tag:blogger.com,1999:blog-77581212856502083782024-03-11T04:23:05.427+01:00An Overdose Of Fingal CocoaRemember, even Cathy Berberian knew that you don't do it without your fez on!A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.comBlogger2696125tag:blogger.com,1999:blog-7758121285650208378.post-60048579727209477802015-06-25T00:24:00.003+02:002015-06-25T00:25:05.233+02:00John Mayall <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiibGS8IQiISWnIW-sszlNC5O_dXuQbI1WVqguZmk9EhDaMOkhc7oukmhoqZBRb4SbOUi6L9XNuqtyJekQnz6UdWGJP84Rre-2Q_62PlfLfihzPGmtiFoYzgok2X8xKdQaGvaj4mC0gE5U/s1600/John+Mayall+%2526+Friends+-+Along+For+The+Ride+-+2001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiibGS8IQiISWnIW-sszlNC5O_dXuQbI1WVqguZmk9EhDaMOkhc7oukmhoqZBRb4SbOUi6L9XNuqtyJekQnz6UdWGJP84Rre-2Q_62PlfLfihzPGmtiFoYzgok2X8xKdQaGvaj4mC0gE5U/s320/John+Mayall+%2526+Friends+-+Along+For+The+Ride+-+2001.jpg" /></a></div><span style="color: #f4cccc;">John Mayall</span> <span style="color: #0b5394;">and </span><span style="color: #a2c4c9;">Friends </span><span style="color: #f3f3f3;">-</span> <span style="color: #134f5c;">Along for the Ride</span> <span style="color: #f3f3f3;">-</span> <span style="color: #660000;">2001 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Eagle Records</span><br />
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By the time this was released in 2001, John Mayall was more known for the people who played in his seminal British band, the Bluesbreakers rather than his own accomplishments. The success of 1999's Padlock on the Blues afforded Mayall the opportunity to fulfill his dreams and gather an all-star lineup of blues and rock luminaries. "A World of Hurt" and "That's Why I Love You So" both typify the good but not great groove that permeates Along for the Ride. Better tracks "Yo Yo Man" and "Early in the Morning" are easygoing blues that feature the great rhythm section of John McVie and Mick Fleetwood. Fellow Fleetwood Mac and Bluesbreaker alum, the reclusive Peter Green plays acoustic slide guitar on "Yo-Yo Man." "So Many Roads" has Mayall dueting with Otis Rush, and it soon becomes a contest on who sounds more disgruntled. The playful "Testify" features vocals and subtle guitar lines from blues phenom Shannon Curfman. This ends on the strong note. The powerful and wry "She Don't Play By the Rules" has Mayall with arguably the strongest and most subtle band with Mick Taylor on lead guitar and Andy Fairweather Low on acoustic guitar. Along for the Ride is produced, engineered, and mixed by David Z. Despite the camaraderie, a lot of the hooks here don't stick, and fans of Mayall and superstar sessions will get the most from this effort. © Jason Elias © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/along-for-the-ride-mw0000520850<br />
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A highly enjoyable album, if you are a fan of really excellent blues rock then you may enjoy this terrific collection of tracks by the legendary John Mayall and a star studded cast of musicians. <span style="color: #20124d;">[</span><span style="color: #7f6000;">All tracks @ 320 Kbps: File size = 140 Mbs</span><span style="color: #20124d;">]</span><br />
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<span style="color: #660000;">TRACKS / COMPOSERS</span><br />
<br />
1. A World of Hurt - Glen Clark, Jeff Silbar<br />
2. Along for the Ride - Cook, Fuller<br />
3. Put it Right Back - Walter Trout<br />
4. That's Why I Love You So - Jerry Williams<br />
5. Yo Yo Man - Tony Joe White<br />
6. If I Don't Get Home - The Delgado Bros<br />
7. Testify - Stark, Bowe<br />
8. Early in the Morning - Bartley, Hickman, Jordan<br />
9. Something 'bout My Baby - The Delgado Bros<br />
10. So Many Roads - Paul<br />
11. World War Blues - Eric Bibb<br />
12. California - Mayall, Thompson<br />
13. She Don't Play by the Rules - Buddy Flett, David Egan, Earl Cate, Ernie Cate<br />
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<span style="color: #274e13;">MUSICIANS</span><br />
<br />
John Mayall - Guitar, Slide Guitar, Keyboards, Organ (Hammond), Piano, Wurlitzer, Clavinet, Harmonica, Vocals<br />
Billy Gibbons, Steve Miller, Davy Graham, Jonny Lang, Gary Moore, Joe Delgado, Mick Taylor, Jeff Kribbit - Guitar<br />
Jeff Healey - Lead Guitar, Vocals<br />
Peter Green - Acoustic Slide Guitar<br />
Buddy Whittington - Acoustic & Rhythm Guitar<br />
Steve Cropper, David Z. - Guitar (Rhythm)<br />
Shannon Curfman, Chris Rea - Guitar, Vocal<br />
Andy Fairweather Low - Guitar (Acoustic), Vocals<br />
Jack Bruce, David Smith, Greg Rzab, John McVie, Bob Delgado - Bass Guitar<br />
Mick Fleetwood, Hughie Flint, Joe Yuele - Drums<br />
Lenny Castro - Percussion <br />
Tom Canning - Organ (Hammond), Piano, Wurlitzer <br />
Reese Wynans - Organ (Hammond)<br />
Billy Preston - Melodica, Wurlitzer, Clavinet, Vocals <br />
Dick Heckstall-Smith, Red Holloway - Sax <br />
Otis Rush, Crystal Taliefero, Wendy Moten - Vocals<br />
<br />
<span style="color: #6fa8dc;">BIO</span><br />
<br />
As the elder statesman of British blues, it is John Mayall's lot to be more renowned as a bandleader and mentor than as a performer in his own right. Throughout the '60s, his band, the Bluesbreakers, acted as a finishing school for the leading British blues-rock musicians of the era. Guitarists Eric Clapton, Peter Green, and Mick Taylor joined his band in a remarkable succession in the mid-'60s, honing their chops with Mayall before going on to join Cream, Fleetwood Mac, and the Rolling Stones, respectively. John McVie and Mick Fleetwood, Jack Bruce, Aynsley Dunbar, Dick Heckstall-Smith, Andy Fraser (of Free), John Almond, and Jon Mark also played and recorded with Mayall for varying lengths of times in the '60s. Mayall's personnel has tended to overshadow his own considerable abilities. Only an adequate singer, the multi-instrumentalist was adept in bringing out the best in his younger charges (Mayall himself was in his thirties by the time the Bluesbreakers began to make a name for themselves). Doing his best to provide a context in which they could play Chicago-style electric blues, Mayall was never complacent, writing most of his own material (which ranged from good to humdrum), revamping his lineup with unnerving regularity, and constantly experimenting within his basic blues format. Some of these experiments (with jazz-rock and an album on which he played all the instruments except drums) were forgettable; others, like his foray into acoustic music in the late '60s, were quite successful. Mayall's output has caught some flak from critics for paling next to the real African-American deal, but much of his vintage work -- if weeded out selectively -- is quite strong; especially his legendary 1966 LP with Eric Clapton, which both launched Clapton into stardom and kick-started the blues boom into full gear in England. When Clapton joined the Bluesbreakers in 1965, Mayall had already been recording for a year, and been performing professionally long before that. Originally based in Manchester, Mayall moved to London in 1963 on the advice of British blues godfather Alexis Korner, who thought a living could be made playing the blues in the bigger city. Tracing a path through his various lineups of the '60s is a daunting task. At least 15 different editions of the Bluesbreakers were in existence from January 1963 through mid-1970. Some notable musicians (like guitarist Davy Graham, Mick Fleetwood, and Jack Bruce) passed through for little more than a cup of coffee; Mayall's longest-running employee, bassist John McVie, lasted about four years. The Bluesbreakers, like Fairport Convention or the Fall, were more a concept than an ongoing core. Mayall, too, had the reputation of being a difficult and demanding employer, willing to give musicians their walking papers as his music evolved, although he also imparted invaluable schooling to them while the associations lasted. Mayall recorded his debut single in early 1964; he made his first album, a live affair, near the end of the year. At this point the Bluesbreakers had a more pronounced R&B influence than would be exhibited on their most famous recordings, somewhat in the mold of younger combos like the Animals and Rolling Stones, but the Bluesbreakers would take a turn for the purer with the recruitment of Eric Clapton in the spring of 1965. Clapton had left the Yardbirds in order to play straight blues, and the Bluesbreakers allowed him that freedom (or stuck to well-defined restrictions, depending upon your viewpoint). Clapton began to inspire reverent acclaim as one of Britain's top virtuosos, as reflected in the famous "Clapton is God" graffiti that appeared in London in the mid-'60s. In professional terms, though, 1965 wasn't the best of times for the group, which had been dropped by Decca. Clapton even left the group for a few months for an odd trip to Greece, leaving Mayall to straggle on with various fill-ins, including Peter Green. Clapton did return in late 1965, around the time an excellent blues-rock single, "I'm Your Witchdoctor" (with searing sustain-laden guitar riffs), was issued on Immediate. By early 1966, the band was back on Decca, and recorded its landmark Bluesbreakers LP. This was the album that, with its clean, loud, authoritative licks, firmly established Clapton as a guitar hero, on both reverent covers of tunes by the likes of Otis Rush and Freddie King and decent originals by Mayall himself. The record was also an unexpected commercial success, making the Top Ten in Britain. From that point on, in fact, Mayall became one of the first rock musicians to depend primarily upon the LP market; he recorded plenty of singles throughout the '60s, but none of them came close to becoming a hit. Clapton left the Bluesbreakers in mid-1966 to form Cream with Jack Bruce, who had played with Mayall briefly in late 1965. Mayall turned quickly to Peter Green, who managed the difficult feat of stepping into Clapton's shoes and gaining respect as a player of roughly equal imagination and virtuosity, although his style was quite distinctly his own. Green recorded one LP with Mayall, A Hard Road, and several singles, sometimes writing material and taking some respectable lead vocals. Green's talents, like those of Clapton, were too large to be confined by sideman status, and in mid-1967 he left to form a successful band of his own, Fleetwood Mac. Mayall then enlisted 19-year-old Mick Taylor; remarkably, despite the consecutive departures of two star guitarists, Mayall maintained a high level of popularity. The late '60s were also a time of considerable experimentation for the Bluesbreakers, which moved into a form of blues-jazz-rock fusion with the addition of a horn section, and then a retreat into mellower, acoustic-oriented music. Mick Taylor, the last of the famous triumvirate of Mayall-bred guitar heroes, left in mid-1969 to join the Rolling Stones. Yet in a way Mayall was thriving more than ever, as the U.S. market, which had been barely aware of him in the Clapton era, was beginning to open up for his music. In fact, at the end of the 1960s, Mayall moved to Los Angeles. Released in 1969, The Turning Point, a live, all-acoustic affair, was a commercial and artistic high point. In America at least, Mayall continued to be pretty popular in the early '70s. His band was no more stable than ever; at various points some American musicians flitted in and out of the Bluesbreakers, including Harvey Mandel, Canned Heat bassist Larry Taylor, and Don "Sugarcane" Harris. Although he's released numerous albums since and remained a prodigiously busy and reasonably popular live act, his post-1970 output generally hasn't matched the quality of his '60s work. Following collaborations with an unholy number of guest celebrities, in the early '80s he re-teamed with a couple of his more renowned vets, John McVie and Mick Taylor, for a tour, which was chronicled by Great American Music's Blues Express, released in 2010. It's the '60s albums that you want, though there's little doubt that Mayall has over the past decades done a great deal to popularize the blues all over the globe, whether or not the music has meant much on record. Continuing to record and tour into his eighties, Mayall released A Special Life, recorded at Entourage Studios in North Hollywood and featuring a guest spot by singer and accordion player C.J. Chenier, in 2014. © Richie Unterberger © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/john-mayall-mn0000238495/biographyA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-88351211602587805342015-05-27T03:18:00.001+02:002015-05-27T03:18:58.799+02:00Jerry Harrison: Casual Gods<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizJ9cXB3lPHEp4pbQO8tQbHd2lWRNLame-53kSMHJ9wnbNBDNmyBUC6r5u-8ItphzpyE8CqgszjDUlUyq9EZQDm3aAV7w-sIJYKqTdUUJKEZ7YhEZqyyQNVh7fLQ5dXjf4TYk0JWEf9T8/s1600/Jerry+Harrison+-+Walk+On+Water+-+1990.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizJ9cXB3lPHEp4pbQO8tQbHd2lWRNLame-53kSMHJ9wnbNBDNmyBUC6r5u-8ItphzpyE8CqgszjDUlUyq9EZQDm3aAV7w-sIJYKqTdUUJKEZ7YhEZqyyQNVh7fLQ5dXjf4TYk0JWEf9T8/s320/Jerry+Harrison+-+Walk+On+Water+-+1990.jpg" width="320" /></a></div><span style="color: red;">Jerry Harrison: </span><span style="color: #76a5af;">Casual Gods</span> <span style="color: #f3f3f3;">-</span> <span style="color: #f4cccc;">Walk On Water </span><span style="color: #f3f3f3;">-</span> <span style="color: #45818e;">1990 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Sire</span><br />
"Walk on Water" is the third solo album by Talking Heads keyboardist/guitarist Jerry Harrison. If you like Talking Heads and/or The Modern Lovers, you will not surprisingly find many similarities in style from the very underrated Jerry Harrison and his band [All tracks @ 320 Kbps: File size = 360 Mb]<br />
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<span style="color: #f4cccc;">TRACKS / </span><span style="color: #274e13;">COMPOSERS</span><br />
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1. Flying Under Radar (Harrison/Hartman/Brooks) 3:49<br />
2. Kick Start (Harrison/Weir/Worrell/Brooks) 3:50<br />
3. I Don't Mind (Harrison/Bailey/Currie/Brooks) 3:30<br />
4. Confess (Harrison/Bailey/Currie/Brooks) 3:40<br />
5. Sleep Angel (Harrison/Brooks/Bowden) 6:07<br />
6. I Cry For Iran (Harrison/Weir/Worrell/Brooks/Bowden) 6:12<br />
7. Never Let It Slip (Harrison/Weir/Worrell/Sieger) 3:19<br />
8. Cowboy's Got To Go (Harrison/Sieger/Brooks) 4:52<br />
9. If The Rains Return (Harrison/Weir/Worrell/Brooks) 4:25<br />
10. Remain Calm (Harrison) 2:40<br />
11. Big Mouth (Harrison/Weir/Worrell/Bailey) 3:32<br />
12. Facing The Fire (Harrison/Weir/Worrell/Brooks/Russell) 4:37<br />
13. The Doctors Lie (Harrison/Brooks/Weir/Russell) 5:43<br />
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<span style="color: #76a5af;">MUSICIANS</span><br />
<br />
Jerry Harrison - guitar, keyboards, vocals<br />
Adrian Belew, Jason Klagstad, Chris Spedding, Alex Weir - guitar<br />
Ernie Brooks, Etienne Mboppe, Arthur Weir - bass<br />
Tom Bailey, Bernie Worrell - keyboards<br />
Dan Hartman - keyboards, background vocals<br />
Rick Jaeger, Brice Wassy - drums<br />
Abdou M'Boup - percussion<br />
Jim Liban - harmonica<br />
Tawatha Agee, Sherrell Harmon, Samuel Llanas, Arlene Newson, Loveless Redmond, Vaneese Thomas, Michael Webb - background vocals<br />
Joyce Bowden - background vocals, vocal arrangements<br />
<br />
<span style="color: red;">BIO</span><br />
<br />
Though he's hardly a cult persona, Jerry Harrison has failed to be recognized as a crucial figure in the history of punk rock, a portion of the music which influenced it, and the styles which had grown out of punk more than 15 years later. Best known as the keyboard player and occasional guitarist of Talking Heads during the 1980s, Harrison had begun his career ten years before, playing with Jonathan Richman's seminal Modern Lovers during the early '70s. He recorded several solo albums while on occasional hiatus from Talking Heads in the '80s, but when the band disintegrated in the late '80s, Harrison resumed his busy production schedule, working with some hot alternative acts. Born in 1949 in Milwaukee, Jerry Harrison began playing with bands while in high school, and continued his work after graduation, while he studied at Harvard during the late '60s. By the beginning of the decade, Harrison and bandmate Ernie Brooks were encouraged to form a band by local Boston friend Jonathan Richman. Named the Modern Lovers, the group moved quickly and recorded demos in 1972 with John Cale. Finally released in 1976, the songs proved to be a major influence on underground bands in New York; the Modern Lovers had broken up by that time, though, with Harrison going back to Harvard to teach. In April of 1976, however, he attended a Talking Heads show in Boston and convinced them to let him join. The band signed to Sire just one year later, and became one of the most intelligent alternative bands of the '80s, recording an astounding variety of material and even earning several pop hits. During an extended Talking Heads vacation during 1981, Harrison recorded his first solo album, The Red and the Black. The album was recorded with Bernie Worrell, Nona Hendryx, and Adrian Belew — all of whom had appeared on Talking Heads' Remain in Light. Three years later, he released a hip-hop single on Sleeping Bag, recorded as Bonzo Goes to Washington. His second full solo album, however, appeared three years later. Casual Gods had a similar feel to his debut, with loose funk-rock grooves and an open-ended song structure (which suited Harrison's vocals well) but boasted more tuneful songs. Talking Heads was effectively disbanded by that time, and Harrison had already begun producing in 1986, with the Bodeans and Violent Femmes. During the '90s and early 2000s, Harrison became an important and respected producer, working on popular albums by Live, Crash Test Dummies, the Verve Pipe, No Doubt, and the Von Bondies. He also helped launch garageband.com, an Internet resource for independent musicians. His playing was limited during these years, though he and fellow Talking Heads alumni Tina Weymouth and Chris Frantz recorded as the Heads (No Talking Just Head, 1996). In 2002, Talking Heads played together again, if only for one night, to celebrate the band's induction into the Rock & Roll Hall of Fame. © John Bush © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jifrxqe5ld0e~T1<br />
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<span style="color: #3d85c6;">BIO </span><span style="color: #cccccc;">(</span><span style="color: yellow;">WIKI</span><span style="color: #cccccc;">)</span><br />
<br />
Jerry Harrison (born Jeremiah Griffin Harrison, 21 February 1949, in Milwaukee, Wisconsin) is an American songwriter, musician and producer. He was the keyboardist and guitarist for the influential New Wave group Talking Heads and an original member of The Modern Lovers. Harrison played with Jonathan Richman in The Modern Lovers when he was an architectural student at Harvard University. Harrison was introduced to Richman by mutual friend and journalist Danny Fields, and the pair bonded over their shared love of the Velvet Underground. He joined the Modern Lovers in early 1971, playing on their debut album in 1972 (not released until 1976), and leaving in February 1974 when Richman wished to perform his songs more quietly. Subsequent to his work with The Modern Lovers, Harrison joined Talking Heads; the latter band already had a single out when Harrison left the Modern Lovers to join them. Harrison's solo albums include The Red and the Black, Casual Gods, and Walk on Water. After the 1991 break-up of Talking Heads, Harrison turned to producing and worked on successful albums by such bands as Violent Femmes, The Von Bondies, General Public, Live, Crash Test Dummies, The Verve Pipe, Rusted Root, The Bogmen, Black 47, Of A Revolution, No Doubt, Josh Joplin and most recently The Black and White Years, Kenny Wayne Shepherd, and Bamboo Shoots. He was recently confirmed as the producer of the forthcoming debut album by The Gracious Few. Harrison also had a small part in the 2006 film The Darwin Awards as "Guy in Bar #1" alongside John Doe of the band X.<br />
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<span style="color: #b4a7d6;">MORE ABOUT</span> <span style="color: #990000;">JERRY HARRISON</span><br />
<br />
Born in Milwaukee, (21-Feb-1949), Jeremiah Harrison initiated his musical training in the fourth grade, intermittently pursuing piano lessons while also briefly studying clarinet and saxophone. Throughout high school he kept active with a variety of bands, and this activity carried over into his three years at Harvard, where he formed the outfit Albatross with roommate Ernie Brooks. Albatross disbanded in mid-1969, but Harrison continued his partnership with Brooks in Catfish Black and briefly in The Eagles. Harrison's career as a professional musician was finally launched in 1971 as a result of his association with Jonathan Richman -- although it was prevented from getting properly underway until several years later for this same reason. Shortly after their first meeting at a party in Cambridge, Richman invited both Harrison and Brooks to join The Modern Lovers, but -- despite support from John Cale and interest from both Warner Brothers and A&M Records -- the singer's difficult behavior prevented any releases from materializing during the band's three year lifespan. This lack of recorded output did not prevent The Modern Lovers from establishing a dedicated following through their live performances, and a posthumous 1976 album culled from sessions produced by both Cale and Alan Mason (seperately) proved to be a significant influence on the emerging punk/new-wave scene.Upon the dissolution of The Modern Lovers, Harrison joined up with songwriter Elliott Murphy for the album Night Lights (1976) and its associated tour; brief tenures with a handful of other bands followed, but ultimately he chose to resume his study of architecture at Harvard. His schooling was soon interrupted a second time by an invitation to join Talking Heads, and after completing one more semester Harrison was lured, once and for all, into the life of a professional musician. By the time of his membership, the trio configuration of Talking Heads had already established themselves on the New York City club circuit and released the single Love Goes to a Building on Fire on Sire Records; but it was as a four-piece that the band's popularity expanded to an international scale, particularly with the release of their debut full-length Talking Heads: 77 and the single Psycho Killer. Three more albums were released by the onset of the next decade (More Songs About Buildings and Food (1978), Fear of Music (1979) and Remain in Light (1980)), each of which served to increase the band's reputation amongst both critics and fans. During a break from band activity in 1981, Harrison recorded his first solo effort The Red and the Black, an album which featured contributions from guitarist Adrian Belew, former P-Funk keyboardist Bernie Worrell and vocalist Nona Hendryx (all participants in the expanded Heads line-up that had recorded Remain in Light). The release was not given as much attention as his bandmate's extra-curricular projects (David Byrne's Catherine Wheel score and his Brian Eno collaboration My Life in the Bush of Ghosts, Chris Frantz and Tina Weymouth's album as Tom Tom Club), and it would be six years before the appearance of his second solo album Casual Gods (1987). The interim between the two was primarily filled by his work on three further studio albums and two film projects with Talking Heads, although 5 Minutes -- a one-off recording with Bernie Worrell and Bootsy Collins working under the name Bonzo Goes to Washington -- was issued in 1984. During this period Harrison also launched a parallel career as a record producer, helming sessions for The Blind Leading the Naked by The Violent Femmes, Milwaukee by Elliott Murphy, and producing several tracks for the Jonathan Demme film Something Wild (all three of which took place between 1985 and 1986). After the release of the Talking Heads' final album Naked in 1988, the focus of Jerry Harrison's activities shifted to his production work (although a third solo album Walking on Water and its associated tour were realized in 1990). In the 90s his credits (and industry standing) as a producer grew to considerable proportions through involvement with platinum-selling releases by acts such as Live, Crash Test Dummies, The Verve Pipe, and Kenny Wayne Shepherd. His extensive resume also included albums by Poi Dog Pondering (Volo Volo, 1991), Black 47 (Home of the Brave, 1994), Fatima Mansions (Lost in the Former West, 1995), Rusted Root (Remember, 1996) and Bijou Phillips (I'd Rather Eat Glass, 1999). A short-lived musicial reunion with Frantz and Weymouth came about in 1996 when the three formed The Heads, a project originally intended as a Talking Heads reunion and then altered when Byrne refused to participate; consequently, the group's sole album No Talking, Just Head made use of several replacement vocalists ranging from Debbie Harry to Andy Partridge. A proper reunion of the full band did eventually take place (although only for a single evening) on the occasion of their induction into the Rock and Roll Hall of Fame in 2002. Harrision has since continued to concentrate on his career as a producer for other artists, in addition to maintaining his role as Chairman of the Board for Garageband.com (an internet music resource he co-founded in 1999). © 2010 Soylent Communications A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-1500779485235600912015-04-15T02:09:00.002+02:002015-05-27T03:09:11.035+02:00Good God<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/Good%20God%20-%20Good%20God%20-%201972%20LP%20f%202_zpsqwjcj7im.jpg~original" /><br />
</center><span style="color: #e06666;">Good God</span> <span style="color: #f3f3f3;">-</span> <span style="color: #3d85c6;">Good God</span> <span style="color: #f3f3f3;">-</span> <span style="color: #f6b26b;">1972 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Atlantic</span><br />
<br />
"Perhaps the greatest of all "one-shot" progressive / fusion bands in the US (the Dallas-based Master Cylinder might give them a run for their money), Good God recorded a tremendous major label (Atlantic) album and then sunk without a trace. As far as I know, none of these guys (Zeno Sparkles, guitar & vocals; Cotton Kent, keys, sax & vocals; Greg Scott, saxes; John Ransome, bass; Hank Ransome, drums & vocals; plus various guests on additional horns and percussion) subsequently appeared on any later prog or fusion recordings, though Kent pops up as a session man on numerous local R&B dates. Given their instrumental virtuosity and imaginative approach to fusion and progressive rock this is hard to believe, but stranger things have happened. Stylistically, they are more a jazz-rock band (a bit like If or Zzebra, but with some Mahavishnu influence as well) rather than a Progressive rock band. The album contains 4 fine originals, and two covers: Zappa's "King Kong" and McLaughlin's "Dragon Song". One minor quibble: the rather weak vocals on 2 or 3 tracks" © Dave Wayne, GEPR © http://prognotfrog.blogspot.ie/2007/08/good-god-good-god-usa-1972-jazz-fusion.html<br />
<br />
A short-lived Philly-based jazz-rock outfit, Good God featured the talents of lead guitarist Larry Cardarelli (billed as 'Zeno Sparkles'), singer/keyboardist Cotton Kent, former Elizabeth drummer Hank Ransome, bassist John Ransome, and sax player Greg Scott. (If you believe the story, they got their name courtesy of Captain Beefheart. Enormous Beefheart fans, the band supposedly called him up out of the blue, ask what they should call themselves. Beefheart's spontaneous response provided the name.) Signed by Atlantic, the band's self-titled 1972 debut teamed them with the production team of Skip Drinkwater, Jay Mark, and Dennis Wilen. Featuring a mixture of band originals and covers, "Good God" was quite different than your standard Philadelphia-based band. Exemplified by instrumental-heavy tracks like '' and ''. these guys were clearly influenced by early 1970s jazz-rock/progressive outfits like Beefheart, Miles Davis (okay jazz-rock may not be an apt description for Davis), King Crimson, John McLaughlin, and Frank Zappa (the album included covers of the latter two acts), set of jazz-rock. I'm not a big fan of the genre, so that clearly colors my appreciation for the collection..The early 1970's was a fertile period for the fusion of jazz and rock. Stanley Clarke, Herbie Hancock and Chick Corea along with "The Prince of Darkness" Miles Davis himself were making ground breaking albums. Good God certainly fits that description even though it did not get much attention at the time. Featuring the keyboards of Cotton Kent along with Zeno Sparkles, guitar and vocals, Greg Scott, saxophones, John Ransome, bass and Hank Ransome drums, this album really cooks with a selection of tracks that still sound fresh almost forty years later. Mainly instrumental with some vocal accents and one actual song the tight arrangements are inventive and hold your interest after repeated listening. Good God has a sound all their own. Standout tracks include "Glaorna Gavorna", featuring the British tenor man from John Mayall's band Johnny Almond, "King Kong", the Frank Zappa Classic, and a killer version of John McLaughlin's "Dragon Song" - Highly recommended......FULL ALBUM IN dailymotion...........http://www.dailymotion.com/playlist/x33anb_John_Dug_good-god/1#video=x1fgv77 © 2015 Discogs http://www.discogs.com/Good-God-Good-God/release/2110516<br />
<br />
Obscure but outstanding album from Good God, an early 70's Philadelphia based jazz rock band with Canterbury Rock and instrumental Zappa influences. Essential listening if you like jazzy prog-rock bands like Soft Machine, King Crimson, Frank Zappa and many more. Progbear on rateyourmusic.com called this album "Superb fusion with a full brass section, like a more progressive-minded Blood, Sweat & Tears. Cover versions of Frank Zappa’s “King Kong” and John McLaughlin’s “Dragon Song” give you an idea where these guys’ heads were at, their originals are in a similar style. Johnny Almond of Mark-Almond makes a guest appearance on tenor sax." Superb musiciansip, great compositional skills, and tight arrangements make this an album <span style="color: #783f04;">HR by A.O.O.F.C </span><span style="color: yellow;">[</span><span style="color: #d9d2e9;">All tracks @ 320 Kbps: File size = 101 Mb</span><span style="color: yellow;">]</span><br />
<br />
<span style="color: #3d85c6;">TRACKS / COMPOSERS</span><br />
<br />
A1 A Murder Of Crows - Larry Cardarelli 6:24<br />
A2 Galorna Gavorna - Cotton Kent 5:11<br />
A3 King Kong - Frank Zappa 8:53<br />
<br />
B1 Dragon Song - John McLaughlin 4:20<br />
B2 Zaragoza - Cotton Kent 6:31<br />
B3 Fish Eye - Larry Cardarelli 8:37<br />
<br />
<span style="color: #ffe599;">MUSICIANS</span><br />
<br />
Guitar, Vocals – Zeno Sparkles<br />
Bass – John Ransome<br />
Piano, Electric Piano, Clavinet, Soprano Saxophone, Marimba, Vocals – Cotton Kent<br />
Drums, Vocals – Hank Ransome<br />
Congas – Larry Washington<br />
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Greg Scott<br />
Trumpet – Bob Shemenek<br />
Tenor Saxophone – Johnny Almond on "Galorna Gavorna"<br />
Trombone – Bruce Solomon on "Fish Eye"<br />
French Horn – Bob Martin A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com5tag:blogger.com,1999:blog-7758121285650208378.post-8445779820989300662015-04-14T00:22:00.004+02:002015-04-14T14:23:08.002+02:00Tetsuo Sakurai Featuring Greg Howe & Dennis Chambers<center>
<img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/Tetsuo%20Sakurai%20-%20Vital%20World%20-%202010_zpskvuddwja.jpg~original" /><br />
</center>
<span style="color: #990000;">Tetsuo Sakurai</span> <span style="color: #b4a7d6;">Featuring</span> <span style="color: #f4cccc;">Greg Howe</span><span style="color: #274e13;"> & </span><span style="color: #741b47;">Dennis Chambers</span> <span style="color: #f3f3f3;">-</span> <span style="color: #ea9999;">Vital World</span> <span style="color: #f3f3f3;">- </span><span style="color: #f9cb9c;">2010</span><span style="color: #f3f3f3;"> -</span> <span style="color: #444444;">King Records</span><br />
<br />
In 2001, Japanese bass legend Tetsuo Sakurai (Casiopea, Jimsaku, solo artist) released Gentle Hearts (Victor Entertainment) - a critically acclaimed instrumental rock fusion album that featured the stellar combo of Greg Howe on guitar, and Dennis Chambers on drums. This energetic disc was loaded with heavy riffs, and killer guitar work from Howe. The band also took their act on the road, and subsequently released Gentle Hearts Tour 2004 (2005 - Victor Entertainment) on CD and DVD. Now for his latest album, Vital World (King Records), Sakurai has joined forces with Howe and Chambers once again, and the results are even heavier and more guitar-driven than the group’s previous outings. What’s striking about Vital World is its sheer heaviness. While it does include shades of jazz harmony here and there, the music is largely driven by heavy guitar riffs - Sakurai is definitely shooting for a rock vibe with this album (Some tunes could even be described as prog metal). From a guitar perspective, Greg Howe’s style makes him a great fit for the material on this disc. Unlike many other players who make the attempt, he sounds authentic when utilizing a jazz influenced vocabulary with a rock approach and tone.The album’s in-your-face opener “Critical Planet” sounds like a throwback to “Brain Storm” from the Gentle Hearts album. It’s a relentless, slap-bass tour de force that gives Sakurai a chance to show off his considerable chops. Up next is “Alien’s Feast” - an uber-heavy tune that would not sound out of place on a Planet X record. It also features Howe shredding over a harmonic minor tonality - something he rares does on his own albums. “A Tear Of The Clown” is a heavy tune as well, but in more of melodic “arena rock” vein. Howe’s solo near the end of this piece may be his best on the album. The V chord at the end of the progression gives him a chance to peel off some nice altered scale runs. Sakurai’s amazing bass work is showcased once again on “Are You Ready” - a fun, uptempo tune that may best be described as instrumental pop rock (if there is such a thing anymore). Following a killer Chambers drum break in the middle of the tune, Sakurai takes a wild solo chock-full of crazy slapping and fast runs. The following piece, “Another Kingdom,” is one of the only songs I’ve ever heard that successfully fuses the styles of neo-classical and jazz. The Yngwie-esque A section features long 32nd-note lines doubled between the guitar and bass (reminiscent of “Flight Of The Bumblebee”), while the double-time B section reminded me of a jazz orchestra on a film score session. This would seem to be a strange combination, but the two sides to this tune flow together nicely. Two more heavy riff-based tunes follow - “Triangle Square” which features some Eastern-influenced melodies and an off-the-rails drum solo courtesy of Chambers, and “Monster Parade,” one of the hardest-rocking tunes on the disc. This song also has Howe playing some amazing outside lines. In a total gear shift, the album closes with “Father” - a flowing melodic ballad that serves as a nice palette-cleanser after the onslaught you’ve just experienced for the previous 7 tunes. Vital World is certainly one of the best heavy fusion albums of the year. Sakurai obviously went into this project with the intention of laying down some aggressive music, and he delivered in a big way. He explores a wide-array of rock styles here, yet still leaves room for his jazz and improvisational side. And with Howe and Chambers, he has the perfect bandmates for this endeavor - Both are well-versed in the styles presented on Vital World, and have an obvious rapport with Sakurai from the trio’s previous projects. Highly recommended. © Rich Murray October 03, 2010 © 2004 - 2012 Rich Murray. All Rights Reserved. http://www.guitar-channel.com/rich_murray/2010/10/review-tetsuo-sakurai-vital-world.html<br />
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Another remarkable high energy, dynamic fusion album from the great Japanese bassist, Tetsuo Sakurai. Amazing musicianship throughout with plenty of soloing from Tetsuo, Greg Howe, Dennis Chambers, and Taiki Imaizumi on keyboards. Read more about Tetsuo @ http://en.wikipedia.org/wiki/Tetsuo_Sakurai <span style="color: #660000;">[</span><span style="color: #f9cb9c;">All tracks @ 320 Kbps: File size = 112 Mb</span><span style="color: #660000;">] </span><br />
<br />
<span style="color: #b4a7d6;">TRACKS</span><br />
<br />
1. Critical Planet 2:28<br />
2. Alien's Feast 6:11<br />
3. A Tear Of The Clown 7:10<br />
4. Are You Ready 6:15<br />
5. Another Kingdom 5:12<br />
6. Triangle Square 6:35<br />
7. Monster Parade 6:51<br />
8. Father 5:47<br />
<br />
<span style="color: red;">All tracks composed by Tetsuo Sakurai except "Are You Ready" composed by Mark Farner</span><br />
<br />
<span style="color: #351c75;">MUSICIANS</span><br />
<br />
Greg Howe: Guitars<br />
Tetsuo Sakurai: Bass, Programming<br />
Taiki Imaizumi: Keyboards<br />
Dennis Chambers: DrumsA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-88173254760512577852015-03-30T23:26:00.002+02:002015-03-30T23:26:14.457+02:00Innes Sibun<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/Innes%20Sibun%20-%20Cant%20Slow%20Down%20-%202012_zpscc9pmklg.jpg~original" /><br />
</center><span style="color: #ead1dc;">Innes Sibun</span><span style="color: #f3f3f3;"> -</span> <span style="color: #45818e;">Can't Slow Down</span> <span style="color: #783f04;">(</span><span style="color: #274e13;">Live at the Estrado</span><span style="color: #783f04;">) </span><span style="color: #f3f3f3;">-</span> <span style="color: #ea9999;">2012 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Peppercake </span><br />
<br />
"One of the top three blues guitarists in the UK" - Paul Jones (The blues band/BBC radio 2)<br />
<br />
"He's toured the USA in Robert Plant's band, topped major festivals across Europe with his own band, and is one of the finest electric blues guitarists in the UK. So why isn't Innes Sibun famous? Answers on a postcard ....." - Venue magazine<br />
<br />
"Powerhouse guitarist who plays electric blues. Hugely popular on the continent, Innes is one of the many unsung heroes that populate a British music scene dominated by TV-promoted nonentities" - Venue magazine<br />
<br />
A live recording from 12.03.2011 from the Estrado in Harderwijk, Netherlands. If you like blues rock in the style of guitarists like Joe Bonamassa, you may like this album. This is Grade A blues rock by a great unheralded British guitarist, and <span style="color: #783f04;">HR by A.O.O.F.C.</span> Check out Innes' "Superstitious" album on this blog, and buy Innes' "After Dark Live" or "East Monroe" album and support great modern blues rock. Read more @ http://www.innessibun.org.uk/media.html <span style="color: #660000;">[</span><span style="color: #d5a6bd;">All tracks @ 320 Kbps: File size = 114 Mb</span><span style="color: #660000;">]</span><br />
<br />
<span style="color: #274e13;">TRACKS</span><br />
<br />
1 Sandy 6:24<br />
2 Mean Disposition 11:29<br />
3 Obsession 5:33<br />
4 It's Too Late 8:01<br />
5 I Found Your Letter 7:58<br />
6 My My My 6:26<br />
7 East Monroe 3:53<br />
<br />
<span style="color: #134f5c;">All tracks composed by Innes Sibun</span><br />
<br />
<span style="color: #f4cccc;">MUSICIANS</span><br />
<br />
Innes Sibun (Vocals, Guitar)<br />
Steve Hall (Bass Guitar, Background Vocals)<br />
Jon Buckett (Keyboards, Background Vocals)<br />
Rob Brian (Drums)<br />
<br />
<span style="color: #274e13;">BIO</span><br />
<br />
Blues guitarist Innes Sibun began playing guitar at the age of 12 after hearing B.B King. As a teenager he played in many bands playing punk, reggae, rock, folk & jazz learning from different musicians along the way. His first band the "Blues explosion" recorded the album "Thats what the blues can do" with legendary producer Mike Vernon (Eric Clapton,Peter Green's Fleetwood mac) in the producers seat. The album gained critical acclaim & was voted best blues album in Ireland that year. The band toured throughout the UK & Europe on their own & also toured with "Wild child" Butler, Jay Owens, Jesse "guitar" Taylor & Johnny Adams as well as opening up for Joe Louis Walker, Ronnie Earl, the Fabulous thunderbirds, Walter Trout,the Blues band, Boy George, nine below zero & Moody Marsden band & playing all the major blues festivals throughout the UK. In 1993 Innes was asked to join Robert Plant's band for his "Fate of nations" tour. The tour took in America, Europe & South America where they played the Rock in Rio festivals in Sao Paulo & Rio as well as playing in Argentina, Chile, Venezuela & Mexico. During the U.S dates Innes was able to meet & play with many of his blues heroes like Buddy Guy & James Cotton in Chicago, he also jammed at Antones blues club in Austin Texas with Tommy Shannon, Chris Layton, Chris Duarte & many other legends of the Austin blues scene. His guitar playing can be heard on Robert's "66 to Timbuktu" & "Nine lives" albums. Following the tour with Robert Plant Innes made several albums for Viceroy records, "Superstitious" & "Honeypot" with his new band, they toured throughout Europe & opened up for Peter Green in New York as well as touring Europe with Roger Chapman & Chris Farlowe. Two albums followed for Provogue records & the critically acclaimed "East Monroe" came out on Ulftone records in 2001. After many years of touring the band decided to rest & went their own ways. In 2004 Innes put together a new band who were asked to play at the Gloucester blues festival & Trowbridge village pump festival. The band soon found themselves in the studio & recorded "Farmhouse blues" which was released on ZYX records. Several tours of Germany followed with appearances at Colne, Gloucester, Cambridge & Bristol blues festivals in the UK as well as Mostar blues festival in Bosnia & others in Belgium, Austria, Germany & Slovenia. 2007 saw the release of "Tail dragger" on ZYX records to much critical acclaim (reaching number 6 in the German blues charts) as well as playing shows in Africa, U.S.A, Germany, Holland & the UK. 2008 started with more European shows & support slots with Johnny Winter, Taj Mahal, Steve Cropper & Al Kooper as well as appearances at the London blues festival & the Windsor blues festival in Ontario Canada. Recently the band has played tours of Germany, France, the UK & the Netherlands as well as festivals in France, Spain & the UK & in April 2009 embarked on a tour of the U.S.A as headliners. Innes also released a solo acoustic album on mp3 called "Snake wine". In 2010 the band released a live album on ZYX records entitled "The box set", they also played at the Rory Gallagher festival in Ballyshannon Ireland by special request of Rory's brother Donal Gallagher. 2011 saw the band record "Cant slow down" for 2012 release on ZYX records in 2012 as well as playing dates throughout Europe. Innes was invited to play in New york city for the Rory Gallagher show at the Iridium club to celebrate the release of the "Notes from San Fransisco" album. 2012 has seen shows in Latvia & the UK with dates coming up in Lithuania, Germany, Belgium & the Netherlands in the summer. © 2013 innes sibun (innessibun.org.uk) http://www.innessibun.org.uk/bio.htmlA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com4tag:blogger.com,1999:blog-7758121285650208378.post-77594796238814548042015-03-18T02:06:00.003+01:002015-03-18T02:20:24.633+01:007 For 4<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/7%20For%204%20-%20Diffusion%20-%202008_zps0s6mbecb.jpg~original" /><br />
</center><span style="color: #9fc5e8;">7 For 4</span> <span style="color: #f3f3f3;">-</span> <span style="color: #990000;">Diffusion </span><span style="color: #f3f3f3;">-</span> <span style="color: #674ea7;">2008 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">MGI</span><br />
<br />
The instrumental band 7for4 was founded in 1999 by guitarist Wolfgang Zenk. Since then 4 albums have been released. The 4 musicians stop for nothing: Whether Funk, Jazz, Metal or Country, they pack the best elements from most different styles into extraordinary but coherent compositions and perform their music with impressive virtuosity. Catchy melodies and spherical tunes alternate with full power passages, surprising the listener again and again with complex rhythms and virtuosic playing and soloing. © 2001-2014 | 7for4 http://www.7for4.de/about.html<br />
<br />
Many of you may be familiar with Wolfgang Zenk’s work with the progressive metal band Sieges Even. While drawing a few similarities, 7for4 can best be described as fusion that borrows heavily from many other genres. As the booklet best describes it: "Whether Rock, Funk, Jazz or even Country and Latin 7for4 pack the best elements from different styles into extraordinary and progressive compositions." With a majority of the influences coming from the metal, jazz and even shred. The first thing that becomes apparent is that almost this entire album is driven solely by the Wolfgang’s guitar work. A few songs such as Emoctify and Cyclotron sound a lot like Premonition era Tony Macalpine with many harmonized guitar parts and even similar melodies. The amount of influences on this album was what really kept me coming back for more. Silent Flow is a slower, blues based song with excellent melody and very tasteful guitar playing. Spiral Dance has an initial flamenco vibe to it which then progresses nicely into a heavier section that retains the same feel. My favourite track by far is Mystic Mouse. There is a slow, syncopated, ominous feeling at first which then leads into a few Liquid Tension Experiment inspired riffs that wouldn’t really be out of place on Biaxident or When The Water Breaks. A good thing to keep in mind about Diffusion is that, as opposed to a lot of other fusion type bands that have many bass and keyboard based sections as well as guitar, this is almost all based around Wolfgang Zenk. Even as a guitarist I have some reservations about music strictly based around guitar because I enjoy what the other musicians can bring to the table when given adequate room to play. This is one of the few cases where an album such as this made a huge impression on me. Not only does the style of music shift from song to song, it does so seamlessly within songs while remaining largely coherent. As with all music such as this, it does require some time to begin to hear to subtleties in compositions as opposed to a jumbled mess that it first sounded like to me. Highly recommended for fans of fusion, world and metal based instrumental music.<br />
Conclusion: 8.5 out of 10 © CHRIS JACKSON © DPRP<br />
<br />
What a treat, when every few years guitarist Wolfgang Zenk, and his quartet of fusion explorers consisting of: Klaus Engl on drums, Marlkus Grutzner on bass and Markus Froschmeier on keyboards, take on a new challenge to deepen the 7 for 4 discography. 2008 sees the release of the band's newest addition, with their third recording with the aptly named Diffusion, which in physics means, an intermingling of molecules, and yet another definition:To become widely dispersed; spread out. Which in regards to musical genres is very fitting of the bands' overall sound. Start with the vibe that is 7 for 4, they are all musicians that have spent a lifetime of dedication to their instruments, each player shares in the musical direction by injecting their personal touch to these elegantly written compositions. Granted, Wolfgang Zenk's guitar is at times the voice of the band so to speak, but each players is important to what the band achieves compositionally. Unlike many fusion bands that set up grooves or progressions for the sake of showcasing individuals' solo skills, these songs are much more intricate and cinematic in style. What they are creating are graceful songs that set a perfect backing for imaginary scenarios and would be cinema soundtracks. It's that rare marriage of talent and writing where progressive music meets fusion's high standard of musicianship, no ideas or styles are excluded, as this music can be soft or heavy, calm or stormy, contemplative or extravagant. It is the music of extremes, yet never dull or dispassionate. What I hear with 7 for 4 is the same feelings I had when hearing Return to Forever's - Romantic Warrior for the first time, not that the bands sound at all alike, but having four greatly skilled musicians creating composed music that mixes rock, jazz, metal, latin, etc, yet with such a natural chemistry that it all comes out sounding like only something 7 for 4 would do. That is what I love about the band so much. They have a personality, no cloning, no derivative comparisons really, but a band that has a gift that exists between them that allows the magic to sort of manifest without pretensions or formulas. My understanding is that this cd was over two years in the making, and as intricate as this music is, that is very understandable, as any great production should be, taking the time to perfect one's craft typically produces a desired result. 7 for 4 have yet to produce anything short of excellent, each of their cds is an adventure into the future of instrumental progressive fusion, this being the latest cd, I can hear some familiar sounds, and some new ideas, yet as always, launching the band boldly forward from where they were in 2004 with the release of Time. In this day and age of what seems like an endless array of musical clones, we have a band that has taken on an identity all of their own, the power of metal, the elegance of jazz, the sophistication of progressive music, and the flavor of various ethno rhythms, and a great presentation of these themes, paired with a fantastic production quality, and what you have is what is proving to be a frontrunner for my favorite cd of 2008, it will certainly be a hard one to beat. © MJBrady © ProGGnosis 2000 - 2015 where appropriate - All rights reserved. http://www.proggnosis.com/RELEASE_Detail.aspx?RID=25394<br />
<br />
Wonderful instrumental prog metal and jazz fusion from this great German group. This band play a terrific blend of fusion with jazz rock, Canterbury, classical, and even Latin touches. The individual musicians are all virtuosos. The album is not a masterpiece by any means but the fabulous musicianship carries this album over the line. <span style="color: #783f04;">HR by A.O.O.F.C</span> Check out the band's amazing "Contact" and "Time" albums on this blog and consider buying the band's "Splash" album released in 2014. <span style="color: #4c1130;">[</span><span style="color: #d9d2e9;">All tracks @ 320 Kbps: File size = 121 Mb</span><span style="color: #4c1130;">]</span><br />
<br />
<span style="color: #660000;">TRACKS</span><br />
<br />
1 Diffusion 5:54<br />
2 Indigo Dunes 5:55<br />
3 Emoctify 4:50<br />
4 The Winding Path 6:45<br />
5 Silent Flow 7:43<br />
6 Cyclotron 4:24<br />
7 Spiral Dance 6:24<br />
8 Hidden Depths 5:32<br />
9 Mystic Mouse 5:11<br />
<br />
<span style="color: #0b5394;">All songs composed by Wolfgang Zenk</span><br />
<br />
<span style="color: #ead1dc;">MUSICIANS</span><br />
<br />
Wolfgang Zenk - Guitar<br />
Markus Grutzner - Bass<br />
Markus Froschmeier - Keyboards<br />
Thomas Streck - Additional Keyboards<br />
Klaus Engl - Drums<br />
<br />
<span style="color: #cc0000;">BIO</span><br />
<br />
7FOR4 are four very talented guys from Munich/Germany. Maybe talented is not the right term here because all four dispose of experience and know-how. Wolfgang Zenk who impresses with his virtuos guitar playing was a member of the German prog metal band SIEGES EVEN (which can also be found in the Prog Archives) as well as leader and lecturer of MGI München (Munich), Germany's best known institute for professional guitar education. Markus Grützner played bass for several Jazz/Fusion bands and did so on several European tours of the well known Broadway musical "Hair". Klaus Engl also is a lecturer, he works for the drum-institute "Drummer's Focus" and played together with Markus Grützner in a Heavy-Rock band. The keyboard player Markus Froschmeier has his roots in the classical genre and adds some of his influences to the general sound of the band. Speaking about general sound I have to mention that it is quite difficult to find a term describing the style applicatively. Besides the fact that the music is all instrumental, you can say that it is a mixture of Prog Metal and Jazz Rock/Fusion, sounding as if LTE and the MAHAVISHNU ORCHESTRA get together. But nearly every song seems to have different influences so you can find tunes with a country, "gypsy music" or Brazilian samba flavour, most of it played incredibly fast. The band released two albums so far. The first one called "Contact" was released in 2001. Their current album is called "Time" and was released in 2004. Both albums are incredible and feature the quite unique sound I described above as well as awesome cover artwork. You can't say which of them is the better one. My suggestion is that you purchase both. With that said I can end with mentioning that I really recommend checking out this terrific band. If you have the chance to get one of their albums, don't wait and grape it. If you even have the chance to see them live, don't falter, I can tell you that it's really worth the effort, I've seen them and they really blew me away. © Martin Dietrich, GERMANY © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=1279A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-68620808638134864072015-03-14T04:10:00.001+01:002015-03-14T04:10:08.535+01:00The Magic Elf<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/The%20Magic%20Elf%20-%20Elf%20Tales%20-%201990_zpsxwvpgm7h.jpg~original" /><br />
</center><span style="color: #7f6000;">The Magic Elf</span> <span style="color: #f3f3f3;">-</span> <span style="color: #93c47d;">Elf Tales</span> <span style="color: #f3f3f3;">-</span> <span style="color: #073763;">1998 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Big Shoe</span><br />
<br />
This is undeniable Dregs-style rock with brief flashes of Holdsworthian/Ray Gomez/Beck jazz rock fusion slant. This is a tasty riff fest by the accomplished Carl Roa that guitarheads are gonna enjoy. This Elf Tales reminds me of Morse's The Introduction. The bass work by Magic Elf's George Panos and Saul Zonana is strong. Roa is Steve Morse all over this release. He is very close to the Morse-emulations that Ben Sherman or Dream Theater's Petrucci lay down. Consistently, you find percussive chops and fretboard gymnastics that scream Dregs. Even that Deep Purple w/ Morse's gritty punch comes through on "Hobgoblins." What a note blitz. And as Morse loved the classic guitar and that dreamy, ascent-to-heaven progressions, it is all there on Elf Tales "Greensleep," "Tree Talk," and the 7:02 finale, "Cobbler's Quest." Throughout the album it is all held together and relentlessly driven to perfection with rock steady drums by Dave Miranda. © John W. Patterson © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/elf-tales-mw0001075915<br />
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The Magic Elf is the prayer answer to all those Dixie Dregs fans who have just given up hope that the Dregs will ever release an album that doesn't sound identical to the previous one (including Morse solos). Playing a blistering brand of instrumental fusion and progressive rock this trio also strays slightly into metal, classical, and even a dash of country. Guitarist Carl Roa studied at the Berkley College of Music and graduated from the University Of Miami with a degree in Jazz Performance and Composition. Drummer Dave Miranda studied jazz fusion and also plays in the hardcore outfit The Six & Violence. Bass duties are handled on various tracks by George Panos and Saul Zonana. Much of what gives the Magic Elf their identity (apart from the obvious influences) is rather than being a showcase for guitarist Roa, Magic Elf is a power trio that seems to give equal prominence to the guitar and drums. Roa is very much a "vocalist" in that his guitar creates each song's melody, but Miranda's drumming right out there with him helping to create the feel of the songs. There's plenty of heavy rockin' here that display the musicians' proficiency and ability to handle both flash and good melodies. Songs like "Mr Destructo", "Hobgoblins", and the metallic "Limbonic State" will put you in the seat of the guy in the Maxell tape commercials where the chair is blown across the room by the rush of the music blasting from the stereo. Magic Elf do allow some breathers as well. "Greensleep" is an ambient-acoustic piece that briefly slows the pace and "Tree Talk" is a solo classical acoustic guitar number. It's interesting that despite the heavy Dregs sound, the opening track, "The Big Shoe", forecasts that this will be more along the lines of Allan Holdsworth. I don't hear the Rush influences that several reviewers have cited, but I haven't heard a lot of Rush in recent years. In summary, The Magic Elf will blow you away if you like technical progressive fusion that has chops galore, but is also creatively composed. A note to the band: Heed the first line of this review and don't fall into the same rut Morse and company did. Reviewed by & © Jerry Kranitz From Aural Innovations #6 (April 1999) http://www.aural-innovations.com/issues/issue6/magelf01.html<br />
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Magic Elf is an instrumental rock, progressive, fusion trio formed in East Setauket, NY, in 1985. The band's style is often compared to The Dregs, Rush, King Crimson, Eric Johnson, Allan Holdsworth, Joe Satriani, Steve Vai, Dream Theater and the like. "Elf Tales" is a brilliantly constructed album of technical progressive fusion. Carl Roa is the guitarist of this highly acclaimed band. Whether ripping through a supercharged rock solo or gliding through a maze of soulful chord progressions, Carl's ability to balance musicality and technique has delighted music fans worldwide. Receiving accolades from Guitar World, Progression and Billboard magazines, Carl's unique and diverse playing style has put him in the forefront of today's progressive rock / fusion movement. Check out Magic Elf's "Heavy Meddle" album and Carl Roa's "Lord of the Strings" album <span style="color: #660000;">[</span><span style="color: #274e13;">All tracks @ 320 Kbps: File size = 125 Mb</span><span style="color: #660000;">]</span><br />
<br />
<span style="color: #073763;">TRACKS</span><br />
<br />
1 The Big Shoe 3:39<br />
2 Elf Rock 3:51<br />
3 Mr. Destructo 4:26<br />
4 Limbonic State 4:32<br />
5 Greensleep 1:48<br />
6 Troll Toll 4:04<br />
7 Hobglobins 4:57<br />
8 Tree Talk 1:27<br />
9 Cobbler's Quest 6:57<br />
<br />
<span style="color: #fff2cc;">All tracks composed by Carl Roa</span><br />
<br />
<span style="color: #7f6000;">MUSICIANS</span><br />
<br />
Carl Roa - Guitars<br />
George Panos - Bass<br />
Saul Zonana - Bass on Tracks 2,4,6,9<br />
Dave Miranda - DrumsA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-74903777785148817452015-02-28T03:14:00.003+01:002015-02-28T03:14:33.228+01:00The Kinsey Report<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/the%20kinsey%20report%20-%20smoke%20and%20steel%20-%201998_zpsjimyziy9.jpg~original" /><br />
</center><span style="color: #d9d2e9;">The Kinsey Report</span> <span style="color: #f3f3f3;">- </span><span style="color: #e69138;">Smoke And Steel</span> <span style="color: #f3f3f3;">-</span> <span style="color: #d5a6bd;">1998 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Alligator</span><br />
<br />
CMJ (11/09/98, p.25) - "...Smoke and Steel is a powerful blues album from this group of contemporary masters..."<br />
<br />
Living Blues (1-2/99, p.50) - "...the effort is largely successful....a welcome improvement..."<br />
<br />
With a strong, rock-drenched approach to their brand of blues, the Kinsey Report comes roaring back with their third full length album for the Alligator imprint. The band has matured and, if nothing else, acquits themselves in a thoroughly professional manner like the old-school gospel/blues/R&B veterans they truly are. While the whole thing pulsates and rocks with an almost bludgeoning intensity at times, Donald's blistering guitar is equal parts roadhouse funk and rock volume blues infused with lots of Johnny Winter and Jimi Hendrix with the Kinsey family twist put to it. Brothers Kenny and Ralph hold the bass-drums groove down tight, tight, tight, while guest guitars, keyboards and Lester Davenport on harmonica show up along the way to spice things up. Highlights include the minor-key reggae groove of "This Old City," and the funk flavors on "When the Church Burned Down" and "Can't See the Hook," the soul ballad "Loved Ones," the lowdown mean country romp of John Fogerty's "Rattlesnake Highway" and "Down In the Dungeon," and the slow blues workout on "Code of the Streets." Strong, strong songwriting (Billy Gibbons of ZZ Top co-wrote one of the tunes here) and a varied approach throughout makes this a modern blues album that holds up to repeated listenings. © Cub Koda © 1996 - 2015 CD Universe http://www.cduniverse.com/productinfo.asp?pid=1011988&style=music&fulldesc=T<br />
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A very enjoyable funk, blues and rock album. Bassist Kenneth Kinsey and drummer Ralph Kinsey do a great job on John Fogerty's "Rattlesnake Highway" and on "When the Church Burned Down" the band expertly blends country rock and funk. A well above average album worth hearing. Check out the band's great "Midnight Drive" album <span style="color: #660000;">[</span><span style="color: #f9cb9c;">All tracks @ 320 Kbps: File size = 137 Mb</span><span style="color: #660000;">]</span><br />
<br />
<span style="color: #b4a7d6;">TRACKS / COMPOSERS</span><br />
<br />
1. Time Is Running Out - Bruce Iglauer / Donald Kinsey / Kenneth Kinsey / Ralph Kinsey<br />
2. Dead In Your Tracks - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey<br />
3. This Old City - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / J. White<br />
4. Can't See The Hook - Leslie Doyle / Mike Lawley / Ross Roberts<br />
5. Loved Ones - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey<br />
6. Must Be Love - Jerry Lynn Williams<br />
7. When The Church Burned Down - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey<br />
8. Rattlesnake Highway - John Fogerty<br />
9. Down In The Dungeon - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / M. Robinson<br />
10. Fire Down Below - Bob Seger<br />
11. Code Of The Streets - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / Kinsey Report<br />
12. One Step Back - Billy Gibbons / Jerry Williams<br />
<br />
<span style="color: #741b47;">MUSICIANS</span><br />
<br />
Donald Kinsey - guitar, vocals<br />
Dave Miller - rhythm guitar (1,7,8)<br />
Will Crosby - rhythm guitar (4,5,7,9,10)<br />
Kenneth Kinsey - bass<br />
Roosevelt Purifoy - keyboards (2,3,6,9)<br />
Anthony Space - keyboards (4,5,7,10,11)<br />
Ralph Kinsey - drums, percussion and 2nd lead vocals (2)<br />
"Mad Dog" Lester Davenport - harmonica (9)<br />
The Kinsey Report, Nancy Shaffer, Lasandra Maloney - backing vocals<br />
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<span style="color: #76a5af;">SHORT BIO</span><br />
<br />
This family band consists of Donald Kinsey (vocal, guitar), Ralph "Woody" Kinsey (drums), Kenneth Kinsey (bass), and Ronald Prince (guitar). Solidly based in the blues as a result of lifelong training in the Big Daddy Kinsey household, the Kinsey scions are also versed in a broad range of music. Older brothers Donald and Ralph had an early blues-rock trio (White Lightnin') in the mid-'70s, long before they regrouped as The Kinsey Report in 1984 and began to launch new excursions into rock. Donald also recorded and toured with Albert King and with Bob Marley, and the influence of those giants (as well as that of Big Daddy Kinsey, naturally) show through in the music of The Kinsey Report. The band expertly covers all the bases from Chicago blues through reggae, rock, funk, and soul, and their recordings are also distinguished by the songwriting talents and self-contained production approach of The Kinseys. © Jim O'Neal © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/kinsey-report-mn0000100455/biographyA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com4tag:blogger.com,1999:blog-7758121285650208378.post-37947879811193742922015-02-21T02:28:00.002+01:002015-02-21T02:28:18.709+01:00Keith Richards<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/KeithRichards-MainOffender-1992_zps3106c59a.jpg~original" /><br />
</center><span style="color: #7f6000;">Keith Richards</span> <span style="color: #f3f3f3;">-</span> <span style="color: #d9d2e9;">Main Offender</span> <span style="color: #f3f3f3;">-</span> <span style="color: #fff2cc;">1992 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Virgin (Japan)</span><br />
<br />
Main Offender is Keith Richards’ second solo studio album and his third overall. Released in 1992 in between The Rolling Stones’ Steel Wheels and Voodoo Lounge projects, Main Offender remains to date Richards’ most recent offering as a solo artist. Regrouping with his group of musician friends — known publicly as “The X-Pensive Winos” — Richards teamed up with Talk is Cheap collaborator, Steve Jordan, adding Waddy Watchel to the mix both in composing and producing Main Offender.Sessions took place in California and New York City from March to September 1992, with another round of touring scheduled that fall in Europe and early 1993 in North America. When Richards would reunite with Mick Jagger (who was recording Wandering Spirit while Richards was making Main Offender) in mid-1993 to start work on Voodoo Lounge, Jagger would compliment Richards on Main Offender, even using lead single “Wicked As It Seems” as inspiration for The Rolling Stones’ next single, “Love Is Strong”. Released in October 1992, Main Offender received another round of positive reviews, but failed to match the commercial success of Talk is Cheap, reaching #45 in the UK and #99 in the US where it has sold over 200,000 copies. Following the touring commitments in support of Main Offender, Richards would return to recording exclusively with The Rolling Stones and put his solo career on an indefinite hold. - Wiki<br />
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Primarily a rock album and second solo album from the great Rolling Stone legend but with some great catchy tunes, smooth grooves and very good riffs. A terrific cast of great musicians help out. <span style="color: #783f04;">HR by A.O.O.F.C. </span>The album arguably rocks better and harder than some of the Stones' more recent albums. Highlights include "Wicked as It Seems," "Eileen," and the searing "999." Listen to Keith's "Talk Is Cheap" album. <span style="color: #ead1dc;">[</span><span style="color: #ffe599;">All tracks @ 320 Kbps: File size = 156 Mb</span><span style="color: #ead1dc;">]</span><br />
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<span style="color: #bf9000;">TRACKS / </span><span style="color: #b4a7d6;">COMPOSERS / </span><span style="color: #741b47;">CREDITS</span><br />
<br />
1 999 - K. Richards, S. Jordan, W. Wachtel 5:51<br />
Backing Vocals – Sarah Dash<br />
Backing Vocals, Guitar – Waddy Wachtel<br />
Bass – Charley Drayton<br />
Drums, Backing Vocals – Steve Jordan<br />
Lead Vocals, Backing Vocals, Guitar – Keith Richards<br />
Organ, Clavinet – Ivan Neville<br />
<br />
2 Wicked As It Seems - C. Drayton, K. Richards, S. Jordan 4:45<br />
Backing Vocals – Babi Floyd, Bernard Fowler<br />
Bass – Charley Drayton<br />
Clavinet – Ivan Neville<br />
Drums, Backing Vocals, Percussion – Steve Jordan<br />
Guitar, Backing Vocals – Waddy Wachtel<br />
Lead Vocals, Backing Vocals, Guitar, Other [Rattlesnake] – Keith Richards<br />
<br />
3 Eileen - K. Richards, S. Jordan 4:29<br />
Backing Vocals – Charley Drayton<br />
Drums, Backing Vocals, Castanets – Steve Jordan<br />
Guitar, Backing Vocals, Piano – Waddy Wachtel<br />
Lead Vocals, Backing Vocals, Guitar, Bass – Keith Richards<br />
Piano – Ivan Neville<br />
<br />
4 Words Of Wonder - K. Richards, S. Jordan, W. Wachtel 6:35<br />
Backing Vocals – Bernard Fowler<br />
Backing Vocals, Instruments [Lip Bone] – Babi Floyd<br />
Drums – Charley Drayton<br />
Guitar, Backing Vocals – Waddy Wachtel<br />
Guitar, Backing Vocals, Percussion – Steve Jordan<br />
Lead Vocals, Guitar, Bass – Keith Richards<br />
Piano, Organ, Clavinet – Ivan Neville<br />
<br />
5 Yap Yap - K. Richards, S. Jordan, W. Wachtel 4:43<br />
Backing Vocals – Babi Floyd, Bernard Fowler<br />
Drums, Backing Vocals, Percussion – Steve Jordan<br />
Guitar – Waddy Wachtel<br />
Guitar [Baritone] – Charley Drayton<br />
Lead Vocals, Backing Vocals, Guitar, Bass, Percussion – Keith Richards<br />
Vibraphone [Vibes] – Ivan Neville<br />
<br />
6 Bodytalks - C. Drayton, K. Richards, S. Dash, S. Jordan 5:20<br />
Backing Vocals – Babi Floyd, Bernard Fowler, Sarah Dash<br />
Bass – Charley Drayton<br />
Drums, Backing Vocals, Percussion – Steve Jordan<br />
Guitar, Backing Vocals – Waddy Wachtel<br />
Lead Vocals, Backing Vocals, Guitar – Keith Richards<br />
Voice [Oh, Lord] – Ivan Neville<br />
<br />
7 Hate It When You Leave - K. Richards, S. Jordan, W. Wachtel 4:59<br />
Backing Vocals – Babi Floyd, Bernard Fowler<br />
Bass – Ivan Neville<br />
Drums, Backing Vocals, Congas, Keyboards [Farfisa] – Steve Jordan<br />
Guitar, Backing Vocals, Celesta – Waddy Wachtel<br />
Lead Vocals, Backing Vocals, Guitar, Keyboards – Keith Richards<br />
Piano, Organ [Hammond B-3], Backing Vocals – Charley Drayton<br />
Woodwind – Arno Hecht, Crispin Cioe, Jack Bashkow<br />
<br />
8 Runnin' Too Deep - K. Richards, S. Jordan 3:20<br />
Backing Vocals – Babi Floyd, Bernard Fowler<br />
Bass – Charley Drayton<br />
Drums, Backing Vocals, Percussion – Steve Jordan<br />
Guitar, Backing Vocals – Waddy Wachtel<br />
Lead Vocals, Backing Vocals, Guitar, Piano – Keith Richards<br />
Piano, Harpsichord – Ivan Neville<br />
<br />
9 Will But You Won't - K. Richards, S. Jordan 5:05<br />
Backing Vocals – Bernard Fowler<br />
Bass – Charley Drayton<br />
Clavinet – Ivan Neville<br />
Drums, Backing Vocals, Percussion – Steve Jordan<br />
Guitar, Backing Vocals, Percussion – Waddy Wachtel<br />
Lead Vocals, Backing Vocals, Guitar, Percussion – Keith Richards<br />
Vocals – Babi Floyd<br />
<br />
10 Demon - K. Richards, S. Jordan 4:46<br />
Backing Vocals – Babi Floyd, Bernard Fowler<br />
Bass – Charley Drayton<br />
Drums, Backing Vocals, Percussion – Steve Jordan<br />
Guitar, Backing Vocals – Waddy Wachtel<br />
Lead Vocals, Backing Vocals, Guitar – Keith Richards<br />
Piano – Ivan Neville<br />
<br />
11 Key To The Highway - McKinley Morganfield 3:21<br />
Backing Vocals – Bernard Fowler<br />
Bass, Backing Vocals – Joey Spampinato<br />
Drums, Backing Vocals – Steve Jordan<br />
Keyboards, Backing Vocals – Bernie Worrell<br />
Lead Vocals, Backing Vocals, Guitar – Keith Richards<br />
Piano – Johnnie Johnson<br />
<br />
<span style="color: #134f5c;">BIO</span><br />
<br />
He's acknowledged as perhaps the greatest rhythm guitarist in rock & roll, but Keith Richards is even more legendary for his near-miraculous ability to survive the most debauched excesses of the rock & roll lifestyle. His prodigious consumption of drugs and alcohol has been well documented, and would likely have destroyed anyone with a less amazing endurance level. On-stage with the Rolling Stones, he epitomized guitar-hero cool as the quiet, stoic alter ego to Mick Jagger's extroverted frontman, a widely imitated image made all the more fascinating by his tightrope-walking hedonism. Yet that part of Richards' mystique often overshadows his considerable musical legacy. Arguably the finest blues-based rhythm guitarist to hit rock & roll since his idol Chuck Berry, Richards knocked out some of the most indelible guitar riffs in rock history, and he did it so often and with such apparent effortlessness that it was easy to take his songwriting skills for granted. His lean, punchy, muscular sound was the result of his unerring sense of groove and intuitive use of space within songs, all of which played a major part in laying the groundwork for hard rock. Never intensely interested in soloing, Richards preferred to work the groove using open-chord tunings drawn from Delta blues, and his guitars were often strung with only five strings for cleaner fingering, which made it difficult for cover bands to duplicate his distinctive sound precisely. For all his rock-star notoriety, Richards was perfectly happy in the confines of a group, and thus was the last Rolling Stone to release a side-project solo album; his 1988 solo debut appeared more than a quarter century after he co- founded the band that earned him the nickname "Mr. Rock and Roll." Richards was born December 18, 1943, in Dartford, Kent, on the southern outskirts of London. When he was just an infant, his family had to be temporarily evacuated from their home during the Nazi bombing campaign of 1944. In 1951, while attending primary school, Richards first met and befriended Jagger, although they would be split up three years later when they moved on to different schools. By this age, Richards had already become interested in music, and was an especially big fan of Roy Rogers; in his very early adolescence, he sang in a choir that performed for the Queen herself, although he was forced to quit when his voice changed. Around that time, he became interested in American rock & roll and began playing guitar, with initial guidance from his grandfather. Behavior problems at school led to Richards' expulsion in 1959, but the headmaster thought he might find a niche as an artist, and Richards was sent to Sidcup Art School. There he met future Pretty Things guitarist Dick Taylor, who at the time was playing in a blues band with Jagger. Discovering their new mutual interest, Richards and Jagger struck up their friendship all over again, and Richards joined their band not long after. Over the next couple of years, that band evolved into the Rolling Stones, who officially debuted on-stage in the summer of 1962 (by which time Richards had left school). The rest was history -- initially a blues and R&B cover band, the Stones branched out into original material penned by Jagger and Richards. The duo took some time and practice to develop into professional-quality songwriters, but by 1965 they'd hit their stride. "(I Can't Get No) Satisfaction" made them superstars in the States as well as the U.K., boasting one of rock's all-time great guitar riffs, which Richards played into a tape recorder in the middle of the night and didn't recall writing when he heard the tape the next morning. With their menacing, aggressively sexual image, the Stones became targets for British police bent on quelling this new threat to public decency, and Richards suffered his first drug bust in 1967 when police raided his residence and found amphetamines in the coat pocket of Jagger's girlfriend, singer Marianne Faithfull. Richards was convicted of allowing the activity on his premises and sentenced to a year in prison, but public furor over the trumped-up nature of the charges and the purely circumstantial evidence prompted a hasty reversal of the decision. The same year, Richards hooked up with bandmate Brian Jones' former girlfriend, model/actress Anita Pallenberg; although the two never officially married, they remained together (more or less) for the next 12 years, and had two children (Marlon, in 1968, and Angela, in 1972). After the death of Brian Jones in 1969, the Stones became a more straightforward, hard-rocking outfit, and Richards' guitar took center stage more than ever before. By this era, he'd taken to calling himself Keith Richard, simply because he thought it sounded better without the s. Privately, the band was sinking further into decadence, clearly audible on its early-'70s masterpieces Sticky Fingers and Exile on Main Street. However, Richards' burgeoning heroin addiction began to affect the consistency of the band's recordings for the next few years. Additionally, he ran into more legal troubles; his French villa was the subject of a drug raid in 1972, as was his British residence the following year. (Rumors dating from this era that Richards had all of his blood replaced in a cleanup effort, while entertaining, were not true.) Over 1976-1977, Richards entered the studio for a few solo sessions, but the only result to see the light of day was the Christmas single "Run Rudolph Run" (issued in 1978). Perhaps the lack of productivity was due to the fact that Richards was in the middle of the most difficult period of his life. In 1976, Richards' infant son Tara, his third child by Pallenberg, died suddenly; the official cause was SIDS, although unsubstantiated rumors about the couple's drug abuse playing a factor circulated as well. In early 1977, Richards was busted for coke, and faced the most serious charges of his life when, in Toronto, he was caught in possession of heroin. He narrowly escaped serving jail time, agreeing to perform a charity concert for the blind and enter drug rehabilitation in the United States. The scare convinced him to clean up, and when the Stones returned in 1978 with Some Girls, it was acclaimed as their strongest, most focused work in years, and helped rejuvenate their popularity as an arena rock attraction. Things went sailing along smoothly for the next few years, and Richards even officially married for the first time in 1983, wedding Patti Hansen, who would bear him two more daughters, Theodora and Alexandra (he and Pallenberg had finally split in 1979). However, around the same time, Jagger decided the Stones should take a new direction more in line with contemporary pop; Richards refused, and Jagger embarked on a solo career that began to take priority over the Stones. It ignited a very public feud between the two, and rumors of the Stones' imminent demise swirled over the next few years. When Jagger refused to tour behind 1986's Dirty Work in order to record his second solo album, Richards retaliated by going out on his own, forming a backing band he dubbed the Xpensive Winos. Richards released his first solo album, Talk Is Cheap, in 1988. Both critically and commercially, it was a far greater success than Jagger's Primitive Cool. Reviews were generally quite complimentary, calling it a solid rock & roll record; plus, buoyed by the minor hit single and MTV favorite "Take It So Hard," Talk Is Cheap went gold. Richards embarked on a supporting tour which produced the concert album Live at the Hollywood Palladium, released three years later, and his success convinced Jagger to return to the fold (of course, the relative failure of his own solo venture helped). Their future thus seemingly assured, the Stones had their biggest success in some time with the 1989 album Steel Wheels and its blockbuster supporting tour. In the early '90s, Richards and Jagger once again began working on solo projects, but this time with the understanding that nothing took precedence over the Stones; Richards' second studio album, Main Offender, was issued in 1992, and again received fairly solid notices, although it didn't get quite the same commercial exposure. Since then, Richards has concentrated on recording and touring with the Stones. © Steve Huey © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/keith-richards-mn0000767068/biographyA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com5tag:blogger.com,1999:blog-7758121285650208378.post-23728889997253692132015-02-19T00:00:00.005+01:002015-02-19T00:00:50.700+01:00Talking Heads <center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/TalkingHeads-TheNameOfThisBandIsTalkingHeadsLive2CDSetRemastered-2004_zps5891503d.jpg~original" /><br />
</center><span style="color: #f4cccc;">Talking Heads</span><span style="color: #f3f3f3;"> -</span> <span style="color: #7f6000;">The Name Of This Band Is</span> <span style="color: #b4a7d6;">Talking Heads </span><span style="color: #cfe2f3;">(</span><span style="color: #fff2cc;">Live 2 CD Set Remastered</span><span style="color: #cfe2f3;">) </span><span style="color: #f3f3f3;">-</span> <span style="color: #ffe599;">2004 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Rhino</span><br />
<br />
The Name of This Band Is Talking Heads is a double live album by Talking Heads, originally released in 1982. The first album featured the original quartet in recordings from 1977 and 1979, and the second album the expanded ten-piece lineup that toured in 1980 and 1981. The album contains live versions of songs that appear on Talking Heads: 77, More Songs About Buildings and Food, Fear of Music, and Remain in Light. The cassette edition of the album included "Cities" as a bonus track not included on the vinyl edition – this track has been included on the subsequent CD release. The title of the album is a reference both to the group's preference for having no expressed definite article within the band name (as opposed to "The Talking Heads") and to David Byrne's minimalist introductions to songs. The album opens with one such introduction: "The name of this song is New Feeling. That's what it's about." An expanded version of the record, on CD in the United States for the first time, was released in 2004 by Sire/Warner Bros./Rhino. It duplicated the pattern of the original with the first disc featuring the quartet alone, and the second disc a ten-member band. Additional tracks from 1978 are among the eight extra songs on the first disc, and correct running order for the set from the larger band on the second disc. The introduction to the song "Crosseyed And Painless" was edited out on the CD version, however.The remastered & expanded edition of the album currently sits at number fifteen on the Metacritic list of all time best-reviewed albums. – Wiki<br />
<br />
Although most people probably think the only Talking Heads live release is Stop Making Sense, the fact is that there's an earlier, better live album called The Name of This Band Is Talking Heads. Originally released in 1982 on LP and cassette, the album chronicles the growth of the band, both stylistically and personnel-wise. The first LP is the original quartet version of the band, recorded between 1977 and 1979, performing excellent versions of tunes (mostly) off 77 and More Songs About Buildings and Food. Also included were the previously unavailable "A Clean Break" and "Love Goes to a Building on Fire," as well as early versions of "Memories Can't Wait" and "Air." The second LP comes from the Remain in Light tour, recorded in 1980 and 1981. In order to present something close to the music on that album, the original quartet lineup was greatly expanded. Added were two percussionists (Steven Stanley, Jose Rossy), two backup singers (Nona Hendryx, Dollette McDonald), Busta Cherry Jones on bass, Bernie Worrell (!) on keys, and a young Adrian Belew on lead guitar. The excitement of this material is palpable, and the muscular band rips into these tunes with more power than the originals in most cases. "Drugs" gets revamped for live performance, and "Houses in Motion kicks into high gear with a great art-funk coda. Belew is absolutely on fire throughout, especially on "The Great Curve" and "Crosseyed and Painless," where his deranged feedback soloing has never sounded better. At this point in their career, Talking Headswere still basically an underground band; it was "Burning Down the House" that really thrust them into the mainstream, and Stop Making Sense documents their arrival as a more or less mainstream act. The Name of This Band Is Talking Heads captures a hungry band on its way up, performing with a fire that was never matched on later tours. Unfortunately, The Name of This Band Is Talking Heads remained unavailable on compact disc for years, which is a shame since it's arguably one of their finest releases. © Sean Westergaard © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/the-name-of-this-band-is-talking-heads-mw0000199932<br />
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This two-disc set marked the CD debut of Talking Head’s 1982 live double album. While the original tracks are retained (and the discs follow the original's breakdown of 1977-1979 and 1980-1981), an extra 16 tracks are added to the set, including 13 that were never before released in any format. “The Name of This Band Is Talking Heads” is arguably one of the best live albums of all time and is an important, groundbreaking album by a unique band on their way up. Read more about this album @ http://www.discogs.com/Talking-Heads-The-Name-Of-This-Band-Is-Talking-Heads/release/438300 <span style="color: #783f04;">VHR by A.O.O.F.C</span> <span style="color: #f4cccc;">[</span><span style="color: #76a5af;">1 Rar file containg two CD’s: File size = 331 Mb: All tracks @ 320 Kbps</span><span style="color: #f4cccc;">]</span><br />
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<span style="color: #7f6000;">TRACKS</span><br />
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<span style="color: #f4cccc;">CD ONE</span><br />
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"New Feeling" – 3:09 for WCOZ broadcast, Northern Studio, Maynard MA, November 17, 1977 <br />
"A Clean Break (Let's Work)" – 5:05<br />
"Don't Worry About The Government" – 3:03<br />
"Pulled Up" – 4:04<br />
"Psycho Killer" (Byrne, Tina Weymouth, Chris Frantz) – 5:31<br />
"Who Is It?" – 1:44<br />
"The Book I Read" – 4:22<br />
"The Big Country" – 5:09 for WXRT broadcast, The Park West, Chicago, August 23, 1978 <br />
"I'm Not in Love" – 4:57 for KSAN broadcast, The Boarding House, San Francisco, September 16, 1978 <br />
"The Girls Want to Be with the Girls" – 3:44 at The Agora, Cleveland, December 18, 1978 <br />
"Electricity (Drugs)" – 3:28<br />
"Found a Job" – 5:35<br />
"Mind" – 4:56 for WBCN broadcast, Berklee Performance Center, Boston, August 24, 1979 <br />
"Artists Only" (Byrne, Wayne Zieve) – 3:49 at The Capitol Theater, Passaic NJ, November 17, 1979 <br />
"Stay Hungry" (Byrne, Frantz) – 4:05<br />
"Air" – 4:01<br />
"Love → Building on Fire" – 3:47<br />
"Memories (Can't Wait)" (Byrne, Jerry Harrison) – 3:44<br />
"Heaven" (Byrne, Harrison) – 4:31<br />
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<span style="color: #f4cccc;">CD TWO</span><br />
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"Psycho Killer" (Byrne, Weymouth, Frantz) – 5:33 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981 <br />
"Warning Sign" (Byrne, Frantz) – 5:40<br />
"Stay Hungry" (Byrne, Frantz) – 3:56<br />
"Cities" – 5:00 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980 <br />
"I Zimbra" (Byrne, Brian Eno, Hugo Ball) – 3:30<br />
"Drugs (Electricity)" (Byrne, Eno) – 4:41<br />
"Once in a Lifetime" (Byrne, Eno, Frantz, Harrison, Weymouth) – 5:57 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981 <br />
"Animals" – 4:05<br />
"Houses in Motion" (Byrne, Eno, Frantz, Harrison, Weymouth) – 6:54 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980 <br />
"Born Under Punches (The Heat Goes On)" (Byrne, Eno, Frantz, Harrison, Weymouth) – 8:24 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981 <br />
"Crosseyed and Painless" (Byrne, Eno, Frantz, Harrison, Weymouth) – 5:58 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980; truncated version from original release <br />
"Life During Wartime" (Byrne, Frantz, Harrison, Weymouth) – 4:54 at Central Park, New York City, August 27, 1980 <br />
"Take Me to the River" (Al Green, Mabon Hodges) – 6:33<br />
"The Great Curve" (Byrne, Eno, Frantz, Harrison, Weymouth) – 6:42<br />
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<span style="color: #b4a7d6;">All songs written by David Byrne except as noted</span><br />
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<span style="color: #fff2cc;">MUSICIANS</span><br />
<br />
David Byrne – guitar, vocals<br />
Adrian Belew – guitar, backing vocals<br />
Jerry Harrison – guitar, piano, keyboards, backing vocals<br />
Tina Weymouth – bass, percussion, backing vocals<br />
Busta "Cherry" Jones – bass, guitar<br />
Bernie Worrell – keyboards, backing vocals<br />
Chris Frantz – drums<br />
Dolette McDonald – percussion, backing vocals<br />
Jose Rossy – percussion<br />
Steve Scales – conga<br />
Nona Hendryx – backing vocals<br />
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<span style="color: #134f5c;">BIO</span><br />
<br />
At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks. And they were literally art-school punks. Guitarist/vocalistDavid Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals. For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics. After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release,Talking Heads embarked on another extensive tour, which was captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop albumLittle Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads releasedNaked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions. After its release, Talking Heads were put on "hiatus"; Byrnepursued some solo projects, as did Harrison, and Frantz andWeymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Shortly thereafter, Harrison's production took off with successful albums by Live and Crash Test Dummies. In 1996, the original lineup minus Byrne reunited for the album No Talking Just Head; Byrne sued Frantz, Weymouth, andHarrison for attempting to record and perform as Talking Heads, so the trio went by the Heads. In 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense, and they also performed at the 2002 induction ceremony for their entrance into the Rock and Roll Hall of Fame. Through the 2010s, Byrne released a number of solo and collaborative projects. Tom Tom Club continued to tour, while Harrison produced albums for the likes of No Doubt, the Von Bondies, and Hockey. © Stephen Thomas Erlewine © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/talking-heads-mn0000131650/biographyA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com7tag:blogger.com,1999:blog-7758121285650208378.post-20124380871632009962015-02-14T22:19:00.003+01:002015-02-14T22:19:50.592+01:00Aynsley Lister<center>
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<span style="color: #0c343d;">Aynsley Lister</span> <span style="color: #f3f3f3;">- </span><span style="color: #b45f06;">Home </span><span style="color: #f3f3f3;">-</span> <span style="color: #a2c4c9;">2013 </span><span style="color: #f3f3f3;">- </span><span style="color: #444444;">Straight Talkin' Records</span><br />
<br />
Aynsley Lister has been at it for a long time. He’s been playing the guitar for 28 years and performing live for 23. Throughout, he’s released many albums, bridging from his early years to the present day and cataloging his growth as an artist. His repertoire culminates in the release of July’s Home, a worthy blues album and his own personal best. Home begins with its title track, which fittingly sets the stage for the tone of the album, an expansive, driven exploration of Lister’s greatest strengths. As the track fades, it gives rise to several other large-scale (in both sound and length) examples of the bluesman’s ability. Lister most often comes out of the gate with guitar-heavy instrumentation and pointedly punchy vocals, although he peppers the record with enough tracks of contrasting style to keep things interesting. Home is a lengthy album, weighing in at a little under an hour long. There seems to be little filler, though. For the most part, Lister manages to capture both his potential and his reputation and combine them with enough evidence of the power of his live performance style to make the album well worth the listen. At times, his direction seems somewhat ambiguous, without a clear overarching theme to the album, and not all the tracks are particularly memorable. The ones that are, though, are certainly worth coming back to as Lister’s passion as frontman of a down-to-Earth blues band definitely ground him in an established tradition of familiar blues style. His mastery of the style places Lister squarely in position to be a truly big name in blues rock. He’s reached a high point in his career, and has a lot to be proud of in Home. The album shows deep musical and emotional maturity and provides a bevy of blues rock for fans and newcomers alike to sink their teeth into. The proportion of Home is pretty good, and Lister can be thanked for not leaving listeners with a trite, underdeveloped experience. Instead, he leaves them with something that truly satisfies. The Review: 8/10 Review by & © Tyler Quiring © Blues Rock Review http://bluesrockreview.com/2013/07/aynsley-lister-home-review.html<br />
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"This is Aynsley Lister, this is awesome, the two things are synonymous. This is his most awesome record yet!" - Ian McHugh<br />
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In a live review in Classic Rock, Pete Makowski wrote “Aynsley Lister is a precocious talent who looks like one of McFly and plays like Robert Johnson at volume 11”. In another feature in “Classic Rock” magazine, they recommended 10 blues/rock artists capable of taking this genre of music to the highest level. Among those suggested were The White Stripes, John Meyer, Jonny Lang & Joe Bonasmasa. The only British or European act in their top ten was Aynsley Lister. Like many of today's aspiring blues rock guitarists who simply reheat yesteryear's blues , Aynsley puts a different slant on the blues. There are no simple 12 bar numbers here. Aynsley's songs have a contemporary feel and sound, mixing influences from 1960’s blues with a more current melodic and lyrical approach. He is one of today's rare bluesmen who plays rocking blues with a modern edge that is tangible, passionate, soul searching, and full of energy. His songwriting is first class, and his guitar work is simply stunning. Some critics have compared Aynsley Lister with the young Eric Clapton. This statement may carry some weight, and this album may be the one to divert young rock music fans to good original blues rock. "Home" is an outstanding album of blues rock with a touch of country, soul and jazz. Superb guitar playing, great vocals, and 10 original Aynsley Lister compositions. The album is <span style="color: #783f04;">HR by A.O.O.F.C.</span> This UK guitarist has still not got the credit he deserves. Buy his great "Upside Down" album, and listen to his "Live" album. Promote this guy ! <span style="color: #f4cccc;">[</span><span style="color: #660000;">All tracks @ 320 Kbps: File size = 132 Mb</span><span style="color: #f4cccc;">]</span><br />
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<span style="color: #76a5af;">TRACKS</span><br />
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1. Home 6:32<br />
2. Broke 3:36<br />
3. Insatiable 4:21<br />
4. Inside Out 4:55<br />
5. Free 5:37<br />
6. Sugar 4:05<br />
7. You Make It Real 4:30<br />
8. Feeling Good 4:53<br />
9. Possession 5:21<br />
10. Hyde 2612 3:57<br />
11. Impossible 3:14<br />
12. Straight Talkin' Woman 4:14<br />
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<span style="color: #f9cb9c;">All songs composed by Aynsley Lister except Track 7 composed by Paul Barry/James Morrison, and Track 8 composed by Anthony Newley/Leslie Bricusse</span><br />
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<span style="color: #0b5394;">MUSICIANS</span><br />
<br />
Aynsley Lister - Guitars, Vocals<br />
Steve Amadeo - Bass<br />
Andre Bassing - Keyboards<br />
Wayne Proctor - Drums, Percussion<br />
<br />
<span style="color: #660000;">BIO</span><br />
<br />
When explosive natural ability collides with fiery, emotionally charged compositions, the result is Aynsley Lister; an incredible guitarist whose brand of blues-based rock delivers contemporary song writing fueled with the kind of heart and soul that’s missing from so much modern music. Whether passionately writing and recording his own material or mesmerising audiences at his live shows one thing is abundantly clear: music is hard-wired to his DNA and flows from his fingertips like sonic bolts of lightning. With over 86,000 albums sold, lashings of critical acclaim and years of high profile touring, Lister’s resumé speaks for itself and firmly secures his position as a leading light in the resurgence of British blues-infused music. In hindsight, it's clear Aynsley was born to be a musician. As a child he was hypnotised by his dad's old guitar and at the age of eight was finally gifted his very own. The moment he held that first six-string the outcome was inevitable; he was going to be a guitarist. Blessed with the coolest dad in town, regularly spinning Hendrix, Cream, Fleetwood Mac and a whole host of bewitching blues for his spellbound son, Aynsley taught himself to play with relentless dedication and a precociously attuned ear, spending hours copying his favourite records note for note. Peter Green, Albert King, Clapton and Kossoff weren't just his heroes; they became his teachers. Blazing a trail in a bar band from the age of 13 honed his skills. By 18 he'd started singing and had also formed his first group, during which time he landed a dream support slot with Buddy Guy and released two low key CD's featuring his earliest original material. In 1998 those self-penned titles caught the attention of Ruf Records owner Thomas Ruf, who immediately signed Aynsley and hooked him up with Stevie Ray Vaughan's producer Jim Gaines. With a maturity that belied his years, the self titled debut announced Aynsley Lister as a major new talent and kicked off a successful relationship with Ruf Records, releasing 7 albums and 2 DVD's in ten years. Their influence, coupled with his dynamite live shows and intense touring schedule, earned high profile support slots with established artists like Walter Trout, John Mayall and Robert Cray, whilst rousing festival appearances alongside artists like the Fun Lovin' Criminals cemented his standing as an artist whose work, although rooted in blues, transcended the genre with a fiery modern sound that was eagerly embraced by fans of rock, pop, soul and acoustic music alike. In 2007 Aynsley was the only British artist to be named in Classic Rock magazine's "Top 10 Contemporary Blues Artists", alongside John Mayer, Derek Trucks and Joe Bonamassa. In 2008 Aynsley's huge crossover potential saw him sign to Manhaton Records, where he released the best two albums of his career to date. Produced by Steve Darrel Smith and featuring Paul McCartney guitarist Robbie Macintosh, 2009's 'Equilibrium' exposed Lister in his best ever form, throwing all his musical influences into a delicious melting pot that delivered sultry melodies, full throttle hard rock riffage and introspective ballads. 'Equilibrium' received fantastic reviews and stormed into Classic Rock’s Top 50 Albums of 2009. The subsequent tour saw Aynsley playing to sold out shows to over 16,000 people whilst opening for the legendary Lynyrd Skynyrd, after which he and his band relocated to the Tower Arts Centre and with the tape rolling, nailed a cracking rendition of their high-octane live set to produce the storming 'Tower Sessions' record, which was consequently voted ‘Best Live Album’ in the 2011 Blues Matters Writers Poll. With his stock firmly in the ascendancy Aynsley is currently hard at work on his next record, intent on creating the finest album of his career. He's wisely chosen to refine the material the best way he knows how; by playing it live. “When you record songs in the studio and then go out and tour, they evolve and take on a life of their own. I want to capture that on the new record and want a whole album of songs that translate to the live setting as well as being well written enough to engage the listener of an album”. The eagerly anticipated new material, slated for release in early 2013, will be distributed on his manager's label as he's sagely decided to take control of his career by bringing everything in-house, following other successful artists who've cut out the record companies with astonishing results. Needless to say, a tour in support of that album will surely follow, and that promises to be something special, not just for the fans, but for the main man himself: “Music is a release for me. When I play I get lost in it and it's a very happy place to be” - Aynsley Lister © Aynsley Lister © 2013 AYNSLEY LISTER http://www.aynsleylister.co.uk/index.php/about/biographyA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-55481827870552713142015-02-08T18:52:00.001+01:002015-02-08T18:52:30.522+01:00The Donald Fagen Band (Steely Dan Related)<center>
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<span style="color: #ea9999;">The Donald Fagen Band</span> <span style="color: #f3f3f3;">-</span> <span style="color: #45818e;">North Fork Theatre,</span> <span style="color: #660000;">Westbury,</span> <span style="color: #274e13;">NY</span> <span style="color: #fce5cd;">on</span> <span style="color: #d9d2e9;">March 3rd 2006</span><br />
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Soundboard recording. Sound is mono and above average for this type of recording. It's a large file, so unless you're a Steely Dan fan think about it!!<br />
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Review @ http://www.allaboutjazz.com/donald-fagen-band-in-westbury-ny-donald-fagen-by-mike-perciaccante.php?page=1<br />
<br />
<span style="color: #660000;">[</span><span style="color: #ffe599;">TRACKS @ 320 Kbps [file size = 271 Mb</span><span style="color: #660000;">]</span><br />
<br />
1-01 Here At The Western World '06 <br />
1-02 The Nightfly<br />
1-03 Green Flower Street<br />
1-04 Teahouse On The Tracks<br />
1-05 New Frontier<br />
1-06 Third World Man<br />
1-07 Home At Last<br />
1-08 Member Intro.<br />
1-09 Snowbound<br />
1-10 H Gang<br />
1-11 What I Do<br />
1-12 Black Cow<br />
2-01 The Goodbye Look<br />
2-02 Tomorrow's Girls<br />
2-03 Misery And The Blues - Charlie DeVere<br />
2-04 Mary Shut The Garden Door<br />
2-05 IGY<br />
2-06 Pretzel Logic<br />
2-07 Viva Viva Rock And Roll - Chuck Berry<br />
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<span style="color: #274e13;">Tracks composed by Becker & Fagen or Donald Fagen except where stated</span><br />
<br />
<span style="color: #76a5af;">MUSICIANS</span><br />
<br />
@ http://www.allaboutjazz.com/donald-fagen-band-in-westbury-ny-donald-fagen-by-mike-perciaccante.phpA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-21099441188325378952015-02-04T01:21:00.006+01:002015-02-04T01:21:49.510+01:00Moody Marsden<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/MoodyMarsden-RealFaith-1994_zps082748a8.jpg~original" /><br />
</center><span style="color: #7f6000;">Moody Marsden</span> <span style="color: #f3f3f3;">- </span><span style="color: #f4cccc;">Real Faith </span><span style="color: #f3f3f3;">- </span><span style="color: #f9cb9c;">1994 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">On Air Records</span><br />
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Recorded between March and May 1994 For On Air Records, Stuttgart, Germany. The basic tracks and most of the overdubs were recorded at Daylight Studio, Stuttgart, Germany. The album hadn't worldwide release, so several years later, in 2000, it was reissued under a different name, Ozone friendly, although the content is not exactly the same (less tracks).Check out the Moody Marsden Band's "Unplugged Live In Hell" album. Read more about Micky Moody @ http://en.wikipedia.org/wiki/Micky_Moody and Bernie Marsden @ http://en.wikipedia.org/wiki/Bernie_Marsden It's also worth listening to Bernie Marsden's "Tribute to Peter Green: Green and Blues" album. “Real Faith” is a relatively obscure album but is a really good blues and hard rock album by two underrated rock greats. Check out a clip of the band recording this album @ https://www.youtube.com/watch?v=qL9xyQ1bZIc <span style="color: #660000;">[</span><span style="color: #134f5c;">All tracks @ 320 Kbps: File size = 134.7 Mb</span><span style="color: #660000;">]</span><br />
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<span style="color: #f9cb9c;">TRACKS / COMPOSERS</span><br />
<br />
1 Awakening, My Kind Of Woman - Moody, Marsden<br />
2 Real Faith - Moody, Marsden <br />
3 Ozone Friendly - Moody, Marsden <br />
4 Louisa - Marsden, Lister <br />
5 Six Down And One To Go - Moody, Williams, Lloyd <br />
6 Fooling With My Heart - Moody, Marsden, Hinkley <br />
7 Someday - Moody, Marsden <br />
8 Silver On Her Person - Moody <br />
9 Can't Ever Happen To You - Marsden <br />
10 2000 Miles Back To Hell - Moody, Marsden <br />
11 I Got A Mind To Get Even - Moody <br />
12 Kinda Wish You Would - Marsden <br />
13 All Revved Up - Moody, Marsden <br />
14 I'll Sing The Blues - Bridgeman, Wooten <br />
15 Genauso (Good Connection) - Moody, Marsden, Stroud, Trotter<br />
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<span style="color: #fff2cc;">MUSICIANS</span><br />
<br />
Micky Moody - Lead Guitar, Acoustic Guitar, Resonator Guitar [Dobro], Mandolin, Vocals <br />
Bernie Marsden - Lead Guitar, Acoustic Guitar, Vocals <br />
Peter Stroud - Bass Guitar<br />
Josh Phillips - Electric Piano, Organ<br />
Volker "Wolfman" Kunschner - Organ <br />
John Trotter - Drums, Percussion<br />
Frank Mead, Martin Drover, Nick Pentelow - Brass <br />
Mark Feltham - Harmonica on Tracks 1, 2, 14<br />
Mick Lister, Monica Reed-Price - Backing VocalsA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-80106909696985107482015-01-05T23:28:00.006+01:002015-01-05T23:28:49.956+01:00Yiannis Karadimos <center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/YiannisKaradimos-ANewExperience-2015_zps2810e495.jpg~original" /><br />
</center><span style="color: #f6b26b;">Yiannis Karadimos</span> <span style="color: #f3f3f3;">- </span><span style="color: #d5a6bd;">A New Experience </span><span style="color: #f3f3f3;">- </span><span style="color: #660000;">2015 </span><span style="color: #f3f3f3;">- </span><span style="color: #444444;">Fluxx Records</span><br />
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"A New Experience" is the first solo instrumental debut album from the Greek guitarist/composer Yiannis Karadimos'. An excellent album with fusion,and jazz rock influences and strongly influenced by artists like John Scofield, Pat Metheny, Guthrie Govan, and many more. Buy this album which is <span style="color: #783f04;">HR by A.O.O.F.C </span>and watch out for further releases. <span style="color: #f4cccc;">[</span><span style="color: #134f5c;">All tracks @ 320 Kbps: File size = 73.2 Mb</span><span style="color: #f4cccc;">]</span><br />
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<span style="color: #f9cb9c;">TRACKS</span><br />
<br />
1. Jump Up 4:14 <br />
2. Seven Days 5:30 <br />
3. Loneliness 6:30 <br />
4. Just Walking Around the City 5:34 <br />
5. Run to Another Side 3:29 <br />
6. Breeze 3:01 <br />
7. Remember 2:19 <br />
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<span style="color: #3d85c6;">All songs composed by Yiannis Karadimos</span><br />
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<span style="color: #741b47;">MUSICIANS</span><br />
<br />
yiannis karadimos - guitar, keyboards<br />
albertos oikonomou - bass<br />
peter bachmayer - drums<br />
kostas milonas - drums<br />
special guests:<br />
stefanos tsourelis - acoustic guitar<br />
dorian pirvu - keyboards<br />
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<span style="color: #7f6000;">BIO</span><br />
<br />
Yiannis was born in Larissa, Greece. Encouraged by his parents,he began studying piano at the age of 8 until 12. At that point he decided to study classical guitar until the age of 15. He was listening to heavy metal and played with friends in different bands. At 17 he began listening to instrumental music and was drawn to guitarists such as: Joe Satriani, Steve Vai, Yngwie Malmsteen, Ritchie Kotzen, and Greg Howe. He was so impressed that he bought their books and practiced for many hours every day. At the age of 20, he was taking private lessons from different musicians while working professionally as a freelance musician with various bands. At the age of 24, his influences had changed. he started listening to fusion and jazz artists such as: Allan Holdsworth, Scott Henderson, Frank Gambale, John Scofield, Pat Metheny, and Sax players like John Coltrane, Charlie Parker and many others.Then he decided to move to Athens for his academic studies. For one year he studied jazz guitar at Atheneum (Maria Callas). Thereafter he attended and graduated from Modern Music School of Athens, with the MMS professional program. At the age of 28, he returned to his hometown Larissa to teach at music schools while playing his music. In 2011, he moved to Munich, Germany. Currently, he's working for various music schools as an instructor, and he offer's private lessons. Furthermore he perform with different bands around the city, however he always like to play and record his own original music ...© http://yianniskaradimos.wix.com/gianniskaradimos#!biography/c1enrA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-89374084980480646922014-12-22T01:42:00.005+01:002014-12-22T01:42:45.971+01:00Wayne Krantz<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/WayneKrantz-GoodPiranhaBadPiranha-2014_zps896e160c.jpg~original" /><br />
</center><span style="color: #cc0000;">Wayne Krantz</span><span style="color: #f3f3f3;"> -</span> <span style="color: #274e13;">Good Piranha / Bad Piranha</span> <span style="color: #f3f3f3;">-</span> <span style="color: #d9d2e9;">2014 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Abstract Logix</span><br />
<br />
Wayne Krantz, the muscular, funky New York guitarist, might be approximately parcelled into a John Scofield category – except that this exciting artist goes further than Scofield, and loves nothing more than hell-for-leather jams with mates. Krantz’s trio, with bassist Nate Wood and drummer Keith Carlock, display a relish for ferociously loose covers of leftfield pop. Along with long-time bassist Tim Lefebvre and the ethereal, contrasting background singer, Gabriela Anders, they rocket through four themes – including Thom Yorke’s Black Swan and MC Hammer’s U Can’t Touch This – and then play them all again, totally differently. Anders’s fragile lilt prefaces the splintering chordwork and pounding funk on Black Swan, and Comprachicos swerves and skids on Krantz’s taut, whippy phrasing. U Can’t Touch This, meanwhile, has a vivacious, bouncing groove, fresh and long-lined guitar phrasing, and wacky, Ed Wood flying saucer-like whirrs. It’s all uncompromisingly raw, and maybe something of a guitar buff’s set, but it never stops rocking. © John Fordham Thursday 6 November 2014 20.00 GMT © 2014 Guardian News and Media Limited or its affiliated companies. All rights reserved. http://www.theguardian.com/music/2014/nov/06/wayne-krantz-good-piranha-bad-piranha-review<br />
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Since the late 1980's, guitarist Wayne Krantz has been regarded as one of the world’s great musicians. He has worked with artists that include the exalted Steely Dan (both as a band member and on solo albums by Donald Fagen), the legendary jazz saxophonists Michael Brecker, Chris Potter and David Binney, composer Carla Bley and the incomparable drummer Billy Cobham. As well as Wayne's incredible inventive studio albums, he has released several influential recordings of his amazing live trio performances, mostly recorded at the 55 Bar in Greenwich Village, New York. Wayne has also played major global concert events attracting many lovers of powerful, innovative and amazingly skilled improvised music. It has been said that Wayne Krantz "has invented a guitar genre of his own". G. T. Gusdorf reviewing this album on amazon.com said that, "I like jazz fusion, and this album is great. It makes me realize that the question "is jazz dead?" debate is for people who don't like jazz, and don't know how to say it". This album is <span style="color: #783f04;">HR by A.O.O.F.C.</span> Check out Wayne's "Howie 61" album <span style="color: #ea9999;">[</span><span style="color: #7f6000;">All tracks @ 320 Kbps: File size = 99.9 Mb</span><span style="color: #ea9999;">]</span><br />
<br />
<span style="color: #d9ead3;">TRACKS / COMPOSERS</span><br />
<br />
1. Black Swan - Thom Yorke 6:04<br />
2. My Skin Is My Sin - Ice Cube 5:05<br />
3. Comprachicos - Gareth McGrillen 7:42<br />
4. U Can't Touch This - MC Hammer 4:22<br />
5. Black Swan - Thom Yorke 6:56<br />
6. My Skin Is My Sin - Ice Cube 3:47<br />
7. Comprachicos - Gareth McGrillen 2:43<br />
8. U Can't Touch This - MC Hammer 4:54<br />
<br />
<span style="color: #134f5c;">MUSICIANS</span><br />
<br />
Wayne Krantz - Guitar<br />
Tim Lefebvre - Bass<br />
Nate Wood - Bass, Drums<br />
Keith Carlock - Drums<br />
Gabriela Anders - Occasional Vocals<br />
<br />
<span style="color: #660000;">ABOUT</span> <span style="color: #b6d7a8;">WAYNE KRANTZ</span><br />
<br />
Born 26th July 26 1956, WAYNE KRANTZ was raised in Corvalis, Oregon, Krantz. He discovered the Beatles at 14, and soon after started playing guitar. Having previously been subjected to piano tuition and hated it, KRANTZ found with the guitar he enjoyed not being told to practice. Early musical development included playing in rock and country groups. Shortly before leaving high school he discovered jazz in his father's record collection, in particular guitarist BARNEY KESSEL: this music became his main interest. To quote from KRANTZ's own web biography: "My first musically important job was with a band in Boston, the D SHARP GROUP - which also had guitarist BILL FRISELL. Afterwards I went on the road with CARL BLEY and that's where I really learned how to play chord changes. LENI STERN heard me playing at a club with CARLA and started hiring me to play gigs around town and later I went to Europe with LENI for several tours, clubs and festivals. Guitar-wise I guess I have been influenced one way or another by all the guys I respect. In that long list have to be TERRY HAGGERTY (The SONS OF CHAMPLIN), MICK GOODRICK, PAT METHENY, MIKE STERN, BILL FRISELL, KEVIN EUBANKS and JOHN SCOFIELD. Way off in the distance, the mountains that inspire all of us are JOHN MCLAUGHLIN and GEORGE BENSON; those are the guys that have taken their own the farthest. The immediate goal for me is to fulfill the promise of making my own music". In 1991 WAYNE KRANTZ released his first solo album, 'Signals', which included a number of well known session jazz musicians. He then formed his own trio with LINCOLN GOINES (bass) and ZACH DANZIGER (drums), recording 'Long To Be Loose' (1993), and the first of several live albums the excellent '2 Drink Minimum', (1995). During this period through to the mid noughties, WAYNE KRANTZ gained the reputation of being a New York guitar-fusionist, playing periodically at the 55 Bar jazz club in New York City. In 1996, KRANTZ released an acoustic album with LENI STERN, 'Separate Cages' (1996). WAYNE KRANTZ formed a new trio in 1997, which further demonstrated his outstanding guitar abilities complimented with a huge bag of jazz and rock riffs, allowing attractive improv to be played live night after night. In fact to use the term 'riffs' is far from precise when KRANTZ has outlined in his book, 'An Improviser's Operating System', his approach to improvisation, which relies not on licks or memorised fretboard patterns but an awareness of 'musical formulae' using the guitar. In doing so KRANTZ was producing new sounds that have changed his musical style drastically. His electric bass-player and drummer, respectively TIM LEFEBVRE and KEITH CARLOCK, contributed well the immediate inspiration and fluidity so that such live improv to be generated in many of KRANTZ's later albums well illustrate this type of jazz fusion. (It should be noted that TIM LEFEBVRE and ZACH DANZIGER, formed the innovative jazz drum'n'bass group BOOMISH as a side project in the late 90's - their second album 'Clearance Sale' includes contributions from KRANTZ and FRISELL. With some growing disillusionment and impatience with the mainstream record industry, KRANTZ's next three albums were produced and sold independently: 'Greenwich Mean' (1999), 'Your Basic Live' (2003), and 'Your Basic Live '06' (2007), being only available for sale at gigs or mail order via KRANTZ's website. During this time WAYNE KRANTZ cemented a well earned reputation worldwide, through tours (for instance appearing several times at Wales' Brecon Jazz Festival. In addition he has been in demand as a touring sidesman and session guitarist, working with STEELY DAN, MICHAEL BRECKER, DONALD FAGEN ('Morph The Cat', released 2006), CHRIS POTTER ('Underground', also in 2006), TAL WILKENFELD ('Tranformation' 2007) with perhaps the earliest session appearance on JASPER VAN'T HOF's 'Blue Corner'(1993). In June, 2007, KRANTZ played his last regular gig at the 55 Bar (at least for the time being), announcing ?he had a desire to move towards a louder thing requiring bigger rooms, with stages and sound systems to pull it off.?? However, the most recent announcement tells us of a August 2009 release 'Krantz, Lefevbre, Carlock', the first studio album recording in 13 years. (Biography compiled from various sources, quotes from Wayne Krantz). © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=4613A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-50705349377886551412014-12-21T01:31:00.002+01:002014-12-21T01:31:39.445+01:00Al Joseph<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/AlJoseph-OutInTheOpen-2013_zps7b84335e.jpg~original" /><br />
</center> <span style="color: #b4a7d6;">Al Joseph</span> <span style="color: #f3f3f3;">-</span> <span style="color: #b45f06;">Out In the Open</span> <span style="color: #f3f3f3;">-</span> <span style="color: #4c1130;">2013 </span><span style="color: #f3f3f3;">- </span><span style="color: #444444;">JTC Records</span><br />
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JTC Records proudly presents the debut album from the incredible Al Joseph. 9 heavy rock tracks full of drive, emotion, charisma, riffs to die for and licks that will get stuck in your head for weeks on end. This is the way to launch your record career... © 2013 JamTrackCentral Ltd https://jamtrackcentral.com/store/series/out-in-the-open-album-backings/<br />
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A very good blend of classic rock/blues, metal, and progressive compositions with a classical and modern touch. Great melodic lines throughout. Al is influenced by artists like John Petrucci and Marco Sfogli. Al has said that, "Out In The Open" is a theme built on the unknowns of life. I believe we've been given all we need to face the pirates, whirlwinds, emptiness, and rejections of life. A lot of time and heart went into this project from everyone involved. I had always dreamed the emerging of my career in so many different ways, but I'm so thankful it was through JTC. I hope OITO is an inspiration to all of you who show your support! Thank you...AJ. - Buy this album and support good modern rock. Read more @ http://network.online.berklee.edu/public_profile/Albert_Joseph and https://www.facebook.com/aljosephguitar<br />
<span style="color: #073763;">[</span><span style="color: #f6b26b;">All tracks @ 160 Kbps: File size = 62.4 Mb</span><span style="color: #073763;">]</span><br />
<br />
<span style="color: #7f6000;">TRACKS</span><br />
<br />
1. Return<br />
2. Desperate Times<br />
3. Sun Devils<br />
4. Exile<br />
5. The Missing You<br />
6. Out in the Open<br />
7. The Tribal Decks<br />
8. Desperate Measures<br />
9. The Father Land<br />
<br />
<span style="color: #45818e;">All tracks composed by Al Joseph</span><br />
<br />
<span style="color: #d9d2e9;">BAND</span><br />
<br />
Al Joseph (guitars), Juan Luqui (guitars)<br />
Manny Tiegnon, Mauricio Morales (bass)<br />
Abidan Perry (percussion)<br />
<br />
<span style="color: #660000;">ABOUT </span><span style="color: #a2c4c9;">AL JOSEPH</span><br />
<br />
Al Joseph has proven to be one of the worlds most exciting new virtuosos to hit the scene to date. Now a proud Alumni of Berklee College Of Music, Al presses on to an already promising career as both a guitar player and songwriter. Expect to see more exciting things over the coming years. You can expect to hear quite a bit of Joe Satriani's lyrical texture, John Petrucci's technical power, Vinnie Moore's stinging licks, and Andy Timmons' sense of feel and dynamic presence in Al's playing . As far as songwriting goes Al has a never-ending list of band influences in his arsenal. From Creed, Rage Against The Machine, P.O.D, to Pillar, Pantera, Sevendust, and many more. If you can dig on any or all of these artists get ready to add another new player to your list. "Out In The Open" is Al's debut solo instrumental record which was released through JTC Records in October 2013. It's a story of emotion, new beginnings, unknowns, and all the new challenges Al has faced throughout his life. Let's not forget about an hour of world class shredding as well. If you enjoy the workings of guitar legends Joe Satriani and Andy Timmons, look no further. This record has it all wrapped up in a nice basket for you with a kick of fusion as well. Out In the Open is a wild ride for sure! Check out Al's music on Jamtrackcentral.com, iTunes, Spotify, and ReverbNation. Here's what JTC Records has to say about it: There is no question of Al's ability on the guitar. Still a young player he brings some great classic ideas and makes them extremely accessible, whilst surrounding them with well produced tracks. Expect to see a lot more from Al over the coming years....he has an exciting career ahead of him. Jonny Carpenter, Jam Track Central Records © 2014 Al Joseph Official Guitar Page http://www.aljosephofficial.com/#!al-joseph-bio-page/c9nvA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-45095599897935571312014-12-10T23:35:00.001+01:002014-12-10T23:35:04.619+01:00Keith Thompson And Strange Brew<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/KeithThompsonAndStrangeBrew-KeithThompsonAndStrangeBrew-2000_zps034a9416.jpg~original" /><br />
</center><span style="color: #ffe599;">Keith Thompson</span> <span style="color: #d5a6bd;">And</span><span style="color: #d5a6bd;"> </span><span style="color: #45818e;">Strange Brew </span><span style="color: #f3f3f3;">-</span> <span style="color: #ffe599;">Keith Thompson</span> <span style="color: #d5a6bd;">And</span><span style="color: #d5a6bd;"> </span><span style="color: #45818e;">Strange Brew</span><span style="color: #f3f3f3;"> - </span><span style="color: #f4cccc;">2000 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Brambus</span><br />
<br />
"Keith Thompson's Strange Brew" are a classic British Blues/Rock band - In the style of blues heros such as Gary Moore, Eric Clapton and Rory Gallagher.Keith Thompson, is a professional musician with many years performing experience. He has worked in several bands, and as a solo artist. He has travelled extensively in the UK. and in European countries such as Germany, Switzerland, Denmark, Holland and Norway. Recently Keith also did a promotional tour in USA. When not touring or playing "live", Keith has been in demand as a session musician in the studio. His guitar work has cropped up on several albums and on television "incidental" music. A sample of Keith's guitar work can also be heard as the soundtrack for the best selling computer game, "Grand-Prix 2". Keith combines his experience as a guitarist with his skills as a successful songwriter to come up with a blend of UK Blues/Rock that really cooks! - Album Notes © http://www.cdbaby.com/cd/strangebrewuk<br />
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Worcester, England born Keith Thompson is a professional musician with many years of performing experience. He has worked in several bands and as a solo artist and is an in demand session guitarist. With his band he consistently travels extensively and performs in mainland Europe and the UK in clubs and has played prestigious festivals including Postonja Blues Festival, Slovenia, Umag Festival, Croatia, Suwalki, Poland, Colne R&B festival and Gloucester Blues Festival UK. On This album Keith demonstrates how British blues rock is alive and thriving. This self titled album received a lot of critical acclaim. 14 solid studio and live tracks played in a style reminiscent of greats like Gary Moore, Rory Gallagher, and Eric Clapton. The raunchy horn/brass section by The Little Big Horns and the thundering bass lines and solid drums of Lee Hunter and Alleyn Menzies respectively make this a great album. Keith Thompson is a very accomplished but underrated musician and this album is <span style="color: #783f04;">HR by A.O.O.F.C. </span> Try and listen to Keith Thompson And Strange Brew's even better "Independence" album <span style="color: #660000;">[</span><span style="color: #ffe599;">All tracks @ 320 Kbps: File size = 145 Mb</span><span style="color: #660000;">]</span><br />
<br />
<span style="color: #b4a7d6;">TRACKS</span><br />
<br />
1. Cat Scratch Crazy (3:53)<br />
2. You Don't Know Me (2:52)<br />
3. I'm Tore Down (4:11)<br />
4. Reduce Me To Tears (6:42)<br />
5. Little Boy (5:34)<br />
6. Road To Recovery (3:26)<br />
7. I'm Not Your Victim (4:43)<br />
8. Heart and Soul (3:48)<br />
9. Got My Mind Made Up (4:17)<br />
10. Count On You (2:57)<br />
11. Blues Don't Love You (3:37)<br />
12. Be Good To Yourself (3:36)<br />
13. Crossroads (3:45)<br />
14. Higher Ground (4:33)<br />
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<span style="color: #f4cccc;">All tracks composed by Keith Thompson except Track 3 by Sonny Thompson, Track 12 by A.Fraser, & Track 13 by Robert Johnson</span><br />
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<span style="color: #76a5af;">MUSICIANS</span><br />
<br />
Keith Thompson - Guitars, Keyboards, Blues Harp, Lead & Backing Vocals<br />
Lee Hunter - Bass Guitar<br />
John Broomhall - Piano, Hammond on Track 14<br />
Alleyn Menzies - Drums<br />
Patsy Gamble - Tenor Saxophone<br />
Frank Abrams - Tenor Sax on Tracks - 6,14<br />
Steve Trigg - Trumpet<br />
Andy Gilliams - Trombone<br />
Mark Cole - Accordion on Track 8<br />
Nick John, Gary Hunt - Backing VocalsA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-79370438181066367402014-12-10T13:29:00.002+01:002014-12-10T13:29:19.975+01:00Jeff Beck <center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/JeffBeck-YouHadItComing-2001_zps93e48f4a.jpg~original" /><br />
</center><span style="color: #4c1130;">Jeff Beck</span> <span style="color: #f3f3f3;">-</span> <span style="color: #f9cb9c;">You Had It Coming</span> <span style="color: #f3f3f3;">-</span> <span style="color: #9fc5e8;">2001 </span><span style="color: #f3f3f3;">- </span><span style="color: #444444;">Epic</span><br />
<br />
Sure, they've got lightning moves and thundering power, but guitar gods live by the same laws that govern lesser mortals: Only the most adaptable shall prevail. So now that old masters like Clapton and Santana are enjoying pop-propelled career rebirths, it's fair to ask, what about Jeff Beck? You Had It Coming, Beck's second solo album in two years, makes this the busiest stretch for the one-time Yardbird since his memorable mid-1970s run of Blow by Blow and Wired. Working in the comfortable techno-funk rock vein he's been tinkering with for the last few years, Beck is as agile and muscular a craftsman as he's ever been — firing off ragged buckshot-blast chords on the rotgut-blues classic "Rollin' and Tumblin'" (aided by Imogen Heap's soulful vocal) and unwinding long, curvaceous notes that give the surprising raga-flavored "Nadia" exceptional charm. Beck remains enthralled, in a slightly anachronistic sort of way, by the multiple voices he can squeeze from the throat of his Stratocaster, delivering screams, wails and growls as he traverses this record. What's missing is the modern edge that would give Beck's fiery playing a better context. Too often, the techno-funk rhythm driving the action here sounds stiffly electronic, like a Chemical Brothers castoff from the Nineties. It's not that it's bad, it's just that Beck deserves so much more. © DAVID THIGPEN | January 23, 2001 © 2014 Rolling Stone http://www.rollingstone.com/music/albumreviews/you-had-it-coming-20010123<br />
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Jeff Beck returns two years after the ten-years-in-the-making Who Else?, and You Had It Coming isn't surprising just for its rapidity, but for its music. From the moment the electronicized, post-rave beats of "Earthquake" kick off the record, it's clear that Beck isn't content to stay in place -- he's trying to adapt to the modern world. To a certain extent, this isn't an entirely new phenomenon, since each of his records is clearly, inextricably of its time, from the crunching metal of Truth through the breezy jazz fusion of Blow By Blow to the modernized album rock of Guitar Shop. This is just another side of that, as Beck works with electronic music, both noisy and new age introspective. It's a bit clever, actually, since Beck's playing has always been otherworldly, dipping, bending, and sounding like anything other than a normal guitar. The problem is, when he's surrounded by lockstep, processed beats and gurgling synths, his guitar doesn't leap to the forefront and capture attention the way it does on his best recordings. Still, there's something to be said for the effort, because even if it doesn't sound like a Beck record, it isn't a bad record, and it's certainly a helluva lot more successful than Clapton's similar forays into these waters. Besides, knowing that he knocked this out so quickly makes it a little endearing. © Stephen Thomas Erlewine © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved<br />
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Guitar legend and musical chameleon Jeff Beck met the 21st century head on with a new sound to match the new millennium: part techno grunge, part industrial electronica, but without ever sacrificing the patented lyricism of his distinctive guitar style. The album is only 36 minutes long, but packs a lot into its all-too brief length. Most of it is instrumental, ranging from the aptly titled opening salvo "Earthquake" (having lived through a few during my childhood in Northern California, I can vouch for the song's unsettling sense of power) to the lush ambient chillout of the album closer, "Suspension". In between is the aggressive Harley-Davidson hip-hop of "Roy's Toy"; some gorgeous East Indian motifs (in "Nadia"); and lots of raw, effects-heavy soloing (I'm thinking in particular of the rocket-fueled instrumental "Loose Cannon", a personal favorite). And before you accuse Beck of completely abandoning his musical roots, lend an ear to the more traditional blues of "Rollin' and Tumblin'". The song dates back to the days of Hambone Willie Newbern, and has since been covered by (I'm sure among many others) Muddy Waters, Eric Clapton, and The Grateful Dead. But here it's updated with enough testosterone to fuel a small sports car, and graced by the appropriately soulful vocals of Imogen Heap (recorded in a single take, I'm told). Fans of the guitarist's older blues and fusion recordings might not be ready to appreciate his latest change in direction. But the album (and his self-titled 2003 follow-up) should appeal to the same forward-thinking listeners who applauded the V-drum improvisations of the more recent KING CRIMSON. Personally speaking, here's one old dog ready to roll over for music like this any day. - from ****/5 "Who says an old dog can't be taught new tricks?" Review by & © Neu!mann © Prog Archives, All rights reserved http://www.progarchives.com/album.asp?id=15053<br />
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“You Had It Coming” is the eighth studio album by legendary guitarist Jeff Beck. The album reached No. 17 and 110 on the Billboard Top Internet Albums and Billboard 200 charts respectively, as well as No. 96 and 123 on the German and French albums chart. "Dirty Mind", went on to win the award for Best Rock Instrumental Performance at the 2002 Grammys; this being Jeff’s third such award, after the albums Flash (1985) and Jeff Beck's Guitar Shop (1989). Singer Imogen Heap is featured on "Dirty Mind" and "Rollin' and Tumblin'", and would later tour with Jeff in 2004. Mostly an instrumental album, and a wonderful example of why Jeff Beck is so highly regarded in the rock world. <span style="color: #660000;">[</span><span style="color: #0b5394;">All tracks @ 320 Kbps: File size = 74.2 Mb</span><span style="color: #660000;">]</span><br />
<br />
<span style="color: #b4a7d6;">TRACKS / COMPOSERS</span><br />
<br />
1 Earthquake - Jennifer Batten 3:17<br />
2 Roy's Toy - Aiden Love, Andy Wright, Jeff Beck 3:35<br />
3 Dirty Mind - Aiden Love, Andy Wright, Jeff Beck 3:50<br />
4 Rollin' And Tumblin - M. Morganfield (Muddy Waters) 3:10<br />
5 Nadia - Nitin Sawhney 3:51<br />
6 Loose Cannon - Andy Wright, Jeff Beck, Jennifer Batten 5:17<br />
7 Rosebud - Andy Wright, Jeff Beck, Randy Hope-Taylor 3:44<br />
8 Left Hook - Andy Wright, Jeff Beck, Steve Alexander 4:20<br />
9 Blackbird - Jeff Beck 1:27<br />
10 Suspension - Andy Wright, Jeff Beck 3:21<br />
<br />
<span style="color: #f9cb9c;">MUSICIANS</span><br />
<br />
Jeff Beck - Guitar<br />
Jennifer Batten - Guitar<br />
Randy Hope-Taylor - Bass<br />
Steve Alexander - Drums<br />
Aiden Love - Programming<br />
Imogen Heap - Vocals on Tracks 3, 4<br />
<br />
<span style="color: #9fc5e8;">JEFF BECK</span> <span style="color: #cccccc;">BIO</span><br />
<br />
While he was as innovative as Jimmy Page, as tasteful as Eric Clapton, and nearly as visionary as Jimi Hendrix, Jeff Beck never achieved the same commercial success as any of his contemporaries, primarily because of the haphazard way he approached his career. After Rod Stewart left the Jeff Beck Group in 1971, Beck never worked with a charismatic lead singer who could have helped sell his music to a wide audience. Furthermore, he was simply too idiosyncratic, moving from heavy metal to jazz fusion within a blink of an eye. As his career progressed, he became more fascinated by automobiles than guitars, releasing only one album during the course of the '90s. All the while, Beck retained the respect of fellow guitarists, who found his reclusiveness all the more alluring. Beck began his musical career following a short stint at London's Wimbledon Art College. He earned a reputation by supporting Lord Sutch, which helped him land the job as the Yardbirds' lead guitarist following the departure of Eric Clapton. Beck stayed with the Yardbirds for nearly two years, leaving in late in 1966 with the pretense that he was retiring from music. He returned several months later with "Love Is Blue," a single he played poorly because he detested the song. Later in 1967, he formed the Jeff Beck Group with vocalist Rod Stewart, bassist Ron Wood, and drummer Aynsley Dunbar, who was quickly replaced by Mickey Waller; keyboardist Nicky Hopkins joined in early 1968. With their crushingly loud reworkings of blues songs and vocal and guitar interplay, the Jeff Beck Group established the template for heavy metal. Neither of the band's records, Truth (1968) or Beck-Ola (a 1969 album that was recorded with new drummer Tony Newman), was particularly successful, and the band tended to fight regularly, especially on their frequent tours of the U.S. In 1970, Stewart and Wood left to join the Faces, and Beck broke up the group. Beck had intended to form a power trio with Vanilla Fudge members Carmine Appice (drums) and Tim Bogert (bass), but those plans were derailed when he suffered a serious car crash in 1970. By the time he recuperated in 1971, Bogart and Appice were playing in Cactus, so the guitarist formed a new version of the Jeff Beck Group. Featuring keyboardist Max Middleton, drummer Cozy Powell, bassist Clive Chaman, and vocalist Bobby Tench, the new band recorded Rough and Ready (1971) and Jeff Beck Group (1972). Neither album attracted much attention. Cactus dissolved in late 1972, and Beck, Bogert, and Appice formed a power trio the following year. The group's lone studio album -- a live record was released in Japan but never in the U.K. or U.S. -- was widely panned due to its plodding arrangements and weak vocals, and the group disbanded the following year. For about 18 months, Beck remained quiet, re-emerging in 1975 with Blow by Blow. Produced by George Martin, Blow by Blow was an all-instrumental jazz fusion album that received strong reviews. Beck collaborated with Jan Hammer, a former keyboardist for Mahavishnu Orchestra, for 1976's Wired, and supported the album with a co-headlining tour with Hammer's band. The tour was documented on the 1977 album Jeff Beck with the Jan Hammer Group -- Live. After the Hammer tour, Beck retired to his estate outside of London and remained quiet for three years. He returned in 1980 with There and Back, which featured contributions from Hammer. Following the tour for There and Back, Beck retired again, returning five years later with the slick, Nile Rodgers-produced Flash. A pop/rock album recorded with a variety of vocalists, Flash featured Beck's only hit single, the Stewart-sung "People Get Ready," and also boasted "Escape," which won the Grammy for Best Rock Instrumental. During 1987, he played lead guitar on Mick Jagger's second solo album, Primitive Cool. There was another long wait between Flash and 1989's Jeff Beck's Guitar Shop with Terry Bozzio and Tony Hymas. Though the album sold only moderately well, Guitar Shop received uniformly strong reviews and won the Grammy for Best Rock Instrumental. Beck supported the album with a tour, this time co-headlining with guitarist Stevie Ray Vaughan. Again, Beck entered semi-retirement upon the completion of the tour. In 1992, Beck played lead guitar on Roger Waters' comeback album, Amused to Death. A year later, he released Crazy Legs, a tribute to Gene Vincent and his lead guitarist, Cliff Gallup, which was recorded with Big Town Playboys. Beck remained quiet after the album's release prior to resurfacing in 1999 with Who Else! You Had It Coming followed in 2001 and his 14th release, Jeff, was issued on Epic two years later. An excellent live set, Performing This Week: Live at Ronnie Scott's Jazz Club, was released in 2008 by Eagle Records. Emotion & Commotion, Beck's first new studio album in seven years, appeared in the spring of 2010. © Stephen Thomas Erlewine © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/jeff-beck-p3650/biographyA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-14959088758929152542014-12-03T01:05:00.000+01:002014-12-03T01:05:07.013+01:00The Henry McCullough Band<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/TheHenryMcCulloughBand-FBILive-2007_zpsbca44aeb.jpg~original" /><br />
</center><span style="color: #7f6000;">The</span> <span style="color: #274e13;">Henry McCullough </span><span style="color: #7f6000;">Band </span><span style="color: #f3f3f3;">-</span> <span style="color: #fff2cc;">[</span><span style="color: #cc0000;">FBI Live</span><span style="color: #fff2cc;">]</span> <span style="color: #f3f3f3;">-</span> <span style="color: #f9cb9c;">2007 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Mundell</span><br />
<br />
You may or may not have heard of Henry McCullough - although it s more likely you will have - but it s almost certain you ll have heard him play. After cutting his teeth with various bands in his native Ireland, McCullough headed for the bright lights of London just as the British blues boom exploded. A meeting with a young Sheffield singer led to a stint in Joe Cocker s Grease Band, which included their legendary Woodstock performance. After leaving the Grease Band, McCullough joined a little known outfit called Wings, headed by a certain ex-Beatle and his wife. Musical differences between McCullough and McCartney saw a parting of the ways and he - McCullough not Macca - went on to play with a veritable musical who s who, including Donovan, Marianne Faithful, Spooky Tooth, Eric Burdon and Roy Harper. An accident with a knife on a trip home in the 1980s saw a career re-evaluation and that path led all the way to The Famous Bein Inn, Glenfarg and the latest in the FBI (Famous Bein Inn) Live series. Whilst wildest Perthshire may not have the status of some of the Wings gigs, what is certain is that McCullough is where he wants to be and where he undoubtedly belongs, on stage, any stage. When I read the track listing and saw that after a seven-minute opening of Same Damned Thing, there was House Of The Rising Sun weighing in at over ten minutes. Henry McCullough is not a guitarist to do things by half and both are a glorious throwback to a time when songs were fully explored and McCullough shows himself to be a master of his craft. As good as it is on CD, live it must have been a magical experience. A true genius holds you in the palm of his hand wherever you may be and Henry McCullough is as close to genius as you ll get. He teases and caresses a classic until it too falls under his spell. But in a way, even House Of The Rising Sun is eclipsed by what follows, Locked In, Can t Get Out may not be as well known, but it fits Henry McCullough like a second skin. This real, honest-to-goodness British blues, which is raw and earthy, celebrates its blemishes and imperfections but never loses its sense of joy. The pull of Henry McCullough s folk roots is obviously still strong and he immerses himself in the simple beauty of Belfast To Boston. Until a final flourish there are no guitar pyrotechnics to break the hold, just a man playing from his heart and you really need nothing more, its nine minutes pass in a heartbeat. McCullough s comfort with the music is obvious but comfort doesn t breed contempt in this case, he grooves his way through Mess With The Blues before launching in to the title track of his album Failed Christian. Perhaps for the first time on the night McCullough bares his teeth. FBI is quite simply the complete performance as Henry McCullough leads the Bein Inn audience gently by the hand through a blues wonderland. © Michael Mee. © 2014 Mundell Music Shop http://shop.mundellmusic.com/the-henry-mccullough-band-fbi-live/<br />
<br />
Legendary Irish Blues Guitarist Henry McCullough makes history by appearing on the first album recorded by Perthshires own Famous Bein Inn. Recorded at Henry's GIG at the Glenfarg Venue in 2006 it has been captured on the new disc, which boasts six epic tracks clocking in at a complete running time of one hour. The former lead guitarist from Joe Cockers Band and Paul McCartneys Wings is nothing if not experienced and the benefits of a lifetime conected to music pay dividends here. Sounding every inch the grizzeled rocker he looks, McCullough's rasping vocals overlay a compelling R 'n' B sound that hinges on his own mind blowing six string virtuosity and sound. With backing from Roe Butcher (Bass), Percy Robinson(Guitar/Pedal Steel), Stephen Quinn(Drums), and Shaun McCarron (Sax) the big H generates a sound so clear and strong it could have been laid down in the most expensive of Caribbean Studios. Standout tracks in an engrossing set include 'Same damn thing' a poignant 10 minute version of 'House of the rising sun', the McCullough penned 'Failed Christian', and his signature piece, 'I cant remember, I was drunk at the time.' The sheer audio quality of the fare on offer here is a huge testament to the ability of the Bein Inn's concert room to bring out the best in visiting Artists. Recorded up close and personal infront of just 60 fans, the set must surely rank among the highlights of McCullough's lenghty and diverse carrer- one that has taken in the Woodstock Festival, an appearence on Pink Floyd's 'Dark Side Of The Moon' and stints with the likes of Marianne Faithfull and Frankie Miller. At Times laid back at others edgy, the veteran's astonishing performance proves that age is no barrier and bodes well for future releases on the new 'Mundell Music' Record Label. - Posted by & © mundellmusic at 12:23 http://rockingatthestables.blogspot.ie/2009/06/henry-mccullough-fbi-live.html<br />
<br />
At the beginning of the 1970’s after the Beatles split, Paul McCartney could have had any guitar player in the world and yet he chose the legendary Irish blues guitarist Henry McCullough to be lead guitarist for Wings. This album is a great live performance at Perthshire's Famous Bein Inn in 2006 by a very tight band led by the late Henry McCullough one of Ireland’s most successful and quietly revered musicians. <span style="color: #274e13;">[</span><span style="color: #f9cb9c;">Tracks @ 201-224 Kbps: File Size = 78.2 Mb</span><span style="color: #274e13;">]</span> Check out Henry McCulloughs “Blue Sunset” album<br />
<br />
<span style="color: #ea9999;">TRACKS</span><br />
<br />
1 Same Damned Thing 7:11<br />
2 House Of The Rising Sun 10:07<br />
3 Locked In Can't Get Out 6:11<br />
4 Belfast To Boston 9:22<br />
5 Mess With The Blues 8:53<br />
6 Failed Christian 9:17<br />
7 I Can't Remember, I Was Drunk At The Time 0:24<br />
<br />
<span style="color: #134f5c;">MUSICIANS</span><br />
<br />
Henry McCullough - Guitar, Vocals<br />
Percy Robinson - Guitar/Pedal Steel<br />
Roe Butcher - Bass<br />
Stephen Quinn- Drums<br />
Shaun McCarron – Saxophone<br />
<br />
<span style="color: #274e13;">BIO </span><span style="color: #666666;">(WIKI)</span><br />
<br />
Henry Campbell Liken McCullough (born 21 July 1943, Portstewart) is a Northern Irish guitarist, vocalist and songwriter, who has played guitar in such bands as Sweeney's Men, Spooky Tooth, Paul McCartney & Wings, andThe Grease Band. He turned up in many different places as sideman or a performer in his own right. In 2008, he recorded Poor Man's Moon, featuring the single, "Too Late to Worry." McCullough first came to prominence in the early 1960s as the teenage lead guitarist with The Skyrockets showband from Enniskillen. In 1964, with three other members of The Skyrockets, he left and formed a new showband fronted by South African born vocalist Gene Chetty, which they named Gene and The Gents. In 1967 McCullough moved to Belfast where he joined Chris Stewart (bass), Ernie Graham (vocals) and Dave Lutton (drums) to form the psychedelic band The People. Later that year the band moved to London and were signed by Chas Chandler's management team, who changed the group’s name to Éire Apparent. Under Chandler's guidance, despite only having one single released, they toured with groups such as Pink Floyd, Soft Machine, The Move and The Jimi Hendrix Experience, as well as Eric Burdon and the Animals. Things went well until, in Vancouver, Canada in mid February 1968, while the band was touring with The Animals, McCullough was busted for possession of marijuana and sent back to The United Kingdom (officially because of 'visa problems'), and Mick Cox flew out to take his place in the band. Back in Ireland McCullough joined what was primarily a folk group called Sweeney's Men, by May 1968. Under his influence, however, they soon began to mix folk and rock, and are often regarded as the innovators of the folk/rock genre. After a year in Ireland, McCullough returned to London to work with Joe Cocker as a member of his backing group, the Grease Band. With Cocker he toured the U.S. and performed at the Woodstock Festival. McCullough played on The Grease Band's eponymous album after splitting with Cocker, and during his time with the band he also appeared as lead guitarist on the original 1970 recording of Andrew Lloyd Webber and Tim Rice's rock opera Jesus Christ Superstar and on the progressive Spooky Tooth album The Last Puff. In 1971 Paul McCartney asked McCullough to join his new band, Wings, alongside Denny Laine and Denny Seiwell. His guitar solo on "My Love" has been described as one of rock music’s greatest solos. Musical differences with McCartney, however, saw McCullough move on the eve of the Band on the Run sessions. He spent two years in the band, playing lead guitar on "Hi, Hi, Hi", "Live and Let Die" as well as "My Love". McCullough's spoken words "I don't know; I was really drunk at the time" can be heard on the Pink Floyd album The Dark Side of the Moon, at the end of the song "Money". He was recalling a fight he had the night before with his wife. McCullough landed from his Wings experience into another two year gig alongside his friend Chris Stewart, keyboard player Mick "Wynder K. Frog" Weaver and drummer Stu Perry into the ironically very Joe Cocker sounding Frankie Miller Band. Miller's "Ain't Got No Money" featuring McCullough's guitar work inspired Bob Seger to write and record "The Fire Down Below". (cited Frankie Miller Band, "The Rock", Chrysalis Records 1975), Bob Seger (countless interviews, Capitol Records Publicity Department 1977-1979) In 1975, McCullough released Mind Your Own Business, his only album on George Harrison's Dark Horse label. McCullough then did some session work, and played concerts with Roy Harper, Frankie Miller, Eric Burdon, Marianne Faithfull, Ronnie Lane and Donovan. In 1977 he temporarily joined Dr. Feelgood, following the departure of Wilko Johnson. Recovering from an injury to his hand while visiting his family in 1980, McCullough decided to stay in Ireland. He began to sit in with some old friends, The Fleadh Cowboys, at their Sunday afternoon residency in The Lower Deck in Dublin, and soon decided to move back to Portstewart and put a new band together. He was joined by Percy Robinson on pedal steel guitar, Roe Butcher on bass and Liam Bradley on drums. In 1998 McCullough went to Poland, where he rehearsed with a band of Polish musicians for an upcoming tour. After the tour, they went into a recording studio and recorded a 'live' album which was released as Blue Sunset. This was followed by a further Polish tour. On returning home, McCullough recorded and released "Failed Christian", a song that has since been covered by Nick Lowe on his album, Dig My Mood. McCullough continued to record and perform and released solo material, including Belfast To Boston (2001) and Unfinished Business (2003). The latter contained his 1998 single, "Failed Christian". McCullough performed at concerts in Northern Ireland and Scotland, playing with a backing band (featuring Stephen Quinn on drums and Sean McCarron on saxophone). McCullough contributed guitar on and organized the band for the Alaskan musician, The Rev Neil Down's, 2003 release, When A Wrong Turns Right. The Henry McCullough Band - FBI Live was released in 2007 on Mundell music, from a recording at The Famous Bein Inn in 2006.In 2007, Over the Rhine covered "Failed Christian" on their album, Live from Nowhere, Vol. II. In late 2007, McCullough teamed up with Dave Sharp (ex Alarm) and together they enlisted Zoot Money on keyboards; Gary Fletcher on bass guitar; and Colin Allen on drums. In January 2008 The Hard Travelers performed their debut gig at The Cellars, Portsmouth. In 2008 McCullough recorded Poor Man's Moon at Amberville Studios and it was released in Ireland only on 5 September 2008. It featured new McCullough compositions, and a number of songs co-written with poet Eamon Carr (of Horslips) including the single, "Too Late to Worry". Among the musicians featured on the album were James Delaney on keyboards; Roe Butcher on electric bass guitar; Nicky Scott on double bass and electric bass guitar; Enda Walsh on keyboards; Adie McIlduff on drums; Percy Robinson on dobro and pedal steel guitar and Peter McKinney on drums/sequencing. In 2007/8 Henry teamed up with USA/Ireland Singer Songwriter and friend Jeff Greene of Acashic/Aurora Records to Record Greene's "Dark Nite of the Soul" album and other musical collaborations at Wind-Mill Lane Studios Dublin Metropolis Studios London and The Sound Kitchen Nashville. McCullough attended Paul McCartney's concert at the O2 in Dublin on 20 December 2009. McCartney publicly acknowledged McCullough's contribution to Wings. On 13 March 2010, McCullough played the Fifestock Festival at the Inn at Lathones, Scotland. This festival was the last one undertaken at that venue, and McCullough's band headlined the event. Henry McCullough was active in the European music scene. He played regular live gigs with artists such as Ed Deane, James Delaney, Noel Bridgeman, and John Quearney, among others. In 2011 Henry collaborated with songwriter Paul Doherty and The Vals on the track 'Look to the One'. The song was a success, gaining much airplay worldwide. Henry contributed backing vocals and his signature guitar sound. Henry suffered a heart attack in November 2012 leaving him in a critical condition. His death was mistakenly reported on Ronan Collins's RTÉ Radio 1 show on 7 November. The BBC was forced to apologise after prematurely reporting his death. In an interview with website Something Else Denny Seiwell a former Wings drummer who played with McCullough in the Paul McCartney-led group, says it's doubtful McCullough will make a complete recovery. A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-10881829332871350202014-12-02T16:23:00.003+01:002014-12-02T16:23:27.016+01:00Henry McCullough<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/HenryMcCullough-PoorMansMoon-2008_zpsb8cad46e.jpg~original" /><br />
</center><span style="color: #f4cccc;">Henry McCullough</span> <span style="color: #f3f3f3;">-</span> <span style="color: #274e13;">Poor Man's Moon</span> <span style="color: #f3f3f3;">-</span> <span style="color: #990000;">2008 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Silverwolf</span><br />
<br />
Our old friend Henry McCullough is at it again with his 2008 album Poor Man's Moon, just released in the U.S. The subtle electric guitar master — best known for being the infamous lead on Paul McCartney & Wing's "My Love" — has released a spectacular 11-song electric blues-based rock album that features perfect playing, subtle intricate songwriting and McCullough's truly inspired guitar playing. The album opens with "Burial Ground," a slow dirge-like song with a double great bass from Nicky Scott, McCullough's snappy vocals and super sad slide and Enda Walsh's perfect piano. As Henry told me about this opener: "I have had people sit in me own house and know of people who sit in their own house and listen to Burial Ground and even before the end of it they were in tears." "Big Old River" follows with some chunky electric guitar and rockabilly-like snare; this one is so fun that it almost sounds like Henry McCullough is laughing at times during the vocal. "I've Got A Secret" has some great tickling piano, with McCullough channeling his inner Keith Richards on the vocals with the full complement of Peter McKinney's drums and Roe Butcher's bass. The slower "Walk With Me" features a great lived-in lyric (I so appreciate guys writing from their experience and age), plus a beautiful Percy Robinson steel. The best of the lot as far as middle-rolling solid electric blues is "Belfast Train" with its biting layback feel featuring the players as best they sound throughout the entire CD. With Aidey McIlduff on drums, James Delaney on piano, Roe Butcher on bass and lyrics from McCullough — "I got a suitcase full of nothing except memories and regrets" — how can you really go wrong? Enjoy some great acoustic picking from McCullough in "All Gone Crazy," a sprite-y swirling almost-instrumental tune. It's the perfect length with a spot-on track placement, followed by the great blues rumbling "Time To Put The Snakes To Bed," which sees a great use of slide guitar on acoustic and Henry's players flipping along nicely behind him. The title track (which appears as track 12 here) is commercially snappy, knocking up against John Fogerty territory even. A great overall album, what I can really appreciate about Poor Man's Moon is that McCullough plays as much lead himself as he sits back and lets his fantastic players. ~ Ralph Greco, Jr. © Copyright 1997, 2014 Vintage Rock http://www.vintagerock.com/index.php?option=com_content&view=article&id=1323:henry-mccullough-poor-mans-moon-cd-review&catid=8:new-studio-releases&Itemid=38<br />
<br />
Henry McCullough is the legendary guitarist who played in the Grease Band with Joe Cocker at Woodstock and picked the stellar solo on "My Love" during his tenure with Paul McCartney's Wings. Henry returned to Ireland after leaving Wings and now plays all over Europe with his band. He is also a songwriter, and wrote the song "Failed Christian" which has been recorded by Nick Lowe among others. Poor Man's Moon shows the gentler side of Henry's music, with an easy rolling JJ Cale feel. There are Celtic and country tinges to the music, but the prevailing atmosphere is soulful and bluesy. On "Fix Me Up Jesus", Henry softens his arguments with the Church on the earlier classic and stinging "Failed Christian". "Sometimes I wonder what I've become, It's not what I thought when I was young, Tear it all down and start again, You say the word and I'll say Amen". There ia a lived in feel to this music that comes with a lifetime of experience. The songs are beautifully crafted little gems that repay repeated listening and improve every time you hear them. I have had this album in my truck for weeks and it just gets better. Henry's guitar is mostly tastefully restrained within the song structures, but when he lets his Gibson 335 off the leash, he still has some devastating chops. But Henry doesn't show off, he's an old master, a Rembrandt glowing deep shades of gold and silver, a treasure to discover. – from ***** “Celtic guitar god & true master musician” By & © Michael C. Stephens on November 12, 2012 © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/Poor-Mans-Moon-Henry-Mccullough/dp/B007FQUHOG<br />
<br />
During the fade - out of Pink Floyd's Money, a voice nonchalantly states, "I don't know; I was really drunk at the time". These words were spoken by the late, great Irish musician, Henry McCullough, one-time member of Paul McCartney's Wings, and session guitarist to artists that include Joe Cocker, Jimi Hendrix, Marianne Faithful, Leon Russell and many, many more. “Poor Man's Moon” is a relatively obscure but beautifully constructed album of rock, and blues rock with a nice Celtic touch. Check out Henry’s great “Get In The Hole” album. <span style="color: #7f6000;">[</span><span style="color: #ffe599;">All tracks @ 320 Kbps: File size = 93.5 Mb</span><span style="color: #7f6000;">]</span><br />
<br />
<span style="color: #ea9999;">TRACKS</span><br />
<br />
1 Burial Ground 4:42 <br />
2 Big Old River 2:36 <br />
3 I've Got a Secret 4:22 <br />
4 Too Late to Worry 2:18 <br />
5 Poor Man's Moon 5:27 <br />
6 Walk With Me 3:55 <br />
7 Belfast Train 5:25 <br />
8 Skin & Bone 3:06 <br />
9 Fix Me Up Jesus 4:32 <br />
10 All Gone Crazy 1:37 <br />
11 Time To Put the Snakes To Bed 3:01 <br />
12 Poor Man's Moon (Reprise) 1:53 <br />
<br />
<span style="color: #d5a6bd;">All tracks composed by Henry McCullough except Track 6</span><br />
<br />
<span style="color: #660000;">MUSICIANS</span><br />
<br />
Henry McCullough - Guitars, Vocals <br />
Declan Murphy, Paddy Goodwin - Electric Guitar<br />
Percy Robinson - Dobro, Pedal Steel Guitar, Dobro<br />
Nicky Scott - Double Bass, Bass (electric)<br />
Roe Butcher - Bass<br />
James Delaney, Enda Walsh - Keyboards<br />
Aidey McIlduff - Drums<br />
Peter McKinney - Drums, Sequencing<br />
<br />
<span style="color: #274e13;">BIO </span><span style="color: #444444;">(WIKI)</span><br />
<br />
Henry Campbell Liken McCullough (born 21 July 1943, Portstewart) is a Northern Irish guitarist, vocalist and songwriter, who has played guitar in such bands as Sweeney's Men, Spooky Tooth, Paul McCartney & Wings, andThe Grease Band. He turned up in many different places as sideman or a performer in his own right. In 2008, he recorded Poor Man's Moon, featuring the single, "Too Late to Worry." McCullough first came to prominence in the early 1960s as the teenage lead guitarist with The Skyrockets showband from Enniskillen. In 1964, with three other members of The Skyrockets, he left and formed a new showband fronted by South African born vocalist Gene Chetty, which they named Gene and The Gents. In 1967 McCullough moved to Belfast where he joined Chris Stewart (bass), Ernie Graham (vocals) and Dave Lutton (drums) to form the psychedelic band The People. Later that year the band moved to London and were signed by Chas Chandler's management team, who changed the group’s name to Éire Apparent. Under Chandler's guidance, despite only having one single released, they toured with groups such as Pink Floyd, Soft Machine, The Move and The Jimi Hendrix Experience, as well as Eric Burdon and the Animals. Things went well until, in Vancouver, Canada in mid February 1968, while the band was touring with The Animals, McCullough was busted for possession of marijuana and sent back to The United Kingdom (officially because of 'visa problems'), and Mick Cox flew out to take his place in the band. Back in Ireland McCullough joined what was primarily a folk group called Sweeney's Men, by May 1968. Under his influence, however, they soon began to mix folk and rock, and are often regarded as the innovators of the folk/rock genre. After a year in Ireland, McCullough returned to London to work with Joe Cocker as a member of his backing group, the Grease Band. With Cocker he toured the U.S. and performed at the Woodstock Festival. McCullough played on The Grease Band's eponymous album after splitting with Cocker, and during his time with the band he also appeared as lead guitarist on the original 1970 recording of Andrew Lloyd Webber and Tim Rice's rock opera Jesus Christ Superstar and on the progressive Spooky Tooth album The Last Puff. In 1971 Paul McCartney asked McCullough to join his new band, Wings, alongside Denny Laine and Denny Seiwell. His guitar solo on "My Love" has been described as one of rock music’s greatest solos. Musical differences with McCartney, however, saw McCullough move on the eve of the Band on the Run sessions. He spent two years in the band, playing lead guitar on "Hi, Hi, Hi", "Live and Let Die" as well as "My Love". McCullough's spoken words "I don't know; I was really drunk at the time" can be heard on the Pink Floyd album The Dark Side of the Moon, at the end of the song "Money". He was recalling a fight he had the night before with his wife. McCullough landed from his Wings experience into another two year gig alongside his friend Chris Stewart, keyboard player Mick "Wynder K. Frog" Weaver and drummer Stu Perry into the ironically very Joe Cocker sounding Frankie Miller Band. Miller's "Ain't Got No Money" featuring McCullough's guitar work inspired Bob Seger to write and record "The Fire Down Below". (cited Frankie Miller Band, "The Rock", Chrysalis Records 1975), Bob Seger (countless interviews, Capitol Records Publicity Department 1977-1979) In 1975, McCullough released Mind Your Own Business, his only album on George Harrison's Dark Horse label. McCullough then did some session work, and played concerts with Roy Harper, Frankie Miller, Eric Burdon, Marianne Faithfull, Ronnie Lane and Donovan. In 1977 he temporarily joined Dr. Feelgood, following the departure of Wilko Johnson. Recovering from an injury to his hand while visiting his family in 1980, McCullough decided to stay in Ireland. He began to sit in with some old friends, The Fleadh Cowboys, at their Sunday afternoon residency in The Lower Deck in Dublin, and soon decided to move back to Portstewart and put a new band together. He was joined by Percy Robinson on pedal steel guitar, Roe Butcher on bass and Liam Bradley on drums. In 1998 McCullough went to Poland, where he rehearsed with a band of Polish musicians for an upcoming tour. After the tour, they went into a recording studio and recorded a 'live' album which was released as Blue Sunset. This was followed by a further Polish tour. On returning home, McCullough recorded and released "Failed Christian", a song that has since been covered by Nick Lowe on his album, Dig My Mood. McCullough continued to record and perform and released solo material, including Belfast To Boston (2001) and Unfinished Business (2003). The latter contained his 1998 single, "Failed Christian". McCullough performed at concerts in Northern Ireland and Scotland, playing with a backing band (featuring Stephen Quinn on drums and Sean McCarron on saxophone). McCullough contributed guitar on and organized the band for the Alaskan musician, The Rev Neil Down's, 2003 release, When A Wrong Turns Right. The Henry McCullough Band - FBI Live was released in 2007 on Mundell music, from a recording at The Famous Bein Inn in 2006.In 2007, Over the Rhine covered "Failed Christian" on their album, Live from Nowhere, Vol. II. In late 2007, McCullough teamed up with Dave Sharp (ex Alarm) and together they enlisted Zoot Money on keyboards; Gary Fletcher on bass guitar; and Colin Allen on drums. In January 2008 The Hard Travelers performed their debut gig at The Cellars, Portsmouth. In 2008 McCullough recorded Poor Man's Moon at Amberville Studios and it was released in Ireland only on 5 September 2008. It featured new McCullough compositions, and a number of songs co-written with poet Eamon Carr (of Horslips) including the single, "Too Late to Worry". Among the musicians featured on the album were James Delaney on keyboards; Roe Butcher on electric bass guitar; Nicky Scott on double bass and electric bass guitar; Enda Walsh on keyboards; Adie McIlduff on drums; Percy Robinson on dobro and pedal steel guitar and Peter McKinney on drums/sequencing. In 2007/8 Henry teamed up with USA/Ireland Singer Songwriter and friend Jeff Greene of Acashic/Aurora Records to Record Greene's "Dark Nite of the Soul" album and other musical collaborations at Wind-Mill Lane Studios Dublin Metropolis Studios London and The Sound Kitchen Nashville. McCullough attended Paul McCartney's concert at the O2 in Dublin on 20 December 2009. McCartney publicly acknowledged McCullough's contribution to Wings. On 13 March 2010, McCullough played the Fifestock Festival at the Inn at Lathones, Scotland. This festival was the last one undertaken at that venue, and McCullough's band headlined the event. Henry McCullough was active in the European music scene. He played regular live gigs with artists such as Ed Deane, James Delaney, Noel Bridgeman, and John Quearney, among others. In 2011 Henry collaborated with songwriter Paul Doherty and The Vals on the track 'Look to the One'. The song was a success, gaining much airplay worldwide. Henry contributed backing vocals and his signature guitar sound. Henry suffered a heart attack in November 2012 leaving him in a critical condition. His death was mistakenly reported on Ronan Collins's RTÉ Radio 1 show on 7 November. The BBC was forced to apologise after prematurely reporting his death. In an interview with website Something Else Denny Seiwell a former Wings drummer who played with McCullough in the Paul McCartney-led group, says it's doubtful McCullough will make a complete recovery. A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-68615320831435435562014-11-25T15:34:00.003+01:002014-11-25T15:34:34.232+01:00The B-52s <center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/TheB-52s-PlanetClaire-1995_zps31997bd7.jpg~original" /><br />
</center><span style="color: #9fc5e8;">The B-52s</span> <span style="color: #f3f3f3;">-</span> <span style="color: #ffe599;">Planet Claire</span> <span style="color: #f3f3f3;">-</span> <span style="color: #c27ba0;">1995 </span><span style="color: #f3f3f3;">- </span><span style="color: #444444;">Karussell</span><br />
<br />
I'm a B-52's fan, just so you know from the start. This CD is for the collector, or for the fan who just discovered Love Shack and wants to hear more like it. This CD has some of The B's best early songs, along with some of the wacky ones. This is a party album(as every B-52 CD is), and it's highly amusing. Let's see, we have Planet Claire (a classic song, but highly simple.) Lava with nifty guitars, and nicely contrasted voices. Downtown, a funky new wavish version of the original. Strobe Light, a song focusing mainly on having a good time, sure to lighten up a dull atmosphere. Future Generation, a song as interesting as it is true. I can go on, and list the good qualities this CD has, but I think i'll let you buy it yourself, leaving you with this last message-- This CD is a certified "B's" cd, none of their commercial crap. ****/5 - Yet another CD with a collection of already made songs. By & © Ashley on March 2, 2001 © 1996-2014, Amazon.com, Inc. or its affiliates http://www.amazon.com/Planet-Claire-B-52s/dp/B000005RZ2<br />
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Good 1995 compilation album from The B-52s featuring 14 early hits & key album tracks, including 'Planet Claire', 'Rock Lobster', 'Strobe Light', '52 Girls', 'Dirty Back Road', 'Give Me Back My Man', 'Future Generation' and 'Girl From Ipanema Goes To Greenland'. Listen to the band’s great “Wild Planet” album <span style="color: #d5a6bd;">[</span><span style="color: #ffe599;">All tracks @ 320 Kbps: File size = 134 Mb</span><span style="color: #d5a6bd;">]</span><br />
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<span style="color: yellow;">TRACKS / COMPOSERS</span><br />
<br />
1 Planet Claire - Wilson, Schneider, Mancini, Pierson, Strickland, Wilson 4:35<br />
2 Rock Lobster - Wilson, Schneider, Pierson, Strickland, Wilson 6:50<br />
3 Lava - Wilson, Schneider, Pierson, Strickland, Wilson 4:56<br />
4 Downtown - Hatch 3:18<br />
5 6060-842 - Wilson, Schneider, Pierson, Strickland, Wilson 2:52<br />
6 52 Girls - Wilson, Schneider, Ayers, Pierson, Strickland, Wilson 3:35<br />
7 Give Me Back My Man - Wilson, Schneider, Pierson, Strickland, Wilson, Waldrop 4:00<br />
8 Strobe Light - Wilson, Schneider, Pierson, Strickland, Wilson 4:02<br />
9 Dirty Back Road - Wilson, Schneider, Pierson, Strickland, Wilson, Waldrop 3:19<br />
10 Loveland - Wilson, Schneider, Pierson, Strickland, Wilson 5:02<br />
11 Nip It In The Bud - Wilson, Schneider, Pierson, Strickland, Wilson 3:33<br />
12 Future Generation - Wilson, Schneider, Pierson, Strickland, Wilson 3:59<br />
13 Wig - Wilson, Schneider, Pierson, Strickland, Wilson 4:21<br />
14 Girl From Ipanema Goes To Greenland - Wilson, Schneider, Pierson, Strickland, Wilson, Waldro 4:22<br />
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<span style="color: #134f5c;">BIO</span><br />
<br />
The first of many acts to cement the college town of Athens, GA, as a hotbed of alternative music, the B-52's took their name from the Southern slang for the mile-high bouffant wigs sported by singers Kate Pierson and Cindy Wilson, a look emblematic of the band's campy, thrift-store aesthetic. The five-piece group, which also included founding members Fred Schneider, guitarist Ricky Wilson (Cindy's older brother), and drummer Keith Strickland, formed in the mid-'70s after a drunken evening at a Chinese restaurant; the band members had little or no previous musical experience, and performed most of their earliest shows with taped guitar and percussion accompaniment. After pressing up a few thousand copies of the single "Rock Lobster," the B-52's traveled to the famed Max's Kansas City club for their first paying gig. Subsequent appearances at CBGB brought the group to the attention of the New York press, and in 1979, they issued their self-titled debut album, a collection of manic, bizarre, and eminently danceable songs which scored an underground club hit with a reworked version of "Rock Lobster." The following year, they issued Wild Planet, which reached the Top 20 on the U.S. album charts; Party Mix!, an EP's worth of reworked material from the band's first two proper outings, appeared in 1981. Released in 1982, the EP Mesopotamia arose out of a series of aborted sessions with producer David Byrne which saw the B-52's largely abandon their trademark sense of humor, a situation rectified by the following year's Whammy!, a move into electronic territory. After a Schneider solo LP, 1984's Fred Schneider & the Shake Society, the group returned to the studio to record 1986's Bouncing Off the Satellites. On October 12, 1985, however, Ricky Wilson died; though originally his death was attributed to natural causes, it was later revealed that he had succumbed to AIDS. In light of Wilson's death, the group found it impossible to promote the new album, and they spent the next several years in seclusion. In 1989, the B-52's finally returned with Cosmic Thing, their most commercially successful effort to date. Marked byStrickland's move from drums to guitar and club-friendly production from Don Was and Nile Rodgers, the album launched several hit singles, including the party smash "Love Shack," "Roam," and "Deadbeat Club." In 1990, Cindy Wilsonretired from active duty, leaving the remaining trio to soldier on for 1992's Good Stuff. A year later, dubbed the BC-52's, they performed the theme song for Steven Spielberg's live-action feature The Flintstones. Wilson returned to the group for a tour supporting the release of 1998's hits collection Time Capsule. Four years later the double-disc Nude on the Moon compilation would dive deeper into their catalog by featuring rare tracks, live recordings, and remixes along with the hits. The year 2008 found the band returning with a new album for the first time in 16 years. Released by Astralwerks, Funplex, was a slick, synthesizer-driven effort produced by Steve Osborne. © Jason Ankeny<br />
© 2014 AllMusic, a division of All Media Network, LLC. | All Rights ReservedA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-2563994363362863012014-11-14T18:31:00.005+01:002014-11-14T18:31:50.627+01:00Hans Platz<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/HansPlatz-Timestamps-2013_zps88645dc5.jpg~original" /><br />
</center><span style="color: #d5a6bd;">Hans Platz</span> <span style="color: #f3f3f3;">- </span><span style="color: #7f6000;">Time Stamps</span> <span style="color: #f3f3f3;">- </span><span style="color: #660000;">2013 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Piazza</span><br />
<br />
Timestamps is what german guitarist Hans Platz offers with his debut under his own name. He has been in bands I have never heard before so this is my first meeting with this guys and his music, he plays the guitar on this album and has guests for the other instruments. Well known guests as well. It is an instrumental rock album that comes in the colour of green, nice artwork and interesting liner notes in the booklet is a nice touch. It is eleven tracks dominated by strong guitar lines, no vocals, strong melodies and an excellent production. The sound is very exciting, it goes in green, like an interesting walk through an exciting jungle where there is a lot more to be seen than what first meets the eye. There are a lot of interesting details to be found here, but it is not overly complicated and the songs are quite short and to the point where all eleven songs plays for just over 35 minutes. I wrote no vocals but in the tenth track This is War there are some spoken words within the music just to add a bit more depth or something. I think this is a quality production and a quality album, not being a big fan of the instrumental rock music I find myself not overly excited about the music but I still enjoy listening to it. I think that the fans of the genre could be a bit blown away by this album as it is very interesting and has a lot to offer. I think Platz shows a lot of competence and he shows here that he knows how to make good music. I have enjoyed this album, even though it works best as background music for me. The album shows a lot of strength but it is best on the first half of the album, especially the second track. That track is my favourite of the album, excellent track and very amusing to listen to. You could say that the album starts out well but looses a bit towards the end, not that it ends poorly but it is noticeably less good in the end than in the start. Do you like instrumental rock music? if the answer to that question is yes, then I think you will do yourself a favour to pick it up. © Daniel Kallmalm(4/7) © http://www.hallowed.se/english/music/reviews/2014/hans_platz-timestamps.htm<br />
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The Erlanger guitarist Hans Place gathered on his album 'timestamps' world class musicians such as Marco Minnemann (Steven Wilson, Joe Satriani, Aristocrats), Wolfgang Haffner (Passport, Metro, Till Bronner), TM Stevens (James Brown, Joe Cocker, Steve Vai, Billy Joel, John McLaughlin) or Pete Griffin (Zappa plays Zappa) around, and conjures up out of nowhere a virtuoso instrumental album on the table that does not need to shy away from the international comparison. Mixed by Fabio Trentini (produced including the Guano Apes) the songs are presented in a glorious sound garment that expresses and still lets air to breathe. As a purely instrumental album of traditional song structures free, creativity knows no bounds, and the guitar can occupy the space that is denied in her classic bands. Especially because the musicians it is not an album become only for guitarists, bassists, drummers or just people who are interested in unusual rock music will love this album. © Hans Place © http://hansplatz.de/hp/<br />
<br />
Excellent guitar playing from Hans Platz aided by musicians that include Mattias IA Eklundh, Marco Minnemann, and Pete Griffin. This is a good example of modern progressive metal rock with symphonic and classical leanings. Hans has created a very different sound with some very original guitar lines and good compositions. Its a very short album but full of quality. Watch out for more from this guy. Read more reviews @ http://hansplatz.de/hp/ and more about Hans @ https://www.facebook.com/hansplatzofficial?fref=photo <span style="color: #660000;">[</span><span style="color: #a64d79;">All tracks @ 320 Kbps: File size = 80.5 Mb</span><span style="color: #660000;">]</span><br />
<br />
<span style="color: #7f6000;">TRACKS / COMPOSERS</span><br />
<br />
1. Birdrange - Hans Platz, Wolfgang Haffner, Fabio Trentini<br />
2. Spanish Race On A Devil's Highway - Hans Platz, Marco Minnemann, Fabio Trentini<br />
3. Pull It Out - Hans Platz, Marco Minnemann, Pete Griffin<br />
4. Father - Hans Platz, Wolfgang Haffner, Fabio Trentini<br />
5. Red Room Nine - Hans Platz, Wolfram Kellner, Pete Griffin<br />
6. Axetasy - Hans Platz, Wolfram Kellner, Fabio Trentini<br />
7. Freak Sauna - Hans Platz, TM Stevens, Wolfram Kellner<br />
8. Deadman - Hans Platz, Simon Michael, Fabio Trentini, Mattias IA Eklundh<br />
9. Timestamps - Hans Platz, Marco Minnemann, Pete Griffin<br />
10. This Is War - Hans Platz, Marco Minnemann, Fabio Trentini<br />
11. Alive - Hans Platz, Wolfgang Haffner, Pete Griffin<br />
<br />
<span style="color: #274e13;">MUSICIANS</span><br />
<br />
Hans Platz - Guitars<br />
Mattias IA Eklundh - Guest Guitar Solo on Track 8 <br />
Fabio Trentini, Pete Griffin, TM Stevens - Bass<br />
Marco Minnemann, Wolfgang Haffner, Wolfram Kellner, Simon Michael - DrumsA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com3tag:blogger.com,1999:blog-7758121285650208378.post-66388879064511145512014-11-08T01:22:00.007+01:002014-11-08T01:22:59.882+01:00James Armstrong<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/JamesArmstrong-GotItGoinOn-2000_zps12119bc7.jpg~original" /><br />
</center><span style="color: #660000;">James Armstrong</span> <span style="color: #f3f3f3;">- </span><span style="color: #9fc5e8;">Got It Goin' On </span><span style="color: #f3f3f3;">-</span> <span style="color: #a2c4c9;">2000 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Hightone</span><br />
<br />
California-based blues guitarist, songwriter, and singer James Armstrong may be small in physical stature, but his guitar playing, original lyrical themes, and singing will leave the most hardened of blues fans convinced of his brilliance. It's fair to say that Armstrong has the music in his blood: he is the son of a jazz guitar-playing father and blues singing mother. Raised in the Los Angeles area, he founded his first group in junior high school. He cites Jimi Hendrix, Robert Cray, Albert Collins, Albert King, and Eric Clapton as inspirational in his development. Highlights from his years in the Los Angeles area -- before moving north to the San Francisco Bay area -- include shows backing Collins, Big Joe Turner and Los Angeles veteran Smokey Wilson. After releasing the critically acclaimed Sleeping with a Stranger in 1995 for the San Francisco-based Hightone label, Armstrong's promising touring career was interrupted by tragedy. One night in April 1997, a robber broke into his home and nearly stabbed Armstrong to death. After weeks in the hospital and months of rehabilitation, Armstrong picked himself up, dusted himself off, and started all over again. In the late '90s and into the new century, Armstrong has hit the blues festival circuit with a passion, and put in a particularly impressive performance at the Pocono Blues Festival in Pennsylvania. By the spring of 2000, Armstrong again entered the studio to record Got It Goin' On an album that showcases Armstrong's delicate guitar stylings and soulful singing backed by Joe Louis Walker's rhythm section and a guest appearance on two tracks by keyboardist Jimmy Pugh of the Robert Cray Band. After his tragic stabbing, Armstrong found he couldn't run his fingers up and down the guitar neck as fast he once was able. He realized that faster isn't necessarily better, and recognized that good blues is more about feeling anyway, citing the slow, powerful, methodic stylings of one of his influences, the late Albert King. While Got It Goin' On showcases Armstrong's evolution as a songwriter since his debut release in 1995, both albums are recommended for blues fans who are tired of the same old themes. "2 Sides," a selection from Got It Goin' On was included in the movie Speechless starring Michael Keaton, but there are plenty of other originals on the release that demonstrate why Armstrong is to be taken seriously as a songwriter who continues to sail into heretofore uncharted lyrical waters. In 1999, Hightone released Dark Night, with Joe Louis Walker and Doug MacLeod taking lead guitar turns on two tracks. © Richard Skelly © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/james-armstrong-mn0000783716<br />
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Got It Goin' On is an apt title for this third release from California bluesman James Armstrong. While his previous release, Dark Night, was steeped in a soul/blues vein, this album is a solid, stripped-down blues session. Armstrong's guitar chops (especially on slide guitar) and impassioned vocals continue to gain strength following the horrendous attack on his life in 1997. Making an encore appearance is guitarist Michael Ross, who blends in with the dominant role Armstrong assumes, while the keyboard work is provided by Jimmy Pugh of the Robert Cray Band. The majority of cuts were written or co-written by Armstrong, including the heartfelt ballad "Another Dream," the funky rocker "2 Sides," included in the movie Speechless, and the New Orleans-influenced "Mr. B's." © Al Campbell © 2014 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://webcache.googleusercontent.com/search?q=cache:gD8-ou3dlgsJ:www.allmusic.com/album/got-it-goin-on-mw0000619357+&cd=5&hl=en&ct=clnk&gl=ie<br />
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Not a groundbreaking album but a hugely enjoyable album,and even though the songs' arrangements usually stick to familiar blues structures, they leave James plenty of room for some stinging solos. James’ “Blues at the Border” abum can be found on this blog. Check out his “Dark Night” album, and his "Sleeping with a Stranger" album is well worth buying. Support great blues rock <span style="color: #660000;">[</span><span style="color: #134f5c;">All tracks @ 320 Kbps: File size = 118 Mb</span><span style="color: #660000;">]</span><br />
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<span style="color: #7f6000;">TRACKS / COMPOSERS</span><br />
<br />
1 Got It Goin' On - D. Mac Leod, D.Amy, F.Brown 4:24 <br />
2 Pennies and Picks - R. Lily, James Armstrong, M.Heaney 4:23 <br />
3 Another Dream - D. Amy, James Armstrong, J. Brown 5:23<br />
4 2 Sides - James Armstrong 3:48 <br />
5 Mr. B's - James Armstrong, J.Hahn 3:30 <br />
6 Love Can Make You Do Wrong - D.Steen 4:28 <br />
7 Beat Up By Love - D. Mac Leod, R. Lily, James Armstrong, F.Brown 4:33 <br />
8 Shut My Eyes - D. Amy, James Armstrong, D. Wilson 3:57 <br />
9 Likes Her Lovin' - R.Lily, K.Besbeck, James Armstrong 3:19 <br />
10 Lucky Guy - D. Amy, James Armstrong, K.Besbeck 4:17 <br />
11 I'll Learn Sometime - S. Brown, R.Lily 3:34 <br />
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<span style="color: #9fc5e8;">MUSICIANS</span><br />
<br />
James Armstrong - Guitar (Lead, Slide & Rhythm), Vocals<br />
Michael Ross - Rhythm Guitar solo on "Likes Her Lovin'"<br />
Robert Watson - Bass<br />
Endre Tarczy - Bass on "2 Sides", "Mr.B.s", & "Love Can Make You Do Wrong"<br />
Mike Emerson - Piano & Organ<br />
Jimmy Pugh - Piano on "Beat Up By Love", & Organ on "Pennies And Picks"<br />
Stanley Hale - Drums<br />
David Tucker - Drums on "2 Sides", "Mr.B.s", & "Love Can Make You Do Wrong"<br />
<br />
<span style="color: #a2c4c9;">BIO </span><span style="color: #999999;">(WIKI)</span><br />
<br />
James Armstrong (born April 22, 1957, Los Angeles, California, United States) is an American soul blues and electric blues guitarist, singer and songwriter.He released three albums on HighTone Records and is signed with Catfood Records. His songs have been used in the soundtracks of three films;Speechless, Hear No Evil, and The Florentine. Armstrong's father was a jazz guitarist and his mother a blues singer. Having learned the guitar at a young age, Armstrong formed his first band at school, and was touring the United States in his late teens. Inspired by Albert King and Robert Cray, his musical education included backing musicians such as Albert Collins, Big Joe Turner and Smokey Wilson. Armstrong relocated to the San Francisco Bay Area and, in 1995, released his debut album, Sleeping with a Stranger, on HighTone. However, in April 1997, Armstrong was almost stabbed to death by an intruder at his home. The shoulder injury necessitated months of rehabilitation, which still left Armstrong with limited guitar playing ability in his left hand. He adjusted his playing style, hired a lead guitar player, and realised that playing slide guitar helped to slowly recover his dexterity. His second, introspective, album, Dark Night, was issued in 1998. It incorporated Joe Louis Walker and Doug Macleod playing lead guitar on a couple of the songs.The album track, "Bank of Love", was used in the films Hear No Evil and The Florentine. Armstrong recommenced live performances on the blues festival circuit, with a noteworthy appearance at the 1999 Pocono Blues Festival in Pennsylvania. In early 2000, Armstrong returned to the recording studio to work on his next album, Got It Goin' On. He was aided in the project by utilising Walker's rhythm section, plus a guest appearance from the keyboardist Jim Pugh. In 2001, Armstrong's song "Pennies and Picks" from Got It Goin' On, earned him a W.C. Handy Award nomination for 'Song of the Year'. Armstrong himself was nominated for 'Contemporary Male Blues Guitarist of the Year'. "2 Sides," another song from Got It Goin' On was included in the film soundtrack for Speechless. Armstrong has worked with Albert Collins, Keb' Mo', Coco Montoya, Roy Brown, Chaka Khan, Ricky Lee Jones, Jan and Dean,Mitch Mitchell and Tommy Castro. Armstrong's 2011 release on Catfood Records, Blues At The Border, was his first recording in 11 years.<br />
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<span style="color: #f9cb9c;">CRITICAL COMMENTS</span><br />
<br />
Living Blues: "... With a skintight band and a well-balanced combination of fire, technical proficiency, and taste, Armstrong continues on his way to the upper echelon of contemporary blues artists."<br />
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CBC Radio: “…full of haunting and subtle nuances that point to a life rich with experience, this musician has definitely paid his dues. James plays for and with his audience, extending the reach of the blues to include highly-charged sensuality, yearning, healing and good lowdown fun!”<br />
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JazzTimes: "...Demonstrates the kind of flexibility that allows him easily and convincingly shift gears from slow blues... to urban funk... to N’awlins grooves to rousing roadhouse shuffles..."<br />
<br />
Tony Russell: "If you define 'blues' by the rigid categories of structure rather than the flexible language of feeling allusion, Robert Cray... Larry Garner, Joe Louis Walker and James Armstrong are a new and uncategorizable breed, their music blues-like rather than blues, each of them blending ideas and devices from a variety of sources – soul, rock, jazz, gospel – with a sophisication beyond the reach of their forerunners".A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-86717370292953508222014-11-07T00:10:00.002+01:002014-11-07T00:10:18.677+01:00Terry Silverlight<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/TerrySilverlight-Wild-2004_zps6ffe27dc.jpg~original" /><br />
</center><span style="color: #ead1dc;">Terry Silverlight</span> <span style="color: #f3f3f3;">- </span><span style="color: #741b47;">Wild</span> <span style="color: #f3f3f3;">-</span> <span style="color: #fff2cc;">2004</span> <span style="color: #f3f3f3;">-</span> <span style="color: #444444;">www.terrysilverlight.com</span><br />
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The versatile studio session drummer Terry Silverlight, a pioneer from fusion's heyday, returns to his fusion roots while also embracing shuffles, funk grooves and bebop on Wild!! (TerrySilverlight.com). Joining him is an all-star cast of New York ringers including guitarists Hiram Bullock and Chuck Loeb, bassist Will Lee, keyboardists Paul Shaffer and Charles Blenzig, tenor saxophonist David Mann and special guest Edgar Winter, who contributes nasty vocals and alto sax on the funky "Brown 'N Serve." They groove in party-time mode on the shuffle blues opener "Sparkey J's," sparked by Bullock's stinging guitar solo, while "Yo" is a surging, uptempo swinger paced by Silverlight's brisk ride cymbal work and highlighted by Lew Soloff's bristling high note trumpet solo. "Insane" is classic, hard-hitting old school fusion-full of challenging heads, stop-time unison lines, daredevil trading of eights and lots of thunderous double bass drum thumping in the tradition of Billy Cobham's early '70s work. Loeb's sizzling, distortion-laced guitar solo on this throbbing drum-heavy number is far more aggressive and dissonant than fans of his recent smooth jazz offerings may be accustomed to, though Will Lee ups the sickness factor here with his own ugly fuzz-bass solo. The title track shifts nimbly back and forth from intense fusion to relaxed swing, as Silverlight adeptly straddles those two worlds. But for all-out drumming bravura, nothing tops "Phantom of Bebopera," which is basically one long drum solo surrounded by orchestral punctuation. Silverlight traverses the kit in muscular fashion on this one, with double bass drum pedal flailing away madly. By © & Bill Milkowski © 1999–2014 JazzTimes, Inc. All rights reserved. http://jazztimes.com/articles/15134-wild-terry-silverlightl<br />
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Great fusion with terrific compositions and uptempo grooves by the very underrated composer and drummer Terry Silverlight. Outstanding musicianship on this album from artists including Edgar Winter, Hiram Bullock, Chuck Loeb, Lew Soloff and more. <span style="color: #783f04;">HR by A.O.O.F.C</span> Check out Terry’s “Diamond in the Riff” album <span style="color: #f4cccc;">[</span><span style="color: #f9cb9c;">All tracks @ 320 Kbps: File size = 133 Mb</span><span style="color: #f4cccc;">]</span><br />
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<span style="color: #b4a7d6;">TRACKS</span><br />
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1 Sparkey J's 5:51<br />
2 Pugnacious 5:04<br />
3 Brown 'n Serve 6:46<br />
4 Windsurfing 7:04<br />
5 Wild 6:20<br />
6 Phantom of Bebopera 4:47<br />
7 Yo 6:23<br />
8 WTC 6:16<br />
9 Insane 6:25<br />
10 Closing 4:38<br />
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<span style="color: #660000;">All tracks composed by Terry Silverlight </span><br />
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<span style="color: #d5a6bd;">MUSICIANS</span><br />
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Edgar Winter - Alto Saxophone, Vocals<br />
Paul Shaffer - Organ<br />
Hiram Bullock, Chuck Loeb - Guitar<br />
Will Lee - Bass<br />
Terry Silverlight - Keyboards, Drums, Percussion<br />
Charles Blenzig, Mike Ricchiuti - Keyboards<br />
David Mann - Tenor & Soprano Saxophone<br />
Lew Soloff - Trumpet<br />
John Clark - French Horn<br />
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<span style="color: #134f5c;">BIO</span> <span style="color: #999999;">(WIKI)</span><br />
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Terry Silverlight is a jazz, pop, rock and R&B drummer, composer, producer, arranger and author.Silverlight was born in Newark, New Jersey and grew up in North Plainfield, New Jersey. He made his debut as a drummer on Barry Miles' White Heat album, recorded in 1971 when Silverlight was fourteen years old.That early jazz/fusion album featured Barry Miles's compositions along with performances by guitarists Pat Martino, John Abercrombie (guitarist), and saxophonist/flutistLew Tabackin. Silverlight drummed on several more Barry Miles recordings throughout the 1970s performing alongside Al Di Meola, Vic Juris, Eric Kloss, andRichard Davis. After attending Princeton University, Silverlight moved to Manhattan and embarked upon a studio session career, playing drums on recordings for artists including Billy Ocean, George Benson, Laura Nyro, Stephanie Mills, Freddie Jackson, Anne Murray, Natalie Merchant, Jonathan Butler, Stephen Stills, Mel Tormé, Phil Woods, Tom Jones, Change, Odyssey, jingles, and film scores including You've Got Mail, One Fine Day, My Blue Heaven, Titus, What Planet Are You From? and Frida. Silverlight has authored three drum books; The Featured Drummer, The Stick Bag of Jazz, Funk, Fusion and Gig Bag Series for Drummers: Rhythm & Percussion. All are published by Music Sales Corporation. He has been an educator appearing at clinics including PASIC (Percussive Arts Society), Sam Ash, and Brooklyn College. He taught drums at the Drummers Collective (DCI) in Manhattan from 1981-1985. Silverlight toured worldwide as a member of Roberta Flack's band from 1986–1988, and has toured Japan yearly as a member of David Matthews's Manhattan Jazz Orchestra (MJO) since 1996, having recorded several albums with that group. Simultaneous to his drumming career, Silverlight has written songs, composed, produced, and arranged music for network TV shows including One Life to Live, The Young and the Restless, The Sopranos, All My Children, Beverly Hills, 90210, Melrose Place, CSI: Crime Scene Investigation, NCIS, Smallville, Ghost Whisperer, Strong Medicine, The District, Las Vegas, Sabrina, the Teenage Witch, 7th Heaven, The Shield, Burn Notice, South Beach, jingle products Reebok, Nicorette, Pantene, Crisco, the films Invincible with Mark Wahlberg, Head over Heels with Monica Potter/Freddie Prinze, Jr., Marci X with Lisa Kudrow,Sunshine Cleaning with Alan Arkin/Emily Blunt/Amy Adams, Mad About Mambo with Keri Russell, and songs recorded byNancy Wilson, Les McCann, Carl Anderson, Phillip Ingram (Switch V), Louise Redknapp and Judy Torres. Silverlight has seven solo artist recordings featuring his drumming and original compositions.Four are in the jazz genre:Terry Silverlight,Wild!!,Diamond in the Riff,and Live!, showcasing performances by Barry Miles, Will Lee, Paul Shaffer,Edgar Winter, Hiram Bullock, Chuck Loeb, Lew Soloff, and Bill Evans, among others. Three of the albums are in the pop genre featuring Silverlight's work as a songwriter, producer and arranger: Songwriter Producer: Volumes I & II, Collaborations: Volumes I & II, and Music To Picture.A.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com1tag:blogger.com,1999:blog-7758121285650208378.post-33223704295947086612014-11-05T18:02:00.003+01:002014-11-05T18:02:31.192+01:00Maestros Of Cool (Steely Dan Related)<center><img src="http://i3.photobucket.com/albums/y95/pauldoyle/latest%20for%20blog/MaestrosOfCool-ATributeToSteelyDan2006_zpsf35162b2.jpg~original" /><br />
</center><span style="color: #0b5394;">Maestros Of Cool</span> <span style="color: #f3f3f3;">-</span> <span style="color: #a2c4c9;">A Tribute To Steely Dan</span> <span style="color: #f3f3f3;">-</span> <span style="color: #d9d2e9;">2006 </span><span style="color: #f3f3f3;">-</span> <span style="color: #444444;">Esc</span><br />
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There have been many covers of Steely Dan songs, and very few have managed to capture the essence of The Dan’s complex jazz rock sound. Check this blog for some good examples of a few exceptions to this. “Maestros Of Cool” has received a lot of criticism for it’s interpretations of Steely Dan/Donald Fagen songs. One article described it as “a half-hearted” attempt”. I have feen following Steely Dan since 1972 and have heard many cover versions of their songs. “Maestros Of Cool” is in fact, an excellent compilation of Dan tunes. Many of the tunes are available on other albums and the musicianship is outstanding. There are many very different interpretations of the Dan’s songs by artists that include greats like Nathan Haines, David Garfield, Carl Orr, Chuck Loeb, The HR Big Band, the late Cornelius Bumpus who was a brilliant sideman for Steely Dan, and Justin Morell. There is no rubbish here with every artist making a very valid and important effort to cover some of the best jazz rock songs ever written. Three of the tracks are not Steely Dan tracks but are compositions played in a Steely Dan style and are very worthwhile. <span style="color: #783f04;">HR by A.O.O.F.C.</span> <span style="color: #0c343d;">[</span><span style="color: #a2c4c9;">All tracks @ 320 Kbps: 2 x rar files: Part 1 (Disc 1) = 135 Mb, & Part 2 (Disc 2) = 161 Mb</span><span style="color: #0c343d;">]</span><br />
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<span style="color: #3d85c6;">DISC ONE</span><br />
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1. Nathan Haines - Fm (4:38)<br />
2. Stereo - Remember (5:01) <br />
3. Debbie Deane - Any World (4:07)<br />
4. Raw Stylus - 37 Hours (5:23)<br />
5. Nash Kato - Dirty Work (3:36)<br />
6. Pam Bricker - Home At Last (4:55)<br />
7. Tony Gallo - Black Cow (5:38)<br />
8. Groove Thing - The Fez (5:29)<br />
9. David Garfield - Josie (5:38)<br />
10. Carl Orr - Tomorrow's Girls (4:19) <br />
11. Liquid Blue - Rikki Don't Lose That Number (4:43)<br />
12. Jango - Joyful Caravan (4:32) <br />
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<span style="color: #3d85c6;">DISC 2</span><br />
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1. David Garfield - Babylon Sisters (6:22)<br />
2. Chuck Loeb - Maxine (5:25) <br />
3. Don Braden - Kid Charlemagne (6:36)<br />
4. HR Big Band - Pretzel Logic (5:25)<br />
5. Justin Morell - My Rival (4:47)<br />
6. Abebi Stafford - Green Earrings (4:08)<br />
7. Gustavo Assis-Brasil - Aja (7:00)<br />
8. Stolen Van - Caves of Altamira (5:38)<br />
9. Alex Gunia & Philipp Van Endert - Third World Man (6:43)<br />
10. Cornelius Bumpus - Chain Lightning (5:05)<br />
11. Ben Lacy - Hey Nineteen (3:15)<br />
12. Trinity - Steal It Again Dan (10:02) <br />
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<span style="color: #ffe599;">All tracks composed by Walter Becker & Donald Fagen except "Remember" by John Beasley & Tim Mullane, "Tomorrow's Girls" and "Maxine" by Donald Fagen, "Joyful Caravan" by Steve Le Gassick & Michael Price, and "Steal It Again Dan" by Matthias Krauss, Franz Holtmann, & Stephan "Gudze" Hinz</span><br />
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<span style="color: #45818e;">MUSICIANS</span><br />
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Chuck Loeb, Michael Landau, Carl Orr, Nash Kato, George Wadenius, Justin Morell, Gustavo Assis-Brasil, Alex Gunia, Philipp Van Endert, Ben Lacy, Franz Holtmann - Guitar<br />
John Patitucci, Lee Sklar, Gudze - Bass <br />
David Garfield, Matthias Krauss, Rob Aries - Keyboards<br />
John Beasley - Keyboards, Vocals<br />
Wayne Wilentz - Piano, Keyboards, Vocals<br />
Debbie Deane - Piano, Vocals<br />
Sean Wayland - Piano<br />
Bill Ware - Fender Rhodes, Vibes<br />
Abebi Stafford - Fender Rhodes<br />
Cornelius Bumpus - Saxophone<br />
Nathan Haines, Don Braden - Tenor Saxophone<br />
Steve Nieves - Saxophone, Vocals<br />
Marco Minnemann,Dave Weckl, Mauricio Zottarelli, Jim West - Drums<br />
Klaudia Salkovic, Damon Albarn, Jules Brookes, Pam Bricker, Tony Gallo, Alex Ligertwood - VocalsA.O.O.F.Chttp://www.blogger.com/profile/00720016241289074162noreply@blogger.com7