creating the ultimate rock tribute ("Sweet Gene Vincent"). The album went gold, reaching number five on the United Kingdom charts thanks in large part to a punishing touring schedule. By this time, Dury had added keyboard player Mickey Gallagher and guitarist John Turnball to the Blockhead lineup. After playing the inaugural 1977 Stiff Records package tour dubbed "Stiff's Live Stiffs" alongside Elvis Costello, Nick Lowe, and others, followed by a headlining slot with the "Dirty Dozen Tour," Ian Dury and The Blockheads traveled to the United States as the opening act for Lou Reed. However, audiences in America met The Blockheads--decidedly a very British band--with a mixed reception. While songs off New Boots and Panties did receive some airplay on college radio stations and eventually breached the United States album charts at number 168, most mainstream listeners found Dury's clever wordplay and inherent "Englishness" incomprehensible. Moreover, Stiff failed to organize adequate distribution for the U.S. market. Therefore Dury, like so many of his contemporaries, most notably Dave Edmunds and Nick Lowe, never really had a chance to establish much more than a cult following in the States. But back home, Ian Dury and The Blockheads had evolved into one of the most powerful bands in Britain, touring almost constantly throughout Europe. Their sets, usually lasting two hours or more and featuring Dury decked out in all the fancy trappings of a pop star, delighted audiences. The band never played the same list twice, and during Dury's peak years, it is said that no band could follow up The Blockheads' atmospheric performances, no matter how hard they tried. Whether clad as a pearly king, prince of darkness, used car salesman, or a cockney wildman, Dury commanded attention. The combination of his onstage alter-egos, riveting performances, and stark balance of cheerful and dark material always made an emotional impact. But on the downside, Blockhead gigs were exhausting affairs and would eventually prove detrimental to Dury's health. In the meantime, Dury and his band landed on the United Kingdom singles chart for the first time in April of 1978 with "What A Waste," which peaked at number nine. An even bigger hit followed in December of 1978 with "Hit Me With Your Rhythm Stick," which rose to the number one position in January and remained at the top of the charts for two weeks. It was Stiff's first number one hit and first million-selling record and set the scene for a second LP, Do It Yourself, released in May of 1979. Although it made less of a long-term impact than New Boots, Do It Yourself was an instant success, rocketing to number two on the U.K. album chart within weeks of its release and climbing to number 126 in the United States later that summer. In addition, Ian Dury and The Blockheads, despite their undeniably English style, enjoyed increasing popularity throughout Europe, especially in Germany. "Rhythm Stick" charted at number 24 in March of 1979, New Boots and Panties followed on the German album charts at number 29, and Do It Yourself sold steadily as well, peaking at number 23. In September of 1979, Dury and his group arrived with another hit, the jazzy stream-of-consciousness single "Reasons To Be Cheerful (Part 3)," which climbed to number three in the United Kingdom. But after another tour in support of Do It Yourself, Dury's fortunes began to wane. Upon its conclusion, Jankel decided to move on to solo work, feeling that his contributions to the band had not been fully appreciated. This would prove a devastating blow because Jankel had served as the musical inspiration behind Dury's lyrics. Former Dr. Feelgood guitarist Wilko Johnson stepped in as Jankel's replacement in time to play on the next single, "I Want To Be Straight," a reflection of Dury's concerns about his worsening health. Although it was a minor hit, the song only reached number 22 on the United Kingdom charts. A follow-up single a couple months later titled "Superman's Big Sister" only reached the number 51 position, while the band's first album without Jankel, Laughter, released in November of that year, peaked at a disappointing number 48 and was met with only modest approval. In 1981, Dury signed with a major label, Polydor, and released the upbeat single "Spasticus Austicus," a song he had written for "The Year of the Disabled," a cause he had devoted much of his energies to that year. However, radio stations, misunderstanding Dury's direct, in-your-face sense of humor, refused to play the song, perceiving it as being in bad taste. Polydor reacted by deleting the single soon thereafter, though it would resurface on Dury's first album for the label. For the new LP, Dury reunited with Jankel, creating a sense of optimism among fans. But despite Jankel's involvement and good reviews, Lord Upminster, released in October of 1981 and recorded with a top-drawer rhythm section team of Sly Dunbar and Robbie Shakespeare, only reached the number 51 slot on the United Kingdom album chart. After this disappointment, Dury made only brief returns to the recording business. His subsequent records were always met with a warm reception, although they were never big sellers. In 1984, he released the optimistic 4,000 Weeks Holiday, credited to Ian Dury and The Music Students, which featured some of the Blockheads and charted at number 53. His last significant hit, 1985's "Profoundly in Love With Pandora," the theme for the television show The Secret Diaries of Adrian Mole written and recorded with Jankel, reached number 45. By the late 1980s, Dury had returned to his first love, painting, and also forged an acting career. In addition to landing spots for radio and television commercials, he also appeared in numerous television productions, including King of the Ghetto, for which he played the title character, in 1986, and Night Moves, for which he also wrote the musical score, in 1987, and acted in plays, most notably Talk of the Devils in 1986, Road in 1987, and Apples, a musical co-written with Mickey Gallagher, in 1989. In 1985, Dury acted in his first film, Number One, opposite Bob Geld, followed by roles in several more big screen productions, among them Roman Polanski's The Pirates in 1986 and Peter Greenway's The Cook, The Thief, His Wife And Her Lover in 1989. Although Dury's musical career appeared at rest for good, he suddenly reformed The Blockheads at the end of 1990 to play some reunion benefit gigs in memory of Charley Charles, a victim of cancer. These shows proved so successful as well as enjoyable that the group continued to perform on occasion, and Dury began collaborating again with Jankel. Their efforts resulted in the 1992 release The Bus Driver's Prayer and Other Stories, Dury's first new LP in nearly ten years. Hailed as one of his best since Do It Yourself, the album featured many of the old Blockheads, including Jankel, Gallagher, Turnbull, and Payne. In 1996, Dury was diagnosed with colon cancer. After an operation, secondary tumors appeared on his liver, signaling that his condition was terminal. In addition to Charles, Dury's first wife, Betty, had also died of the disease in 1994. Though they had separated in 1985, Dury was greatly grieved by her death. Rather than dwell on what was to come, Dury instead chose to make the most of his situation. "I haven't shaken my fists at the moon," he said, as quoted by the BBC Online. "I'm not that sort of geezer. I'm 56 and mustn't grumble. I've had a good crack, as they say." Soon after his diagnosis, Dury married Sophie Tilson, a sculptor and mother of his two youngest children, then decided to record a new album. Mr. Lovepants, issued on Ronnie Harris Records in 1998, was met with praise from critics and fans alike. Dury maintained a high profile even while his condition worsened. His health progressively deteriorating, Dury toured in support of Mr. Lovepants beginning in the fall and made a trip with UNICEF, for whom he served as an official ambassador, to Sri Lanka promoting polio vaccination with pop star Robbie Williams. In 1999, he started recording material for a new album with The Blockheads. Sadly, however, Dury passed away on March 27, 2000, before the material saw the light of day. One of the songs, "You Are the Way," was played at his funeral. He was survived by Tilson, the couple's two young sons, five-year-old Bill and two-year-old Albert, and Dury's two grown children from his first marriage, 29-year-old Jemima and 26-year-old Baxter. In memory of Dury's contributions to the music business, The Blockheads, along with several celebrities including Robbie Williams, Madness, Neneh Cherry, The Clash, and others, played a special "Tribute to Ian" gig on June 16, 2000, at the Brixton Academy. Dury dies on March 27, 2000, at his home in London, England, at the age of 57 following a battle with liver cancer. © Laura Hightower, © 2007 Net Industries - All Rights Reserved


Chaz Jankel

Chaz Jankel - The Submarine Has Surfaced - 2010 - Cj Records

Blockheads veteran Chaz Jankel’s “The Submarine Has Surfaced” features a number of contributors from "the UK dance underground" such as Natalia Scott (of Rogue Nouveau), Steven Tart, soul singer Alex Watson and the current Blockheads vocalist Derek Hussey. The album returns to Chaz’s club roots, and has a dominantly jazz-influenced, house feel. Chaz contributes vocals on three tracks. Chaz was responsible for much of the jazzy funk influences in the Blockheads music. He co - wrote many of the best songs in Ian Dury and the Blockheads' catalogue. Songs like “Sex and Drugs and Rock and Roll”, “Hit me with your Rhythm stick” and “Clever Trevor” are great songs known to music fans worldwide. As a solo artist, Chaz recorded several albums for A&M. including, Chasanova and Questionnaire which contained the U.S. dance hit, "Glad to Know You". Chaz also penned the Quincy Jones' international hit "Ai no Corrida", and contributed "Do you Mind" to Robbie Williams' latest album "Reality Killed the Video Star". Chaz also wrote the score for The motion picture, "Sex and drugs and Rock and Roll" which was nominated for a BAFTA. It didn’t win. Speaking about the album, Chaz said, "Over the last couple of years I've been writing and sketching out ideas in my studio in Muswell Hill, North London. Although many ideas occur and are recorded, very few are what I would describe as "special", but the 10 songs on this album I think are all unique. On this CD I collaborate with 4 other singer/writers. On " I Come Alive' I worked with Natalia Scott (aka MC Tali..a big name in the drum and bass world.) We met at a Chris Difford songwriting retreat and this was one of our first compositions. On "Hey now" I'm doing the vocals and Derek Hussey co -wrote the lyrics. "The Farside" and "Check the Meaning" are sung by Steven Tart, a very gifted young singer whose star is on the ascendant.. "A Restless Path", "Wise up Baby" and "I Long for You" are all sung by Alex Watson, another great interpreter of lyric and melody. We met when I was signed to Famous Music. That leaves "Tear it up" sung/spoken/wrapped by Derek Hussey who now sings lead vocals with the Blockheads. Oh yeah, the last tune on the album, "The Way it’s Going Down" was co-written with Derek Hussey and I'm doing the singing. Just a simple acoustic song (but with a fancy guitar tuning) to cleanse the palette...the same way slices of orange taste perfect after a spicy Chinese meal....eh voila........dinner is served........."THE SUBMARINE HAS SURFACED"......thanks for listening”. “The Submarine Has Surfaced” is a good album with some terrific hook filled tunes from the great Chaz Jankel, keyboard player, guitarist, and composer with Ian Dury & the Blockheads. The album has many musical elements including house, dance, jazz funk, and soul with great urban and Latin grooves throughout. Chaz gives vague details about the composers of each song. Has anybody got a definitive list of musicians and composers? [All tracks @ 320 Kbps: File size = 105 Mb]


1 Wherever We Go
2 I Come Alive
3 Hey Now
4 The Farside
5 A Restless Path
6 Tear It Up
7 Wise Up Baby
8 Check The Meaning
9 I Long For You
10 The Way It’s Going Down


Chaz Jankel - Guitars, Keyboards, Drum Programming: Vocals on Tracks 1, 3, 10
Lewis Jankel – Synth Bass: Bass on Track 2
Natalia Scott - Vocals on Track 2
Derek Hussey - Vocals on Tracks 3, 6
Steven Tart - Vocals on Tracks 4, 8
Alex Watson - Vocals on Tracks 5, 7, 9
John Turnbull - Backing Vocals on Tracks 6
Mark Fletcher - Drums on Track 7
Ed Rieband - Trombone on Track 8
Rupert Cobb - Trumpet on Track 8
Hetty Snell - Cello on Track 9


Ronny Heimdal

Ronny Heimdal - Timequake - 1999 - Spesial-Laboratoriet

Multiple listens to Timequake by this Norwegian fusion band are apt to leave you very impressed and delighted. The musicianship and compositions on this release are fusion bliss. Of course, there are loads of jazz fusion, but there are bits of metalloid progressive rock as well. Many very wonderful things are happening here. If you dig Allan Holdsworth, Tribal Tech, and the unknown fusion of Houston, TX-based Stratus or the Far East's Kenso, then do find Timequake. The songs are not mere structures for guitar wankery, but hold up as songs that happen to feature virtuoso fretwork coupled with very competent keys and assorted synth embellishments for great atmospherics. After 13 tracks of excellence, you will begin to be amazed at the cohesiveness of Heimdal's creative download onto this CD. Heimdal rips it up on guitar, synth keys, and programming. The bass work and drums are also very tight and pro all the way. This is one very hot trio of guitar-driven fusion excess! There are quiet moments and dreamy sections, but all roads lead to high-energy chops and technically precise crunch amidst many a tornado of notes. Heimdal even pays a tribute to soundtrack music from the sci-fi adventure flick The Fifth Element. © John W. Patterson © 2013 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/timequake-mw0001321147

Guitar and drum work excel. Highlights for me are tracks 1 Zone 98-b and Track 2 - Ultra-lystic. On occasion I can hear the UK influence - as in track 8 - Absolute Sanjiv. Perhaps a bit too calculated at times for my tastes, but this does not take away from the outstanding work, production and performances that are in evidence throughout this CD. - Review by & © DBSilver 14 Apr 2002 © proggnosis.com 2000 - 2013 where appropriate - All rights reserved. 2002 © http://www.proggnosis.com/Release_Detail.aspx?RID=4170

As I listen to Ronny Heimdall's-Time Quake cd, I am reminded of the very bands that have made the largest impression on my progressive/fusion tastes. This cd fuels my tastes perfectly, not merely passing his music off as an attempt to advertise his obvious guitar talents, but more so a tribute of sorts to the bands that dared to take the ambitious progressive rock compositions, and mix them with the sheer virtuoso of the best fusion bands. As a three piece band, the sound is much larger, thanks large in part to the band members' mastery of their respective instruments, also Heimdall shows an excellent grasp of the keyboards as a textural devise, as well as in a melodic accompaniment capacity along with his guitar. The bands that come to mind in a comparitive manner are: UK - for many of the keyboard sounds, and odd time signatures. Bruford (Holdsworth era), for the legato technique for which Ronny is very proficient, and of course the sophisticated arrangements. Elektric Band, for the technical elegance, and sensational drumming displayed by Zsolt Mezsaros. Song after song impresses, not a dull moment at all, one of those rare cds that has so much continuity from start to finish, it leaves me wanting for more, and given the 1999 release date, I can only hope that Ronny Heimdall and friends are working on something new. There have been a few hybrid progressive rock/fusion bands in recent years, such as Nathan Mahl, Finneus Gauge, Anomaly, Planet X, 7 for 4, to name a few, Heimdall's music certainly merits mention along with these upstarts, as his music shows lack of nothing, unlike many of the fusion bands these days, that are content on providing a lot of fast and adventurous notes, Heimdall provides clever songs structures, highly complicated rhythm play, and flawless guitar, bass, and drum perfomances. Call this an essential cd for fans of any of the bands mentioned in this entire review. - Review by & © MJBrady 14 Apr 2002 © proggnosis.com 2000 - 2013 where appropriate - All rights reserved. 2002 © http://www.proggnosis.com/Release_Detail.aspx?RID=4170

An elaborate and often spectacular demonstration of great imaginative progressive jazz rock/fusion with Norwegian fusion musician Ronny Heimdal on guitars and keys, Zsolt Meszaros on drums, and Fritz A. Aga on bass. Ronny plays some great super charged licks. His solos are masterfully executed without being “over flashy”, but still sound great. His music is inspired by the sound of artists like Bill Frisell, Bill Bruford, UK, Allan Holdsworth, Tribal Tech, Scott Henderson, Frank Zappa, and more. At times the music has a great ‘70’s feel with some of the melodic passages reminiscent of bands like Spyro Gyra, Priam, Edhels and others. This is extremely well played music with first class compositions and HR by A.O.O.F.C. It’s a shame that artists like Ronny Heimdal are not better known, but to be honest it’s not that easy to find detailed info about the guy. Check his website @ http://www.ronnyheimdal.com/ [All tracks @ 320 Kbps: File size = 157 Mb]


1 Zone 98 B (7:31)
2 Timequake (7:12)
3 The Seventh Element (3:46)
4 Neo Nostalgie (3:53)
5 Turbo Tobben Overdrive (4:25)
6 Five Corners (3:23)
7 Ulktra-Lystig (6:21)
8 Absolute Sanjiv (4:17)
9 Music Box (3:47)
10 Garbaresq no.1 (3:29)
11 Tiaatte (7:14)
12 Rhythmscape (6:08)
13 ZSRF1 (5:34)

All tracks composed by Ronny Heimdal except tracks 5,9,11 by Ronny Heimdal & Zsolt Meszaros, and tracks 8,13 by Zsolt Meszaros & Fritz A. Aga


Ronny Heimdal - Electric & Acoustic Guitars, Keyboards, Programming
Fritz A. Aga - Electric Bass
Zsolt Meszaros - Drums