Streetwalkers (Roger Chapman Related)

Streetwalkers - Downtown Flyers - 1975 - Mercury (U.S)Great gritty R&B, rock and funk from the one and only “Chappo” and his sidemen. Read more about this album @ http://www.familybandstand.com/part-of-the-load/streetwalkers/downtown-flyers and check out the Chapman - Whitney “Streetwalkers” album, Roger Chapman and The Shortlist’s brilliant “Live in Hamburg” album, and Family’s classic “Bandstand” album.  The 1975 Mercury US release was simply called “Streetwalkers” while the European  title was “Downtown Flyers” because the 1st album didn’t make it to the US. [All tracks @ 320 Kbps: File size = 116 Mb]
TRACKS / COMPOSERS
1. Downtown Flyers (Chapman, Tench) 3:562. Toenail Draggin '(Chapman, Whitney) 4:143. Raingame (Chapman, Whitney) 3:004. Miller (Chapman, Whitney) 3:555. Crawfish (Weisman, Wise) 4:366. Walking On Waters (Chapman, Whitney) 5:587. Gypsy Moon (Chapman, Whitney) 4:408. Burn It Down (Chapman, Whitney) 7:599. Ace O'Spades (Chapman, Whitney) 2:31
MUSICIANS
Charlie Whitney - Electric, Acoustic & Slide GuitarsBob Tench - Electric & Acoustic Guitars, VocalsJonathan Plotel - Bass, Backing VocalsMak Middleton - Keyboards on Tracks 6,7Pete Wingfield - Keyboards on Track 8Pali Palmer - Synthesizer on Tracks 4,5,8Nicko McBrain - Drums, PercussionRoger Chapman - Harmonica, Percussion, Lead Vocals
BIO (WIKI)
Streetwalkers were an English rock band formed in late 1973 by two former members of Family, vocalist Roger Chapman and guitarist John "Charlie" Whitney. They were a five piece band which evolved from the Chapman, Whitney band. The band was managed by Michael Alphandary and Harvey Goldsmith and were best known for their live performances and their album Red Card (1976). By 1977 their potential to become more important in UK rock history was diminished by changing musical taste, due to the growing influence of punk rock and new wave music on European culture. The band had success in USA and Europe, particularly Germany. Chapman and Whitney signed to the Reprise label in 1973 and recorded Chapman Whitney Streetwalkers (1974) with a lineup including other members of Family and King Crimson. When writing about the album for Allmusic, Patrick Little commented: “The mixture of rockers and ballads was not Family; yet there was added depth to the music, stemming from the evolved songwriting and from the involvement of so many musicians. "Roxianna" and "Showbiz Joe" were part New Orleans jazz, continuing the Americana feel of Family's last album. "Systematic Stealth" a lovely textured ballad and the slunky "Creature Feature" demonstrate the range of Roger Chapman's unusual voice, from gravelly crooning to just plain gravel. The album's most stunning moments, "Parisienne High Heels" and "Hangman" are brooding and hair raising in their energy and dark themes.”  During this period keyboard player Blue Weaver appeared with them at concerts, such as the Reading Festival in the summer of 1974. Bobby Tench from The Jeff Beck Group and Hummingbird was also featured in their fluid, informal touring band line up and appeared at concerts such as in Hyde Park, London, the same year. After recording the album Chapman Whitney Streetwalkers, Chapman and Whitney changed the name of their band to Streetwalkers and Tench joined them as an official band member, when they signed to Phonogram Records in 1975. Tench was joined by drummer Nicko McBrain, who would later join Iron Maiden and bass player Jon Plotel. They had previously appeared on a European broadcast for the German TV show Rockpalast with Chapman and Whitney earlier the same year, billed as The Chapman Whitney Streetwalkers. The band's first album, Downtown Flyers (1975) was released in both USA and Europe but did not achieve the anticipated success in USA, although interest in Europe was more encouraging.  Their second studio album, the groove heavy album Red Card (1976) reached #16 in UK album charts and remains a much respected album. The band performed at a series of concerts entitled Who Put The Boot In appearing at UK Football stadiums, during May and June 1976. The billing for these concerts included The Sensational Alex Harvey Band, Little Feat, Outlaws, Widowmaker (UK) and Streetwalkers were the last act to appear before The Who performed. On 12 June 1976 they made their first appearance for John Peel on his "Peel Sessions" recorded by BBC radio, with the line-up of Chapman, Whitney, Tench, Plotel and McBrain and were featured by Peel once more as a "Peel session", on March 14, 1977. On 19 April the same year, they made their final appearance on Rockpalast, with a line-up which included Chapman, Whitney, Tench, keyboardist Brian Johnstone, bassist Mickey Feat and drummer David Dowle who later joined Whitesnake. By the time their third and final studio album Vicious but fair (1977) was released, Vertigo had shifted their commercial emphasis to the musical trends of punk rock and new wave music. The euphoria surrounding the band began to diminish and the potential of becoming more established in Europe evaporated. Streetwalkers Live (1977) was their final album and included a rough and ready compilation of poorly recorded tracks, probably released to comply with contractual obligations. In his review of this album for Allmusic, John Dougan mentions the poor quality of the recording and states that: "Chapman tears off a few soulful moments and it can rock". By now the band had broken up and Tench moved on to work with Van Morrisson, along with Feat.

Kilburn + The High Roads Ft. Ian Dury

Kilburn + The High Roads Ft. Ian Dury - Wotabunch! - 1978 - Warner Bros.

Wotabunch! was released by WEA in 1977 following the success of Ian Dury as a solo artist. It is technically the 'second album' by Kilburn and the High-Roads. When talking about Kilburn and the High-Roads' output in his track-by-track comments in the booklet for Repertoire Records 2CD Ian Dury & The Blockheads: Reasons to be Cheerful retrospective, Ian Dury said: "The Kilburns made two albums, but they were both the same. The second one was to try and stop the first one coming out! In fact it didn't prevent them, because Warner Bros. Records waited until I had some success, and then they put out that album called Wotta Bunch." Wotabunch! was recorded in January 1974 at Apple Studios in London shortly after two line-up changes in the band. Two long-term members, bassist Humphrey Ocean and drummer David Newton-Rohoman, were no longer in the band at the time. In fact, new bassist Charlie Sinclair had only just joined the group when the sessions began. Newton-Rohoman had been sacked virtually on the eve of the recording sessions, being replaced by session musician Louis Larose. Charlie Sinclair and Louie Larose had left the Pub Rock band Phoenix (led by Roy St. John), in which David Newton-Rohomon replaced Larose on drums. Though the session went fairly well, with recording interspersed with trips to local pubs, there was a problem with capturing the band's live sound. This was a problem that the Kilburns had suffered before when making demos the previous year and would suffer again when making Handsome. Some blame is given to Larose's conventional drumming style (and later, on the Handsome sessions, to producer Hugh Murphy). Despite the trouble, Wotabunch! is much closer to their live sound than the softer, polished Handsome versions. Dury was not pleased with the release due to a remix featuring the addition of strings. The final remix for the recordings was done more or less behind Dury's back, while on he was on a week-long holiday. However, this was soon to be irrelevant, as shortly after the sessions were over Raft (the record label that had signed the band) folded. The bands on the Raft label were told that they would go to WEA, who owned Raft, but after a visit from WEA's top man Joe Smith at a concert, Kilburn & The Highroads were dropped. In 1977, following the success of Ian Dury's solo album New Boots and Panties!!, and the good response to "Sex and Drugs and Rock and Roll", Warner Bros. Records issued the Raft recordings as Wotabunch! WEA listed the band as 'Kilburn & The Highroads featuring Ian Dury' in order to capitalize on Dury's success. The cover art, featuring cardboard cut-outs of the band posed with a group of stuffed animals, features a different line-up of the band than the one that recorded the album. As of 2010, the album has not been re-issued on CD. – WIKIPEDIA

This album was released in 1978 by Warner Brothers. Ian Dury had already released his classic “New Boots and Panties!” in 1977 when Kilburn + The High Roads had split up. This album was an attempt to cash in on Ian Dury’s success with NB&P. Ian Dury was displeased with many aspects of this release (explained in the Wiki article). Having said that, the album is quite good. The material is not as strong as later Dury solo material and his recordings with the Blockheads, but even in January 1974 when these tracks were recorded at Apple Studios in London, Ian Dury’s potential as a songwriter was emerging. Eleven of the 12 tracks were composed by Ian Dury and keyboardist Russell Hardy. An ace geezer and working class hero, Ian Dury was a superb songwriter and a lyrical genius. Kilburn & the High Roads played their first public concert at the Croydon School of Art in London in 1971. Their sound combined old-time rock & roll, R&B, jazz, reggae, and music hall. Dury was a very distinctive vocalist with a thick Cockney accent. The band had a rather threatening appearance on stage, looking like a bunch of street bums, and Dury using his limp (resulting from having polio as a youngster), often in a humorously, menacing manner. He also had a shrunken arm. But his lasting popularity owed nothing to sickly sentimentalism—anyone seeking to patronise Dury would have been given short-shrift for indulging in such “a load of old bollo”. Always able to laugh at himself, he will always be remembered, not only as a great rock musician, but also as a true "peoples' champion. Ian did an immense amount of work for people with special needs, and the underprivileged in society. Read more about the late, great man @ http://en.wikipedia.org/wiki/Ian_Dury. [All tracks @ 320 Kbps: File size = 76.9 Mb]

TRACKS

1 The Call Up - 2:24
2 Crippled With Nerves - 3:02
3 Patience (So What?) - 2:04
4 You're More Than Fair - 3:03
5 Upminster Kid - 3:26
6 Billy Bentley (Promenades Himself in London) - 3:34
7 Huffety Puff - 2:13
8 Rough Kids - 3:15
9 The Roadette Song - 3:05
10 The Badger & The Rabbit - 2:39
11 The Mumble Rumble & Cocktail Rock - 3:41
12 Pam's Moods - 2:57

All tracks composed by Ian Dury & Russell Hardy except "Billy Bentley" by Ian Dury and Charlie Hart

MUSICIANS

Keith Lucas - Guitar
Charlie Sinclair - Bass
Russell Hardy - Piano
Louis Larose - Drums
Davey Payne - Saxophones
Ian Dury - Lead Vocals

BIO

Kilburn and the High Roads were a British rock and roll band formed by Ian Dury in 1970, and was the first band formed by Dury. The band released two studio albums and had one compilation, and separated in 1977 when Dury left to form the more prominent band The Blockheads. Dury formed Kilburn & the High Roads in 1970. The band consisted of Ian Dury as lead vocalist and lyricist, pianist Russell Hardy, guitarist Nick Cash (real name Keith Lucas - member of 999) and bassist Humphrey Ocean. The band released their debut album Handsome in 1975. The band released their second album Wotabunch! in 1977, before the band separated. Dury then went onto form The Blockheads the same year as the band's separation, and produced The Best Of Kilburn & the High Roads compilation album in 1983. – WIKIPEDIA

BIO [ Kilburn & the High Roads ] © Steve Huey, allmusic.com

Kilburn & the High Roads were one of the most-respected bands on London's early-'70s pub rock scene, and were just as important (if not more so) for beginning the career of beloved new wave cult figure Ian Dury. Label difficulties prevented the group from leaving much of a recorded legacy, but their eclecticism, offbeat stage presence, and droll Britishness had an undeniable influence on punk and new wave. Dury (28 years old at the time) formed Kilburn & the High Roads in late 1970 while working as a lecturer at the Canterbury College of Art; the name simply came from a street sign for Kilburn High Road. Initially, the band was a part-time affair that included several of Dury's former students. The complete lineup featured Dury on lead vocals, guitarist Ted Speight, saxophonist George Khan, pianist Russell Hardy, bassist Charlie Hart, and drummer Terry Day; saxophonist Davey Payne soon replaced Khan. Kilburn & the High Roads made their concert debut in December 1971 at the Croydon School of Art in London; their sound drew mostly from old-time rock & roll, but also mixed in R&B, jazz, reggae, and music hall, plus Dury's thick Cockney accent. Their stage personas were even more distinctive; Dury's pronounced limp (the result of childhood polio) only added to his bizarre menace, and the rest of the band simply looked (and danced) like a bunch of misfits. By 1973, Kilburn & the High Roads were playing regular gigs all over the London pub rock circuit, becoming more popular than just about every similar band save for Dr. Feelgood and Brinsley Schwarz. That July, they signed a deal with Warner subsidiary Raft; by this time, the lineup now featured guitarist Keith Lucas (who would later join 999 under the name Nick Cash), bassist Ian Smith, and drummer David Rohoman would soon replace Day. The group completed an album in early 1974, but unfortunately it was scrapped when Warner shut down the entire Raft division. Charlie Sinclair took over on bass for the sessions, as did former Eggs Over Easy drummer George Butler. Adrift for a spell, Kilburn & the High Roads eventually hooked up with Pye subsidiary Dawn in late 1974, where they recorded their debut single, "Rough Boys" b/w "Billy Bentley (Promenades Himself in London)." Rohoman was back on drums, and longtime pianist Hardy was replaced by Rod Melvin. Unfortunately, by the time the band's debut album Handsome was finally released in 1975, their momentum had stalled — a Kilburn & the High Roads album simply couldn't command the attention it would have a year or two earlier. Tired of the music-biz hassles, the group disbanded that same summer. Dury formed a new group by the end of the year called Ian Dury & the Kilburns, but they too broke up in summer 1976 when Dury's doctors advised him to steer clear of live performances. Still, Dury kept writing songs; he eventually put together a new backing band called the Blockheads, signed with Stiff Records in 1978, and became a U.K. sensation. Thanks to his success, Warner finally issued the Kilburn album it had been sitting on for four years, under the title Wotabunch.

10cc

10cc - 10cc - 1973 - Mercury

Displaying a command of pop styles and satire, 10cc showed that they are a force to be reckoned with on their first album. Hooks abound, harmonies shine, and instrumentation is dazzling without being overdone. Though charges of "self-consciously clever" could be leveled at the group, their command of witty, Anglo-styled pop is so impressive that even those criticisms must be weighed against the mastery of styles. All four members sing lead and are talented songwriters, and this leads to a wide variety of styles that add to their vision. Featuring their number one U.K. hit "Rubber Bullets," 10cc wade through ten selections of satire and parody. One of the best is "Johnny Don't Do It," a parody of all the "death discs" of the late '50s and early '60s (the misunderstood "bad but really good" guy who is killed in a wreck). More contemporary and bitingly sarcastic is "Headline Hustler," a commentary on the ravenous, scandal-hungry media. Medical facilities and the treatment afforded there is given ripe 10cc commentary in "The Hospital Song." ("And when I go, I'll die of plaster casting love.") Whether doing loving parodies of the music they grew up with or satirizing contemporary issues, 10cc show themselves to be top-level purveyors of pop on their debut recording. Some might criticize the group for being too self-satisfied with their own intelligence, but there is no denying the true craftsmanship and humor on their 1973 debut. © Michael Ofjord © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/10cc-mw0000311059

10cc were a major force in British pop. The standard of 10cc's songwriting was amazing, and this debut album includes some classic songs from the band's catalogue. Collectively and individually, Kevin Godley, Graham Gouldman, Eric Stewart, and Lol Creme penned some of the best pop rock songs in modern times, so good in fact, that many of the band's songs are on a par with songs by composers of the stature of Lennon & McCartney. Many of the band's songs contain so many different twists, and hooks, that it often sounds as if three or four great tracks could be extracted from just one song. 10cc's "Deceptive Bends" album was full of killer material, as was their "The Original Soundtrack" album from 1975. Check out the band’s classic “The Original Soundtrack” album [All tracks @ 320 Kbps: File size = 79.7 Mb]

TRACKS / COMPOSERS

Side One

1 Johnny, Don't Do It (Kevin Godley, Lol Creme, Graham Gouldman) 3:36
2 Sand in My Face (Godley, Creme, Gouldman) 3:36
3 Donna (Godley, Creme) 2:53
4 The Dean and I (Godley, Creme) 3:03
5 Headline Hustler (Gouldman, Eric Stewart) 3:31

Side Two

1 Speed Kills (Stewart, Godley, Creme, Gouldman) 3:47
2 Rubber Bullets (Godley, Creme, Gouldman) 5:15
3 The Hospital Song (Godley, Creme) 2:41
4 Ships Don't Disappear in the Night (Do They?) (Gouldman, Stewart) 3:04
5 Fresh Air for My Mama (Godley, Creme, Stewart) 3:04

BAND

Eric Stewart - Lead Electric Guitar, Slide Guitar, Moog Synthesizer, Vocals
Graham Gouldman - Electric & Acoustic Guitar, Bass, Dobro Guitar, Tambourine, Vocals
Lol Creme - Electric & Acoustic Guitar, Grand Piano, Synthesizer, Mellotron, Percussion, Vocals
Kevin Godley - Drums, Percussion, Vocals

BIO

Deriving their name from the metric total of semen ejaculated by the average male, the tongue-in-cheek British art-pop band 10cc comprised an all-star roster of Manchester-based musicians: vocalist/guitarist Graham Gouldman was a former member of the Mockingbirds and the author of hits for the Yardbirds, the Hollies, Herman's Hermits and Jeff Beck; singer/guitarist Eric Stewart was an alum of Wayne Fontana & the Mindbenders; and vocalists/multi-instrumentalists Kevin Godley and Lol Creme were both highly regarded studio players. Formed in 1970, 10cc began as a session unit dubbed Hotlegs; after establishing residence at Stewart's Strawberry Studios, Hotlegs scored a surprise U.K. smash with the single "Neanderthal Man," subsequently issuing an LP, Thinks: School Times and touring with the Moody Blues. After signing to Jonathan King's U.K. label and rechristening themselves 10cc (a name suggested by King himself), the group backed Neil Sedaka before recording 1972's "Donna," a sly satire of late-'50s doo wop. The single reached the number two position on the British charts, establishing not only a long-running string of major hits, but also the quartet's fondness for ironic and affectionate reclamations of musty pop styles. The follow-up, "Rubber Bullets," topped the charts in 1973, and both the subsequent single "The Dean and I" (a nostalgic look at academia recalling Jerry Lee Lewis' "High School Confidential") and an eponymously titled debut LP further solidified 10cc as a major force in British pop. While 1974's Sheet Music and singles, including the Brian Wilson-esque "Wall Street Shuffle," "Silly Love" and "Life Is a Minestrone" continued 10cc's dominance of the U.K. charts, they found the American market virtually impenetrable prior to the release of 1975's "I'm Not in Love," which topped the charts at home and climbed as high as number two in the States. After 1975's Original Soundtrack and the next year's How Dare You!, Godley and Creme exited to focus on video production as well as developing the Gizmo, a guitar modification device the duo invented. In the wake of their departure, Gouldman and Stewart continued on alone, enlisting the aid of session men to record 1977's Deceptive Bends, highlighted by the perennial "The Things We Do for Love." After recruiting guitarist Rick Fenn, keyboardist Tony O'Malley and drummer Stuart Tosh as full-time members, 10cc returned in 1978 with Bloody Tourists, which yielded the number one reggae nod "Dreadlock Holiday." Following a series of unsuccessful efforts, including 1980s Look Hear?, 1981's 10 Out of 10 and 1983's Window in the Jungle, the group disbanded; while Stewart produced Sad Cafe and worked with Paul McCartney, Gouldman supervised recordings for the Ramones and Gilbert O'Sullivan before joining Andrew Gold in the duo Wax. In 1992, the original lineup of 10cc reunited for the LP Meanwhile, while only Gouldman and Stewart remained for 1993's Mirror Mirror. © Jason Ankeny © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/10cc-mn0000502163

MORE ABOUT 10cc

The biography of 10 c.c., as a band, begins under the name of Hotlegs back in 1970. Hotlegs, already containing three quarters of the ladder 10 c.c. had been working together in various circumstances. The core at that time was the duo project of Kevin Godley and Lol Creme, who were getting back into music business after years or stuying in graphic design. They had recorded several demo recordings for a company called "Marmalade" in 1968, that ran out of money shortly afterwards. These recordings had been initiated by Graham Gouldman, using Eric Stewart of The Mindbenders for the guitar parts. Eric Stewart, interested in the technical side of music production, had put himself into working at Strawberry Stdios, Stockport. So after the demise of "Marmalade" these three started recording and composing songs for "Kasenatz Katz", major purveyors of bummblegum music. Graham Gouldman, who had already been working for them some time longer, provided his songs to the likes of Tony Christie, Ohio Express etc. At that time, in 1970, Godley, Creme and Stewart penned their only hit, called "Neanderthal Man", releasing their only album "Thinks : School Stinks" shortly afterwards. Hotlegs made a short tour supporting The Moody Blues, augmented by Graham Gouldman on bass. After a bunch of unsuccessful singles and lots of studio work for other artists, Graham Gouldman as well as Hotlegs were getting frustrated about their situation, looking for a common platform to perform their own music. In mid 1972 Godley and Creme came up with a song called "Donna", sung with a high falsetto voice by Lol Creme. Eric Stewart made a contact with Jonathan King, who he thought was the only one crazy enough to release it. King said : "It's fabulous, it's a hit" and fell about laughing. The band agreed to let him release the song ... and it became a hit ! "Donna" reached No. 2 in the U.K. charts, followed by another 50s-type song, "Johnny, Don't Do It". The band afterwards admitted that it was a mistake to have this song released as the follow-up. The third single, "Rubber Bullets", released in early 1973, also ran into problems, as many radio discjockey thought it was connected to the North-Ireland problem. But it peaked at No. 1, staying there for 15 weeks and also made No. 45 on the U.S. charts. The following debut album made the audience realize that 10 c.c. was a force to be reckoned with. Containing their first three singles, the album also spawned another successful outtake, "The Dean And I". The band's first single in 1974 was the lyrical offensive "The Worst Band In The World", released at the insistance of Jonathan King. For the first time, he was wrong. As with many 10 c.c. single releases, the song fell through with airplay, but when "Top Of The Pops" also rejected it, the release was doomed. But more than anything else, the band's second album release, "Sheet Music", cemented thier popularity as on the of the most creative and successful bands to come from the U.K. Spawning another very successful hit single, "The Wall Street Shuffle", the group had manifested its status. After a U.K. headline tour and the third single "Silly Love" lifted from the album, 10 c.c. decided to sign to a truly international record company. The band's third album, "The Original Soundtrack", was already recorded and released within a fortnight after they signed up at Phonogram for around a million dollars. "Life Is A Minestrone", lifted from that LP, became an immediate success, followed up by "I'm Not In Love" in early summer 1975. This song had since been dominated for numerous "All Time Greats" polls.In November 1995 the preview single for the upcoming album was released, "Art For Art's Sake". It was the band's seventh top ten entry and with the release of the "How Dare You !" album it had become apparend that the band's writing skills had graviated into two different distict schools of thought (Godley/Greme on one side; Stewart/Gouldman on the other).By the end of 1995 it was reported that Godley and Creme had left 10 c.c. to persue a career in music and video business and developing their Gismo, a guitar attachment that give continuous sustain. Gizmos effects had already been used on various 10 c.c. recordings. Justin Heyward from The Moody Blues revealed in a BBC interview in 1995 : "So, Kevin and Lol left 10 c.c. in the autumn of 1976. Consequences, which I thought was fab, their triple album of Gismo music flopped. Costing them and the record company a quarter of a million quid. But in the 1980s, they went on to have a string of hits as well as producing scores of highly acclaimed music videos, films, television programs and commercials. Meanwhile, Eric and Graham went straight back into the studio to record another LP, 'Deceptive Bends'." "Deceptive Bends" was a trio album, introducing Paul Burgess augmenting 10 c.c. on drums. The album became the band's most celling longplayer ever, spawning two more chart hitting songs with "Good Mornin' Judge" and "The Things We Do For Love".At that time, in early 1977, 10 c.c. was completed by Tony O'Malley (keyboards), Stuart Tosh (second drummer !) and Rick Fenn on guitars. With this lineup 10 c.c. untertook a major tour, caught on the double live record of "Live And Let Live" which only brought yet recorded material and almost failed common interest or chart nomination. After the tour Tony O'Malley was replaced by "Cockney Rebel" Duncan Mackay on keyboards and synthesizers. Just when people were ready to dismiss 10 c.c. Stewart and Gouldman had another ace up their sleeves. "Dreadlock Holiday", the preview release single to their forthcoming "Bloody Tourists" LP was another massive success with its catchy reggae rhythm and gave 10 c.c. their third No. 1 hit, however ... it was their last. The album sold considerably well, followed by the "Greeatest Hits 1972-1978" compilation in 1979. This big lineup released another great album "Look Hear" (1980) and did another major tour through Europe but failed another chart buster. For that reason the 1981 release of "Ten Out Of 10" was a return to the 3-piece-band philosophy of "Deceptive Bends", obviously only a studio project using Paul Burgess on drums and guest musicians like Rick Fenn, Marc Jordan (organs, piano and backing vocals), Vic Emmerson (synclavier), Lenni Crookes (saxophone), Keith Bessey (maracas) and Simon Phillips, who played drums on one track and later showed up in Toto to be the substitute for Jeff Porcaro. After its failure and another 1983 album, "Windows In The Jungle", 10 c.c. amicably split up and everybody went his own way ... Graham Gouldman, who teamed up with Andrew Gold in Wax and Eric Stewart to persue two solo efforts, and working together with Paul McCartney on his "Press To Play" album. It almost took ten years and the breakup of Wax after three successful releases, to get together again as 10 c.c. Other than a bunch of highy acclaimed session musicians Eric Stewart and Graham Gouldman were joined by Lol Creme and Kevin Godley for selected tracks.The new album, the 1992 release " ... Meanwhile" spawned some very good compositions and a successful single - "Woman In Love". Critics and fans were happy about the reunition, but big success wasn't at hand immediately. A Japan tour using Rick Fenn, Stuart Tosh, Stepehn Pigott and Gary Wallis in the band, was caught on the live album "The Very Best Of 10 c.c. Alive", which was released by Arcade Records. It was followed by the 1995 und until today last release, "Mirror Mirror", opened by the Paul McCartney/Eric Stewart composition "Yvonne's The One". 10 c.c., at that time, were complemented by the likes of Adrian Lee (also producer on almost all the tracks), Andrew Gold, Paul McCartney, Ian Thomas (drums), Steve Pigott (keyboards) and Rick Fenn. But the album did not really look like a band effort, because either Eric's or Graham's songs were produced in its own, then all put together on this album. The album also contained an acoustic session of "I'm Not In Love" but didn't become a great success. © 2000-2007 sing365.com, www.sing365.com/music/lyric.nsf/10cc-Biography/8F700E9CC8E1C0994825692700233512

Jan Akkerman

Jan Akkerman - Live - 1978 - WEA

A perfect live album. This Jan Akkerman record is a real gem! After firs spin I was convinced this by far his best live album. The material comes mainly from his self-titled record (1977), though Tommy (of the Eruption suite) of Focus is added and two new compositions in the spirit of the self-titled Jan Akkerman album. The recording of this live album is perfect, nothing more can be expected, not even today. For newcomers. Jan Akkerman is ex-guitarist of Dutch prog band Focus. In his solo career he concentrated on jazz-rock/fusion and some historical lute-guitar playing. Though at first (Profile, Tabernakel) Jan akkerman would use his rockin' electric guitars most of the time, in 1977 Jan decided to become the master of the clean jazz-guitar. This resulted in the 1977 self-titled album with clean guitars, a great band and the best of string arrangements. The compositions had a relaxing but slightly magical vibe and some up-tempo moments. Most of the compositions of this record were played on this live album. Now, the problem Akkerman and band had to face was the fact that on the album these unbelievable string arrangements made a big contribution to the end result, but they weren't able to get such an arrangement for their tour. The problem was successfully solved by adding an inspired percussionist (I love his contribution) and some synths that both helped to establish a more progressive climate, though the main genre would still be fusion. The two minuted atmospheric synth opening track by Jasper Van 't Hoff really gets me warm for the rest of the album! A nice track from the Focus era, Tommy, is played with precision but the great vocals of Thijs van Leer are a loss. Still the band makes a great symphonic jazz track with that magical feel and the great guitar solo's (this time clean) of Jan Akkerman. Conclusion. This recording is perfect, the tracks are great, there's a magical progressive climate on this concert, all instruments are played perfect, some problems concerning the arrangements were solved very intelligent and Jan Akkerman plays plain beautiful. There's only one letdown: the album is short. Running for 35 minutes this doesn't live up to the standards of these days. Still this album is highly recommended to basically every-one who can hear the difference between elevator music and great Fusion. A big four star. * After some more listens I have decided this is a masterpiece. Changed the rating to five stars. A warm recommendation! [Review by & © friso PROG REVIEWER ***** Jan Akkerman - Live at Montreux Jazz Festival (1978) © Prog Archives, All rights reserved, http://www.progarchives.com/album.asp?id=9690]

Recorded on July 7th, 1978 at The Montreux Jazz Festival, Montreux, Switzerland by the legendary Amsterdam born guitar maestro Jan Akkerman. Jan Akkerman has always been famous for his eclectic and versatile approach to music. He is equally at home with rock, jazz, blues, Folk, classical or even modern dance music and his playing really has no boundaries or limitations. It’s a pity this live album is so short but Jan and his band play some stellar progressive jazz rock. The album is HR by A.O.O.F.C. Jan Akkerman is in my top 10 list of favourite guitarists, along with players like Laurence Juber, Larry Coryell, Paul Gilbert, Robben Ford and Wayne Krantz. Listen to Jan’s “Tabernakel” and Focus’ “Live At The Rainbow” albums [All tracks @ 320 Kbps: File size = 82.4 Mb]

TRACKS / COMPOSERS

1 Transitory - Jasper Van't Hoff 2:07
2 Skydancer - Jan Akkerman 8:35
3 Pavane - Jan Akkerman 7:15
4 Crackers - Jan Akkerman 6:50
5 Tommy - Tom Barlage 3:36
6 Azimuth - L.M. Bijlsma 6:09

MUSICIANS

Jan Akkerman - Guitars
Cees Van Der Laarse - Bass
Jasper Van't Hoff, Willem Ennes - Keyboards
Tom Barlage - Keyboards, Saxophones
Bruno Castelucci - Drums
Neppe Noya - Percussion

Hookfoot

Hookfoot - Live In Memphis, USA 1972 - 1990 - WWR/SPM (Germany)

Hookfoot was a British rock band, active from 1970 to 1974. Formed by Caleb Quaye (guitars, piano and vocals) and three fellow DJM session musicians, Ian Duck (vocals, guitars and harmonica), Roger Pope (drums) and David Glover (bass), the band were also backing musicians for Elton John, appearing together on most of his early recordings for DJM. Fred Gandy (bass - formerly of Bluesology) replaced David Glover, who left after the release of the second album. Other occasional members of the band were Bob Kulick (guitar, vocals),Mick Grabham (bass), and Peter Ross (harmonica, vocals) - WIKI

Recorded for radio airplay at the Ardent Studios in Memphis, Tennessee in August, 1972, this is a good live album from a very underrated British twin guitars four piece band led by the top session musician, Caleb Quaye. Caleb had a worldwide reputation as a signature lead guitar player since the late 60’s and early 70’s. He may be best known as Elton John’s original lead guitarist having played on all the “early stuff”, as well as many studio sessions for other artists, including Harry Nillson, Beach Boys, Joan Baez, Al Kooper, David Foster, John Klemmer, Eddie Henderson, Dusty Springfield, Liza Minnelli, Brenda Russell, Joan Baez, Ralph McTell, Pete Townsend, The Troggs, and Hall & Oates. “Live In Memphis” contains some great long blues psych jams and there is tight interplay between all the band members with some Wishbone Ash style double-lead electric guitar. During the early '70's, Hookfoot supported musicians that included Humble Pie, Jefferson Airplane and mainly Elton John on lengthy USA tours. Hookfoot split up in 1974, and Caleb Quaye went to the USA, working as a session musician. He still plays with a band called Caleb Quaye and the Faculty and is a religious pastor. Listen to Hookfoot’s terrific “Good Times A'Comin'” album and read more about Hookfoot @ http://www.terrascope.co.uk/Features/Hookfoot.htm A detailed inventory of Caleb Quaye’s session work can be found @ http://musiciansolympus.blogspot.ie/2011/12/calebquaye-guitar.html [Tracks @ 201-209 Kbps: File size = 94 Mb]

TRACKS / COMPOSERS

1 TAXMAN - Ian Duck / Dave Glover / Roger Pope / Caleb Quaye 3:25
2 IF I HAD THE WORDS - Ian Duck / Dave Glover / Roger Pope / Caleb Quaye 4:21
3 THEY’LL NEVER FIND US UP THERE - Ian Duck 6:10
4 HERE I COME - Caleb Quaye 16:04
5 CUCKOO - Caleb Quaye 5:27
6 CRUISIN’ - Ian Duck / Fred Gandy / Roger Pope / Caleb Quaye 6:58
7 NATURE CHANGES - Ian Duck / Caleb Quaye 11.09
8 FREEDOM - Ian Duck / Fred Gandy / Roger Pope / Caleb Quaye 9:47

BAND

Caleb Quaye - Guitar, Keyboards, Vocals
Fred Gandy - Bass
Ian Duck - Harmonica, Vocals
Roger Pope - Drums, Vocals

SHORT BIO

Hookfoot was a quintet formed at the end of the '60s as a recording unit by a half-dozen session players associated with Dick James' publishing and later with his DJM Records label. They never made much of an impression on the charts, despite their work being licensed to A&M Records, through which they released four LPs in the U.S.A. Ian Duck (vocals, harmonica), Dave Glover (bass), Roger Pope (drums, vocals), and Caleb Quaye (guitar, vocals) were the original lineup, with Bob Kulick (guitar, vocals) coming in alongside Quaye, and Fred Gandy joining on bass later. © Bruce Eder © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/hookfoot-mn0001184655

Les Dudek

Les Dudek - Say No More - 1977 - Columbia

Today’s Cool Album of the Day (#595 in the Series) is Les Dudek, Say No More. Are you a guitar fan? Do you like great blues guitar? Do you like funky jazz guitar? I’m hoping you know who Les Dudek is. If not, you need to know about him, and quickly. Born in Rhode Island, and raised in Florida, Les made the rounds before ending up in California. Before he launched his solo career, he spent time playing with the likes of Boz Scaggs and Steve Miller. I recently learned an interesting story about the start of his solo career. In the early 70s he was living in the San Francisco area, well-known manager/producer “Herbie” Herbert was putting a band together and quickly thought of Les. The plan being that “Herbie” wanted to pair the two hot, young San Francisco Bay area guitarists together. He offered him the position of co-lead guitarist in a new band he was putting together with Prairie Prince on drums, Ross Valory on bass Neal Schon on guitar and Gregg Rolie on keyboards and lead vocals. This of course was the beginnings of Journey. Unfortunately, Les ended up passing. They would eventually make their debut in 1975 with a few slight changes, Aynsley Dunbar would be on drums instead of Prince and George Tickner would be the second guitarist. When I listen to this Les Dudek album I can just hear how well he would’ve fit in with that early space rock Journey sound. It would’ve been spectacular. But oh well. Instead, Les decided to pursue a solo career as his first record deal literally was hitting the same day that he was beginning his work with Journey. In fact, it was during the band’s very first rehearsal session at Studio Instrument Rentals on Folsom Street in San Francisco when Les made his move. He shared the story with me. “I literally took a brake from the rehearsal to attend a meeting across the street at Columbia Studios when the president and vice president of Columbia Records offered me a solo deal, the rest is history.” Les also spent a period doing some projects with Dickey Betts and The Allman Brothers, in fact Betts and Dudek co-wrote the classic Allman Brothers tune “Jessica.” I wasn’t really aware of the degree of his and The Allman Brothers relationship, again Les completes the picture. He recently shared the details in an email. “In addition to co-writing ”Jessica” with Dickey Betts, I also played the acoustic guitar on that song, and I played half of all the lead guitar parts on “Ramblin’ Man,” both originally from the “Brothers & Sisters” Allman Brothers Band LP.” Say No More was released in 1977 and featured a ton of the great Los Angeles studio musicians of the time among them, Jeff Porcaro on drums, Chuck Rainey on bass, David Paich on piano and the late David Sancious on organ. If you like bands like Little Feat, Boz Scaggs, the Allman Brothers, or Robert Palmer then you really need to check this one out. Some of it even has that “Sneaking Sally Through The Alley” feel. This album received decent airplay and the one song you should know is “Old Judge Jones.” It spent a long period of heavy play on FM rock radio. I’ve included it below make sure you give it a listen. Another highlight that you need to year which is also included below is the instrumental “One To Bean Up.” This is a funky little number that I know you love. I was only able to find about half the album to place on the video playlist below but make sure you check it out, Les Dudek is one of the greats. I’ve also included a bonus video of the song called “City Magic.” This song is not from this album but it’s one you may know. I can’t tell you enough how good this guy is. I encourage you to check out not only this album but all of Les’ work. Les Dudek is still out there today playing so check his schedule and kitchen where you can I’m sure you’ll be impressed. © Larry Carta © 2013 DILAPIDATED. DESIGNED AND CODED BY GHOSTPOOL. http://coolalbumreview.com/?p=17050

Les Dudek has played with some of rock’s biggest names including Steve Miller, Dave Mason, the Allman Brothers Band, and Boz Scaggs who he played with for five years appearing on Boz’s “Silk Degrees” album. Les also played on Steve Miller’s “Fly Like an Eagle” album. He also released four albums between 1976 and 1981, as well as launching the DFK Band which included keyboardist Mike Finnigan and guitarist Jim Krueger. In 1979, the DFK Band released one self-titled release. “Say No More” is a great forgotten album by a very underrated guitarist and songwriter. Theres soul, rock, R&B, and even jazz elements throughout. Comparisons could be made to Lowell George, Steve Miller, Ry Cooder and occasionaly, Steely Dan. Listen to Les’ “Deeper Shade of Blues” album. There’s still good music out there floating on a sea of musical mediocrity [All tracks @ 320 Kbps: File size = 96.7 Mb]

TRACKS

A1 Jailabamboozle 4:52
A2 Lady You're Nasty 5:33
A3 One To Beam Up 3:25
A4 Avatar 7:00

B1 Old Judge Jones 4:39
B2 Baby Sweet Baby 2:10
B3 What It's Gonna Be 5:07
B4 Zorro Rides Again 5:47
B5 I Remember 3:05

All songs composed by Les Dudek except "One To Beam Up" by Les Dudek & Alan Feingold

MUSICIANS

Guitar, Vocals – Les Dudek
Bass – Chuck Rainey, Gerald Johnson, Robert Popwell
Keyboards – David Sancious, Alan Feingold, David Paich, Ted Straton, Joachim Jymm Young
Drums – Jeff Porcaro, Tony Williams
Percussion – Kevin Calhoun, Pat Murphy, Reymondo
Backing Vocals – Clydie King, Rebecca Louis, Sherlie Matthews

Get a detailed breakdown of credits @ http://en.wikipedia.org/wiki/Say_No_More_(Les_Dudek_album) or on Les’website @ http://www.lesdudek.com/disco/snm.htm

BIO (WIKI)

Les Dudek (born August 2, 1952, at Naval Air Station, Quonset Point, Rhode Island) is an American guitarist. Les Dudek's father, Harold, was born in Campbell, Nebraska, and was a World War II veteran in the United States Navy. His mother, Alma, born in Brooklyn, was a former Radio City Music Hall Rockette. Les has one older sister, Sandy, who was born in Brooklyn. The family is of Czech, German, Italian, and Russian extraction. The surname Dudek derives from the Slavic word, Duda which means street musician. Six years after Les was born, his father retired from the Navy and the family moved to Florida where he grew up. The Beatles caught Les’ ear at an early age. In 1962, at the age of ten, Les asked his parents for a guitar for Christmas. They bought him an acoustic guitar from Sears & Roebuck. His musical influences, along with The Beatles, were Cream, Jimi Hendrix, and The Ventures. He had built quite a reputation around the Florida area as a proficient guitar player, having started playing in local bands as a teenager. Those bands were "The United Sounds", "Blue Truth" and "Power". That reputation would place him in the studio with the Allman Brothers Band for the recording of the Brothers & Sisters album. He played guitar harmonies with Dickey Betts on the well-known song "Ramblin' Man" and acoustic guitar on "Jessica". His next stops were as a guitarist for Boz Scaggs and The Steve Miller Band. Dudek was invited to play in a supergroup called Journey but he had received an offer to record for Columbia Records as a solo artist. He recorded four solo albums for Columbia Records, "Les Dudek" (Debut), "Say No More", "Ghost Town Parade" and "Gypsy Ride". His work was praised by the critics but widespread fame and success eluded him. He had two minor hits with “City Magic” and “Old Judge Jones” which were played frequently on local radio stations in the Los Angeles, California area, where he lived at the time, having moved to West Hollywood in the mid-1970s. He later collaborated with Cher, Stevie Nicks, and with two other Columbia Artists, Mike Finnegan and Jim Krueger, with whom he formed DFK (Dudek, Finnegan, and Krueger) in 1978. A DFK album was released by Columbia Records a year later. Between the years 1979 and 1982, Les and Cher had a personal as well as professional relationship. Dudek wrote and performed some of the music for the 1984 movie Mask starring Cher, Sam Elliott, Eric Stoltz, and Laura Dern. He had a small part in the film as "Bone", a biker. He has worked for NBC, ABC, ESPN, Fox Sports, and E! Entertainment Television. He can be heard on many television series including Friends. In 1989, he did a brief stint with Canadian rock group John Kay & Steppenwolf as their guitarist. But problems developed between Dudek and Kay which led to him leave the band after a month of touring. 1991 Les played guitar with Stevie Nicks on her "Whole Lot Of Trouble" tour. Two more solo Cds later, "Deeper Shades Of Blues" and "Freestyle", Dudek hit the road again with his own band, and has been performing songs from all his records, plus a few hits he's recorded with other artists.

Dave Mason

Dave Mason - Certified Live - 1976 - Columbia

Through relentless touring in the mid-1970s, Dave Mason built up a concert audience that didn't necessarily translate into a record-buying audience, and this double-live album, released at a time when double-live albums were all the rage (remember Frampton Comes Alive?), was intended to address that problem. (Jim Krueger even contributed some Frampton-style "voicebox" guitar to "Goin' Down Slow.") It did demonstrate that Mason had a tight touring band and a repertoire of rock 'n' roll standards to draw from, as well as such interesting acquisitions as the Eagles' "Take It To The Limit" and the Spencer Davis Group's "Gimme Some Lovin '," and while it didn't achieve the career breakthrough intended, it did give Mason time to craft the studio album that would achieve that breakthrough. (It also gave Columbia versions of such earlier Mason songs as "Feelin' Alright?," "Pearly Queen," "Sad And Deep As You," and "Only You Know And I Know.") (Originally released by Columbia Records as Columbia 34680, Certified Live was reissued on CD by One Way Records as One Way 26078 on August 29, 1995.) © William Ruhlmann © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/certified-live-mw0000645418

In 1976, Columbia Records thinking that since Peter Frampton and Dave Mason were regarded as British guitar heroes and Dave Mason had experienced success six years earlier with the single "Only You Know and I Know" and the great album Alone Together, this live album recorded at the Universal Amphiteatre in Los Angeles, California would be a financial success for the label. However, "Certified Live" came nowhere near the success of "Frampton Comes Alive" and the album only reached No.78 on the Billboard Top 200 Albums chart. However, this is no reflection of the quality of this album. Through constant touring in the mid 1970's, Dave had built up a dedicated and loyal fan base. Dave runs through a lot of his best stuff here with his tight touring band. Highlights include "Pearly Queen", ‘Feelin’ Alright”, “Show Me Some Affection”, “World in Changes”, “Look at You and Look at Me”, and “Only You Know and I Know.” Dave also covers The Eagles “Take it to the Limit”, Bob Dylan’s “All Along the Watchtower” and the Spencer Davis Band’s “Gimme Some Lovin.” In his early 20s Dave was the road manager for the Spencer Davis Band where he met “Stevie” Winwood with whom he formed the legendary Traffic. "Certified Live" is a great live album recorded with no studio overdubs and is HR by A.O.O.F.C. Listen to Traffic's classic 1968 s/t album and Dave Mason's brilliant "Live at Perkins Palace" and "Alone Together" albums [All tracks @ 320 Kbps: File size = 175 Mb]

TRACKS / COMPOSERS

1 Feelin' Alright (D. Mason) 6:21
2 Pearly Queen (S. Winwood, J. Capaldi) 3:41
3 Show Me Some Affection (D. Mason) 4:36
4 All Along the Watchtower (Bob Dylan) 4:46
5 Take It to the Limit (R. Meisner, D. Henley, G. Frey) 3:34
6 Give Me a Reason Why (D. Mason) 4:12
7 Sad and Deep as You (D. Mason) 3:12
8 Every Woman (D. Mason) 2:36
9 World in Changes (D. Mason) 5:25
10 Goin' Down Slow (St. Louis Jimmy Oden) 6:43
11 Look at You, Look at Me (D. Mason, J. Capaldi) 12:50
12 Only You Know and I Know (D. Mason) 4:45
13 Bring It on Home to Me (Sam Cooke) 5:05
14 Gimme Some Lovin' (S. Davis, S. Winwood, M. Winwood) 8:14

MUSICIANS

Dave Mason - Guitar, Vocals
Jim Kruegar - Guitar
Gerald Johnson - Bass
Mike Finnigan - Keyboards, Vocals
Dr. Rick Jaeger - Drums

BIO (WIKI)

David Thomas "Dave" Mason (born 10 May 1946) is an English singer-songwriter, and guitarist from Worcester, who first found fame with the rock band Traffic. In his long career, Mason has played and recorded with many of the era's most notable rock musicians, including Jimi Hendrix, Delaney Bramlett, Michael Jackson, The Rolling Stones, Eric Clapton, George Harrison, Fleetwood Mac and Cass Elliot. Mason's best known song is "Feelin' Alright", recorded by Traffic in 1968 and later by many other performers, including Joe Cocker, who had a major hit with the song in 1969. For Traffic, he also wrote "Hole in My Shoe", a psychedelic pop song that became a hit in its own right. "We Just Disagree", Mason's 1977 solo hit written by Jim Krueger, has become a staple of Classic Hits and Adult Contemporary radio playlists. In 2004, Mason was inducted into the Rock and Roll Hall of Fame as a founding member of Traffic. Mason's tenure with Traffic was disjointed. He co-founded the group, but left following the recording of their debut album, Mr. Fantasy (1967), only to rejoin halfway through the sessions for their next album, Traffic (1968), after which he left again. Last Exit (1969), a compilation of odds and ends, features little material by Mason apart from his song "Just For You". Traffic later re-formed without Mason, although he briefly toured with the band in 1971 as captured on Welcome to the Canteen. Even during his brief spells with the group, Mason never quite fit in; Steve Winwood later recalled "We all [Winwood, Jim Capaldi, and Chris Wood] tended to write together, but Dave would come in with a complete song that he was going to sing and tell us all what he expected us to play. No discussion, like we were his backing group. Mason was a friend of legendary guitarist Jimi Hendrix, whose career was launched in England in 1966. Hendrix first heard the song "All Along the Watchtower", by Bob Dylan, at a party to which he was invited by Mason, and promptly decided to record his own version. That night he recorded the song at Olympic Studios, South West London, with Mason playing acoustic guitar. It was released on the Electric Ladyland album in September 1968. When the song came out as a single in October, it hit #5 on the UK Singles Chart and was a Top 40 in the U.S. Mason later recorded his own version of the song on his self-titled 1974 album, Dave Mason, with Bob Glaub on bass. Mason appears on the Rolling Stones' 1968 album Beggars Banquet, although uncredited. Mason's connection was Jimmy Miller. Miller served as producer for the Stones and Traffic. In 1969–1970, Mason toured with Delaney and Bonnie and Friends along with Eric Clapton and George Harrison. Mason appears on George Harrison's 1970 solo set All Things Must Pass. In 1970, Dave was slated to be the second guitarist for Derek and the Dominos, but left the group before they entered the studio. He co-wrote the song "Big Thirst" on Oh How We Danced by Jim Capaldi (Mason's bandmate in the Hellions, Deep Feeling, and Traffic), as well as playing the guitar solo on "Don't be a Hero". After Traffic, Mason pursued a moderately successful solo career. His first single, "Just for You" had "Little Woman" as the B-side, with Family backing him, following his production of Family's first album. His song writing and sound culminating on his 1970 album Alone Together with backing of drummer Jim Gordon. In the early 1970s he enlisted his friend, singer-songwriter Ray Kennedy to tour and write for his next album. In the mid-late 1970s, he toured and recorded with guitarist Jim Krueger, keyboardist Mike Finnigan, bassist Gerald Johnson and drummer Rick Jaeger. The 1976 album, Certified Live is a display of Mason's songwriting, arranging, vocal and guitar talents. In 1977, Mason had his biggest hit with "We Just Disagree", written by Jim Krueger. Reaching #12 on the Billboard Hot 100, it was later successfully recorded by country singer Billy Dean. Mason played himself in the film Skatetown, U.S.A., performing two songs in a roller disco as well as writing and performing the film's theme song. Mason's 1980 single, "Save Me", featured a duet with Michael Jackson. For a brief period in the 1990s, Mason joined Fleetwood Mac and released the album Time with them in 1995. In 2002, he released the DVD, Dave Mason: Live at Sunrise. It featured a live performance at the Sunrise Musical Theater in Sunrise, Florida, backed by Bobby Scumaci on keyboards, Johnne Sambataro on rhythm guitar (who rejoined Mason for the DVD, after previously touring with him in 1978), Richard Campbell on bass and Greg Babcock on drums. At one time, Mason lived in the Ojai Valley in California. As of 2005, he was performing about 100 shows a year with the Dave Mason Band across the U.S. and Canada. Mason is a proponent of music education for children. In 2005, he signed on as an official supporter of Little Kids Rock, a non-profit organization that provides free musical instruments and lessons to children in public schools throughout the U.S. He sits on the organization's board of directors as an honorary member. Mason also is a founding board member of Yoga Blue, a non profit organization devoted to teaching yoga and other holistic practices to those recovering from substance abuse and other self destructive disorders. Mason, together with his longtime friend John Niekrash, is also involved in the program Work Vessels for Veterans (WVFV), an all volunteer movement that provides veterans transitioning to civilian work with tools that have ranged from computers to boats to tractors.

MORE

Pop/rock singer/songwriter/guitarist Dave Mason was born May 10, 1944, in Worcester, England. He was a professional musician by his teens and, as a member of the instrumental group the Jaguars, made his recording debut on a locally released single, "Opus to Spring," in 1963. It was with the Jaguars that he first encountered drummer Jim Capaldi, and the two became members of the Hellions, who played around the U.K. and in Hamburg, West Germany, as well as cutting a few singles in 1964 and '65. Mason quit the Hellions in the spring of 1965 to study music formally, while also sitting in occasionally with another band featuring Capaldi, Deep Feeling. In early 1966, he took a job as road manager for the Spencer Davis Group, where he encountered Steve Winwood; various reports suggest he also played with the band on-stage and may have sung backup vocals on the hit "Somebody Help Me." In March 1967, Winwood left the Spencer Davis Group and formed Traffic with Mason, Capaldi, and flautist Chris Wood. The group's first single was the Winwood/Capaldi composition "Paper Sun," followed in August 1967 by Mason's "Hole in My Shoe," which hit number two in the U.K. Mason also participated in Traffic's debut album, Mr. Fantasy, but as it was being released in December 1967 he left the band. He recorded a solo single, "Little Woman," in early 1968, then rejoined Traffic. "Feelin' Alright?," a song expressing his ambivalence about his association with the group, was released as the first single off the second album, Traffic, in October 1968; although the single did not chart, "Feelin' Alright?" would go on to become Mason's signature song, particularly after it was covered by Joe Cocker in 1969. Mason left Traffic again, and it broke up shortly afterward in the fall of 1968, as Winwood joined Blind Faith. Mason, Capaldi, and Wood teamed with Mick Weaver in the short-lived Wooden Frog. Mason moved to Los Angeles and joined Delaney & Bonnie & Friends in 1969. In 1970, he signed a solo contract with Blue Thumb Records and released his debut solo album, Alone Together, which reached number 22 and went gold in the U.S., spawning the chart single "Only You Know and I Know." Despite this success, he continued to work in group contexts, serving temporarily as second guitarist in Eric Clapton's band Derek and the Dominos; recording with George Harrison on All Things Must Pass; and forming a duo with Cass Elliot. He and Elliot recorded an album, Dave Mason & Cass Elliot, released in February 1971. The LP reached number 49, but they quickly broke up. Mason rejoined Traffic for a few dates in the summer that resulted in the live album Welcome to the Canteen. Meanwhile, Mason was preparing his follow-up to Alone Together, but a royalty dispute with Blue Thumb led to the company's assembling the half-finished, half-live Headkeeper, which was released in February 1972 over Mason's objections; it reached number 51. As the legal conflict continued into 1973, Blue Thumb released the chart LP Dave Mason Is Alive!, also without the artist's approval. After a settlement, Mason signed to Columbia Records, which released It's Like You Never Left on October 29, 1973; it got to number 50. Mason formed a band and toured extensively, raising his profile sufficiently that his second Columbia LP, Dave Mason, released in October 1974, reached number 25 and went gold. Split Coconut, his third Columbia album, released on September 19, 1975, was another success, getting to number 27, as he played major venues such as New York's Madison Square Garden and the Spectrum in Philadelphia. His appeal as a concert attraction was confirmed by the appearance of the double-LP Certified Live in the fall of 1976; it hit number 78. Mason reached a new career plateau with his next studio album, Let It Flow, released in April 1977. It reached an early peak at number 37, but stayed in the charts 49 weeks and went platinum on the success of the single "We Just Disagree" (written by Mason's backup guitarist, Jim Krueger), which reached number 12. (The singles "So High [Rock Me Baby and Roll Me Away]" and "Let It Go, Let It Flow" also charted.) Mariposa de Oro, Mason's next album, was released in June 1978, preceded by a cover of "Will You Still Love Me Tomorrow," a Top 40 single; the LP reached number 41 and went gold. Two years passed before Mason released New Crest of an Old Wave in the summer of 1980. After it peaked at number 74 and produced the chart single "Save Me," he parted ways with Columbia. Another major-label berth was not forthcoming, but he continued to tour, paring down to an acoustic duo with Krueger. In 1987, he released two albums, Some Assembly Required on the Canadian label Maze Records and Two Hearts on MCA, the latter featuring "Dreams I Dream," a duet with Phoebe Snow that reached number 11 in the adult contemporary charts. In 1993, Mason joined a new lineup of Fleetwood Mac, appearing on the 1995 album Time, but soon after, the band reverted to its previous configuration. In 1998, Mason reteamed with Jim Capaldi for a tour that produced the 1999 album Live: The 40,000 Headman Tour. In 2008, Megaforce Records released the first Dave Mason studio album in more than 20 years, 26 Letters 12 Notes. © William Ruhlmann 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/dave-mason-mn0000962339

Andy Fairweather Low - La Booga Rooga - 1975 - A&M Records

Andy Fairweather Low's most successful record, this continues his eclectic approach, starting off with the steel guitar-drenched cover "My Bucket's Got a Hole in It" and also featuring the cocktail lounge pop of "Champagne Melody" and the funky title track (a U.K. hit for the Surprise Sisters), plus his biggest solo single, the whimsical "Wide Eyed and Legless." © William Ruhlmann © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/la-booga-rooga-mw0000839142

Some of the artists playing on this album include Benny Gallagher & Graham Lyle, Bernie Leadon, John ‘Rabbit’ Bundrick, Georgie Fame, and Gerry Rafferty. The album is terrific. This unassuming underrated musician and songwriter has done it all. He has recorded several great solo albums and been a session player on some of the worlds greatest rock albums. He has also toured with countless artists and is a true rock star. "La Booga Rooga" is HR by A.O.O.F.C. Search this blog for related releases [All tracks @ 320 Kbps: File size = 69.8 Mb]

TRACKS 

A1 My Bucket's Got A Hole In It 3:11
A2 Jump Up And Turn Around 4:02
A3 Halfway To Everything 4:04
A4 La Booga Rooga 4:11
A5 Champagne Melody 3:30

B1 If That's What It Takes 3:28
B2 8 Ton Crazy 3:29
B3 Grease It Up 3:10
B4 Wide Eyed And Legless 4:00
B5 Inner City Highwayman 4:40

All songs composed by Andy Fairweather Low except "My Bucket's Got A Hole In It" by Clarence Williams

MUSICIANS

Andy Fairweather Low - Lead Guitar, 6 String Guitar, Acoustic Guitar, Phased Guitar, High String Guitar, Wah Wah Guitar, Vocals
Graham Lyle - Electric Rhythm Guitar, 12 String Guitar
Benny Gallagher - High Strung Guitar, Accordion
Bernie Leadon - Acoustic Guitar, Banjo
B. J. Cole - Pedal Steel Guitar, Resonator Guitar [Dobro], Phased Guitar
John David - Bass Guitar, Vocals, Backing Vocals
John ‘Rabbit’ Bundrick - Electric Piano, Phased Electric Piano, Piano, Organ, Clavinet
Georgie Fame - Piano, Acoustic Piano, Organ
Dave Mattacks, Bruce Rowland, Kenney Jones - Drums
Glyn Johns - Cabasa
Steve Gregory - Alto Saxophone
Bud Beade - Baritone Saxophone
Jimmy Jewel - Tenor Saxophone
Eddie Thornton - Trumpet
Brian Rogers - String Arrangements
Gerry Rafferty, Joe Egan, Barry St. John, Doreen And Irene Chanter, Joanne Williams, Liza Strike - Vocals, Backing Vocals

BIO

Andy Fairweather Low is in a class of his own. One of the UK’s best guitar players with a truly unique voice (not to mention one of their best tennis players) he’s worked with some of the greatest artists around and still found time to release some solo material. ‘Sweet Soulful Music’ (2006) was his first solo album in 26 years but it was no simple comeback story - the intervening years were packed with people and projects virtually amounting to a stellar A to Z of Popular Music. Not surprising then that “The Very Best Of Andy Fairweather Low – The Low Rider” out on Proper Records in Spring 2008 should be such a catalogue of delight. It trawls right throughhis back catalogue from the hits of the late sixties right through to the present day resulting in a panoply of glorious sounds. Andy has a magnificent CV. Throughout his momentous career, he has played with such artists as Bob Dylan, Roger Waters, Eric Clapton, George Harrison, Elton John, Jimi Hendrix, David Crosby, The Band, Richard and Linda Thompson, Dave Gilmour, The Who, BB King, Joe Cocker, Steve Winwood, Donald ‘Duck’ Dunn, Jimmy Page, Ronnie Lane, Linda Ronstadt, Roddy Frame, Emmylou Harris, Joe Satriani, the Bee Gees, Jeff Beck, The Impressions, Lonnie Donegan, Ringo Starr, Steve Gadd, David Sanborn, Benmont Tench, Warren Zevon, Charlie Watts, Mary J. Blige, Dave Edmunds, Georgie Fame, Bonnie Raitt, Otis Rush, Phil Collins, Van Morrison, Gerry Rafferty, Chris Rea, Buddy Guy, Chris Barber, Jackson Browne, Bill Wyman, Sheryl Crow, Clarence ‘Gatemouth’ Brown, Pete Townshend and hundreds more.Quite simply, Andy Fairweather Low has been – and continues to be - the guitarist and vocalist of choice for a phenomenal cast list of musical luminaries. Cardiff-born Fairweather Low originally came to fame as vocalist and leader of the pop group Amen Corner. The band had four Top 30 hits – a sequence starting with ‘Gin House Blues’ in 1967 - on Decca’s subsidiary Deram label before leaving at the end of 1968 to join Andrew Loog Oldham’s pioneering indie, Immediate. Amen Corner were instantly rewarded with a UK number one, ‘(If Paradise Is) Half As Nice’ in early 1969 but, despite another Top Five hit with Roy Wood’s ‘Hello Suzie’, it seemed the band could not survive success. By the following year Amen Corner had split, with Andy Fairweather Low escaping the teenybop grind by forming the simply named Fairweather, a band signed to RCA’s shiny new progressive label, Neon. Fairweather reached number six in the UK singles chart with ‘Natural Sinner’ during the summer of 1970. It was to be, however, the band’s only hit. One album later and Fairweather came to an end. Andy Fairweather Low then became somewhat of a refugee from the music business, eventually emerging three years later as a solo artist with an album called ‘Spider Jiving’ on A&M. The album was produced by Elliot Mazer – best known for his work with Neil Young – and featured some heavyweight backup support from the likes of the Memphis Horns and Nashville legend Charlie McCoy on harmonica. ‘Spider Jiving’ included the wah-wah driven ‘Reggae Tune’, a UK Top 10 hit in September 1974. Andy Fairweather Low was on something of a roll. The following year, 1975, he released his second solo album, ‘La Booga Rooga’, which eventually emerged as his most successful record. Produced by the celebrated Glyn Johns – at that time fresh from working with The Eagles – ‘La Booga Rooga’ featured such stellar musicians as ex-Eagle Bernie Leadon (guitar), Dave Mattacks (drums), Eddie ‘Tan Tan’ Thornton (trumpet), Kenney Jones (drums), John ‘Rabbit’ Bundrick (keyboards), BJ Cole (steel guitar) and Georgie Fame (keyboards). Among the tracks was ‘Wide Eyed and Legless’, a Top 10 hit for Fairweather Low at the end of 1975. Johns was also at the helm for ‘Be Bop ‘n’ Holla’, Fairweather Low’s 1976 album. It was followed, in 1980, by ‘Mega-Shebang’, recorded for Warner Brothers and destined to be Fairweather Low’s final solo album until 2006. In between ‘Be Bop ‘n’ Holla’ and ‘Mega-Shebang’, however, Fairweather Low sang backing vocals on The Who’s 1978 ‘Who Are You’ album - the start of a relationship which also saw him playing guitar on the band’s 1982 album, ‘It’s Hard’, and appearing with Pete Townshend on his 1993 ‘Psychoderelict’ tour. That work with The Who set the direction for Fairweather Low’s next moves. He became the ultimate Guitarist to the Stars, building an extraordinary reputation that has endured to this day. Most notably, Fairweather Low has been a stalwart of Eric Clapton’s band since the early-Nineties, touring in Clapton’s bands right up until 2003 and recording the ‘Unplugged’, ‘From the Cradle’, ‘Pilgrim’, ‘Riding with the King’, ‘Reptile’, ‘One More Car One More Rider’, ‘Me & Mr. Johnson’ and ‘Back Home’ albums with him. Fairweather Low was also a regular player with George Harrison, appearing on his ‘Live in Japan’ album and, in 2002, playing several of the lead guitar parts for the Harrison tribute, ‘The Concert for George’. One of Fairweather Low’s longest musical relationships, however, has been with Roger Waters. The two have worked together since Waters’ ‘Pros and Cons of Hitchhiking’ tour of America in 1985. Since that time Fairweather Low has contributed to two of Waters’ albums – ‘Radio K.A.O.S’ in 1987 and ‘Amused to Death’ in 1992 – and played guitar and bass on the 1999-2002 ‘In the Flesh’ world tour. Fairweather Low rejoined Waters for the ‘Dark Side of the Moon’ tour this year. Fairweather Low is also a regular member of Bill Wyman’s Rhythm Kings, the consequence of another relationship that stretches back to the mid-Eighties. Fairweather Low and Wyman first worked together at the Small Faces’ legendary bass player Ronnie Lane’s A.R.M.S. – Action for Research into Multiple Sclerosis – benefit concert at London’s Royal Albert Hall in 1983. It was a charity cause that Wyman revisited in 1985 with Willie & The Poor Boys, a Fifties’ style rock ‘n’ roll concept band featuring Fairweather Low. Since that time Fairweather Low has been frequently involved in Wyman’s projects, most recently touring with the Rhythm Kings in 2005 and the summer of 2006. But perhaps it was inevitable that one day Fairweather Low would be tempted to return to the studio in his own right. ‘Sweet Soulful Music’ reunited Fairweather Low with producer Glyn Johns and October ‘07 saw Andy touring solo again in the UK with his own all star band containing Chris Stainton – keyboards, Dave Bronze – bass and Paul Beavis – drums. One of the shows was filmed and the resulting DVD is released in June 2008 closely following the TV advertised release of his new album “The Very Best Of Andy Fairweather Low – The Low Rider”. “The Very Best Of Andy Fairweather Low – The Low Rider” hits the shops on June 2nd and combines all the hits and more. An absolute gem, the title says it all. To coincide with its release Andy and his band, The Low Riders (featuring Dave Bronze ,Paul Beavis and keyboard player Richard Dunn), head out on a major UK tour which also encompasses Cambridge rock, Colne blues, Trowbridge and Glastonbury Festivals. © http://www.judytotton.com/printable/current_promotions/biography_andy_fairweather_low.htm

Andy Fairweather Low

Andy Fairweather Low - Spider Jiving - 1974 - A&M

In which the voice of (ta-ra) the Amen Corner rocks more convincingly than he ever did as an English-r&b teen throb and still somehow sounds laid-back. The secret is a rough-hewn spontaneity in which the guitar and bass that meet the Memphis Horns over an insistent but very unfunky 4/4 are both acoustic, in which Charlie McCoy plays hornpipe harp over oompah drums. The lean, direct, catchy, introspective lyrics work the same way; their substance--that is, their obsessive but unassuming speculation about man's fate--is bound up in their free use of verbatim borrowings from a common language. Apotheosis: the slyly hermeneutic "Dancing in the Dark," in which a discreet fatalism is shaped by courtly music-hall tune and elegant soft-shoe timing. A - © http://www.robertchristgau.com/get_artist.php?name=Andy+Fairweather+Low

Andy Fairweather Low spent a fair amount of the late '60s through 1970 in the British Top Ten with the pop-R&B band Amen Corner, as well the short-lived Fair Weather, before taking a nearly three-year hiatus from recording. Shedding his teen idol image of previous years, the Welsh-born Low returned in 1974 with his first solo record, Spider Jiving. Here he delivers 11 self-penned gems that can be as laid-back as they can be funky, employing support from both Nashville and Memphis while retaining the sort of looseness found in an English pub band. With producer Elliot Mazer -- known for his work with Neil Young -- Low punches up tunes such as the acoustic-based title track with help from the Memphis Horns, while his rock & roll and R&B sport wry touches of banjo, fiddle, pedal steel, and Charlie McCoy's harmonica. Lyrically, there's a thread of frustration, steeped in the experiences of someone who's had to sit back and watch others get rich from his hard work and success (Low and Amen Corner made very little money despite their success, and were actually in debt to their label following their breakup). And while lines such as "...and the sad thing is, that no one really cares" and "I've been abused too long..." may hint at singer/songwriter self-pity, closer investigation reveals a playfulness in the music, as well as a sense of humor and a sly wink in his delivery that keeps everything in perspective. Some of the highlights include the irresistible title cut; the dancehall ballad "Dancing in the Dark"; and the wah-wah driven "Reggae Tune," which continued Low's string of U.K. Top Ten hits. © Brett Hartenbach © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/spider-jiving-r37078/review

"Spider Jiving" is arguably Andy Fairweather Low's best album. Andy has never been an instantly recognizable name in rock music, but he's a true rock star. He's the kind of guy who has managed to keep a low profile throughout his career. You may have heard some of his great songs, most of which he penned himself, including - Wide Eyed And Legless, Reggae Tune, (If Paradise Is) Half As Nice, and Natural Sinner. From his early days in Amen Corner, and Fair Weather, Andy has been one of Britain's great musicians and songwriters. Much of Andy's solo work has never been taken seriously by music critics. The music is often on the lightweight and humorous side. However Andy's songs often contain sardonic and/or pessimistic lyrics combined with cheerful music, and many critics just dont get him. Andy has had many "downs" in his musical career due to bad management by record companies. In his early career with groups like Amen Corner, Andy had major hits and topped charts and still found himself in debt with a certain record company. Thankfully, those who know great music when they hear it have always appreciated Andy's unique adenoidal and reedy voice, his talent as a songwriter and brilliant guitar technique. He has built up a huge reputation as a session guitarist, and as a sideman. and has played many great musicians including Eric Clapton, Jimi Hendrix, BB King, Bill Wyman, The Who, Roger Waters, George Harrison, Bob Dylan, and others too numerous to mention. "Spider Jiving" is HR by A.O.O.F.C. Read Robert Christgau's article about Pete Fowler and Andy Fairweather Low @ http://www.furious.com/perfect/andyfairweatherlow.html Search this blog for related releases [All tracks @ 320 Kbps: File size = 71.7 Mb]

TRACKS

A1 Spider Jiving
A2 Drowning On Dry Land
A3 Keep On Rockin'
A4 Same Old Story
A5 I Ain't No Mountain
A6 Every Day I Die

B1 Standing On The Water
B2 Mellow Down
B3 The Light Is Within
B4 Reggae Tune
B5 Dancing In The Dark

All songs composed by Andy Fairweather Low

MUSICIANS

Andy Fairweather Low - Guitar, Vocals
Henry McCullough, John Kahn - Guitar
Weldon Myrick - Steel Guitar
Chris Stewart - Bass
Bobby Thompson - Banjo
Buddy Spicher, Vassar Clements - Violin
Mick Weaver, Mark Naftalin - Keyboards
Charlie McCoy - Harmonica
Denny Seiwell, Kenny Buttrey - Drums
The Memphis Horns - Horn
Mary Holladay, Ginger Holladay, Dianne Davidson, Lea Jane Berinati - Vocals

SHORT BIO

The seven million people who bought Eric Clapton's Unplugged album and the countless more who saw the MTV Unplugged TV show experienced the work of Andy Fairweather Low, who served as Clapton's backup guitarist/vocalist. But probably few in that giant audience knew that Fairweather Low had once been a teen idol and had an extensive recorded catalog in groups and as a solo star. Born in Cardiff, Wales, Fairweather Low formed Amen Corner in the mid-'60s, for which he served as lead singer. The group scored six U.K. hits from 1967 to 1969, the biggest of which was the number one "(If Paradise Is) Half as Nice." Its success put Fairweather Low's attractive face on the bedroom walls of teenage girls all over Britain. Amen Corner broke up at the end of the '60s and evolved into the more progressive Fair Weather, which scored a hit with "Natural Sinner" in 1970, but broke up in 1971. Fairweather Low retired for several years, but returned as a solo artist in 1974 and made a series of albums through 1980, reaching the U.K. Top Ten with the singles "Reggae Tune" and "Wide Eyed and Legless." Gradually, however, he began to work as a sideman to more prominent British musicians, notably ex-Pink Floyd leader Roger Waters, and with the ARMS benefit group in 1987. He toured Japan with George Harrison and Eric Clapton in 1991 and has since been part of Clapton's backup band. Fairweather Low began touring with Bill Wyman's Rhythm Kings and, in 2006, hit the road again with Waters for the Dark Side of the Moon Tour. © William Ruhlmann © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/andy-fairweather-low-p17410/biography

MORE

Andy Fairweather Low is in a class of his own. One of the UK’s best guitar players with a truly unique voice (not to mention one of their best tennis players) he’s worked with some of the greatest artists around and still found time to release some solo material. ‘Sweet Soulful Music’ (2006) was his first solo album in 26 years but it was no simple comeback story - the intervening years were packed with people and projects virtually amounting to a stellar A to Z of Popular Music. Not surprising then that “The Very Best Of Andy Fairweather Low – The Low Rider” out on Proper Records in Spring 2008 should be such a catalogue of delight. It trawls right through his back catalogue from the hits of the late sixties right through to the present day resulting in a panoply of glorious sounds. Andy has a magnificent CV. Throughout his momentous career, he has played with such artists as Bob Dylan, Roger Waters, Eric Clapton, George Harrison, Elton John, Jimi Hendrix, David Crosby, The Band, Richard and Linda Thompson, Dave Gilmour, The Who, BB King, Joe Cocker, Steve Winwood, Donald ‘Duck’ Dunn, Jimmy Page, Ronnie Lane, Linda Ronstadt, Roddy Frame, Emmylou Harris, Joe Satriani, the Bee Gees, Jeff Beck, The Impressions, Lonnie Donegan, Ringo Starr, Steve Gadd, David Sanborn, Benmont Tench, Warren Zevon, Charlie Watts, Mary J. Blige, Dave Edmunds, Georgie Fame, Bonnie Raitt, Otis Rush, Phil Collins, Van Morrison, Gerry Rafferty, Chris Rea, Buddy Guy, Chris Barber, Jackson Browne, Bill Wyman, Sheryl Crow, Clarence ‘Gatemouth’ Brown, Pete Townshend and hundreds more. Quite simply, Andy Fairweather Low has been – and continues to be - the guitarist and vocalist of choice for a phenomenal cast list of musical luminaries. Cardiff-born Fairweather Low originally came to fame as vocalist and leader of the pop group Amen Corner. The band had four Top 30 hits – a sequence starting with ‘Gin House Blues’ in 1967 - on Decca’s subsidiary Deram label before leaving at the end of 1968 to join Andrew Loog Oldham’s pioneering indie, Immediate. Amen Corner were instantly rewarded with a UK number one, ‘(If Paradise Is) Half As Nice’ in early 1969 but, despite another Top Five hit with Roy Wood’s ‘Hello Suzie’, it seemed the band could not survive success. By the following year Amen Corner had split, with Andy Fairweather Low escaping the teenybop grind by forming the simply named Fairweather, a band signed to RCA’s shiny new progressive label, Neon. Fairweather reached number six in the UK singles chart with ‘Natural Sinner’ during the summer of 1970. It was to be, however, the band’s only hit. One album later and Fairweather came to an end. Andy Fairweather Low then became somewhat of a refugee from the music business, eventually emerging three years later as a solo artist with an album called ‘Spider Jiving’ on A&M. The album was produced by Elliot Mazer – best known for his work with Neil Young – and featured some heavyweight backup support from the likes of the Memphis Horns and Nashville legend Charlie McCoy on harmonica. ‘Spider Jiving’ included the wah-wah driven ‘Reggae Tune’, a UK Top 10 hit in September 1974. Andy Fairweather Low was on something of a roll. The following year, 1975, he released his second solo album, ‘La Booga Rooga’, which eventually emerged as his most successful record. Produced by the celebrated Glyn Johns – at that time fresh from working with The Eagles – ‘La Booga Rooga’ featured such stellar musicians as ex-Eagle Bernie Leadon (guitar), Dave Mattacks (drums), Eddie ‘Tan Tan’ Thornton (trumpet), Kenney Jones (drums), John ‘Rabbit’ Bundrick (keyboards), BJ Cole (steel guitar) and Georgie Fame (keyboards). Among the tracks was ‘Wide Eyed and Legless’, a Top 10 hit for Fairweather Low at the end of 1975. Johns was also at the helm for ‘Be Bop ‘n’ Holla’, Fairweather Low’s 1976 album. It was followed, in 1980, by ‘Mega-Shebang’, recorded for Warner Brothers and destined to be Fairweather Low’s final solo album until 2006. In between ‘Be Bop ‘n’ Holla’ and ‘Mega-Shebang’, however, Fairweather Low sang backing vocals on The Who’s 1978 ‘Who Are You’ album - the start of a relationship which also saw him playing guitar on the band’s 1982 album, ‘It’s Hard’, and appearing with Pete Townshend on his 1993 ‘Psychoderelict’ tour. That work with The Who set the direction for Fairweather Low’s next moves. He became the ultimate Guitarist to the Stars, building an extraordinary reputation that has endured to this day. Most notably, Fairweather Low has been a stalwart of Eric Clapton’s band since the early-Nineties, touring in Clapton’s bands right up until 2003 and recording the ‘Unplugged’, ‘From the Cradle’, ‘Pilgrim’, ‘Riding with the King’, ‘Reptile’, ‘One More Car One More Rider’, ‘Me & Mr. Johnson’ and ‘Back Home’ albums with him. Fairweather Low was also a regular player with George Harrison, appearing on his ‘Live in Japan’ album and, in 2002, playing several of the lead guitar parts for the Harrison tribute, ‘The Concert for George’. One of Fairweather Low’s longest musical relationships, however, has been with Roger Waters. The two have worked together since Waters’ ‘Pros and Cons of Hitchhiking’ tour of America in 1985. Since that time Fairweather Low has contributed to two of Waters’ albums – ‘Radio K.A.O.S’ in 1987 and ‘Amused to Death’ in 1992 – and played guitar and bass on the 1999-2002 ‘In the Flesh’ world tour. Fairweather Low rejoined Waters for the ‘Dark Side of the Moon’ tour this year. Fairweather Low is also a regular member of Bill Wyman’s Rhythm Kings, the consequence of another relationship that stretches back to the mid-Eighties. Fairweather Low and Wyman first worked together at the Small Faces’ legendary bass player Ronnie Lane’s A.R.M.S. – Action for Research into Multiple Sclerosis – benefit concert at London’s Royal Albert Hall in 1983. It was a charity cause that Wyman revisited in 1985 with Willie & The Poor Boys, a Fifties’ style rock ‘n’ roll concept band featuring Fairweather Low. Since that time Fairweather Low has been frequently involved in Wyman’s projects, most recently touring with the Rhythm Kings in 2005 and the summer of 2006. But perhaps it was inevitable that one day Fairweather Low would be tempted to return to the studio in his own right. ‘Sweet Soulful Music’ reunited Fairweather Low with producer Glyn Johns and October ‘07 saw Andy touring solo again in the UK with his own all star band containing Chris Stainton – keyboards, Dave Bronze – bass and Paul Beavis – drums. One of the shows was filmed and the resulting DVD is released in June 2008 closely following the TV advertised release of his new album “The Very Best Of Andy Fairweather Low – The Low Rider”. “The Very Best Of Andy Fairweather Low – The Low Rider” hits the shops on June 2nd and combines all the hits and more. An absolute gem, the title says it all. To coincide with its release Andy and his band, The Low Riders (featuring Dave Bronze ,Paul Beavis and keyboard player Richard Dunn), head out on a major UK tour which also encompasses Cambridge rock, Colne blues, Trowbridge and Glastonbury Festivals. © http://www.judytotton.com/printable/current_promotions/biography_andy_fairweather_low.htm

......AND MORE

Andy was born in 1948 in Cardiff, S.Wales and rose to prominence in the 1960’s as the front man and guitarist for chart topping teen idol band Amen Corner. His vocals and his distinctive voice were the perfect lead for the group. Amen Corner scored 6 memorable hits between 1967 and 1969 with ( If Paradise is ) Half As Nice reaching number 1 in January 1969 and their shows were always full of excitement and they were regular fixtures on package tours at the time. When the group split in 1969 Andy formed the band Fairweather which was signed to RCA on their progressive label Neon and for an underground progressive band it was somewhat surprising that they soon had a Top 10 single in 1970 with Natural Sinner. Andy’s first solo success was another Top 10 hit with Reggae Tune in September 1974 when after two albums with Fairweather and a brief spell off for good behaviour Andy had signed a Solo deal with A&M Records and recorded Spider Jiving which was produced by Neil Young producer Elliott Mazer and included major players such as The Memphis Horns & Nashville legend Charlie McCoy. Following up was not a problem and in 1975 he released his second album La Booga Rooga Produced by celebrated UK Producer Glyn Johns at that time fresh from working with The Eagles. Glyn Johns was again the producer of choice in 1976 for Andy’s third solo album ‘Be Bop ‘n’ Holla’. La Booga Rooga featured a great line up of musicians with such great players as Ex Eagle Bernie Leadon – Guitar, Dave Mattacks – Drums, Eddie Tan Tan Thornton – Trumpet, Kenney Jones – Drums, John ‘ Rabbit’ Bundrick – Keyboards, B.J.Cole – Steel Guitar and Georgie Fame – Keyboards and among the tracks was ‘Wide Eyed & Legless’ released late in 1975 and becoming another Solo Top 10 hit in the UK and major International hit record. In 1980 having moved labels to Warner Brothers Andy released his fourth Solo album Mega Shebang but had already started his notable contributions to other people’s records with his appearance in 1978 on The Who’s album ‘Who Are You’ which also continued through with his appearance on guitar on their Its Hard album in 1982 and contributions to Pete Townshend’s Psychderelict tour in 1993. From the work with The Who Andy moved on as the in demand player and ultimate Guitarist to the stars, building an extraordinary reputation that has endured to this day. In 1983, ex Small faces and Faces bass player Ronnie Lane, himself suffering from multiple sclerosis, set about organising some of the most significant musicians in the Rock world to tour on both sides of the Atlantic and record with the aim of raising awareness and funds for sufferers of MS. The project, A.R.M.S. – Action for Research into Multiple Sclerosis, was immensely successful ending up with a visit to the Whitehouse for some of the participants. Andy, Eric Clapton, Jeff Beck, Jimmy Page, Ronnie Wood and Steve Winwood all appeared... In the early nineties Andy joined Eric Clapton’s band with which he stayed until 2003 touring and recording the ‘Unplugged’, ‘From the Cradle’, ‘Pilgrim’, ‘Riding with the King’, ‘Reptile’, ‘One More Car One More Rider’, ‘Me & Mr. Johnson’ and ‘Back Home’ albums with him. Andy was also a regular player with George Harrison, appearing on his ‘Live in Japan’ album and, in 2002, playing several of the lead guitar parts for the Harrison tribute, ‘The Concert for George’. One of Fairweather Low’s longest musical relationships, however, has been as musical director with Roger Waters. The two have worked together since Waters’ ‘Pros and Cons of Hitchhiking’ tour of America in 1985. Since that time Andy has contributed to two of Waters’ albums – ‘Radio K.A.O.S’ in 1987 and ‘Amused to Death’ in 1992 – and played guitar and bass on the 1999-2002 ‘In the Flesh’ world tour. He also rejoined Waters for the ‘Dark Side of the Moon’ tour more recently. On November 29th, 2002, one of the most important concerts ever was staged at the Royal Albert Hall. The Concert for George was a tribute to George Harrison, under the musical direction of Eric Clapton. Featuring Joe Brown, Eric Clapton, Jules Holland and Sam Brown, Dhani Harrison, Jeff Lynne, Paul McCartney, Tom Petty and the Heartbreakers, Billy Preston, Ravi and Anoushka Shankar and Ringo Starr. Andy was a member of the Incredible House Band, which, among other great players, also included Dave Bronze, Gary Brooker, Jim Capaldi, Ray Cooper, Jim Keltner, Albert Lee and Chris Stainton. Andy is also a regular member of Bill Wyman’s Rhythm Kings, the consequence of another relationship that stretches back to the mid-Eighties. Fairweather Low and Wyman first worked together at the Small Faces’ legendary bass player Ronnie Lane’s A.R.M.S. – Action for Research into Multiple Sclerosis – benefit concert at London’s Royal Albert Hall in 1983. It was a charity cause that Bill revisited in 1985 with Willie & The Poor Boys, a Fifties’ style rock ‘n’ roll concept band featuring Andy who, since that time has been frequently involved in Wyman’s projects, most recently touring with the Rhythm Kings in 2005 and the summer of 2006 and 2007. But perhaps it was inevitable that one day Fairweather Low would be tempted to return to the studio in his own right. That time came in 2006. ‘Sweet Soulful Music’ reunited Fairweather Low with producer Glyn Johns - and features bassist David Bronze (Eric Clapton, Robin Trower, Procol Harum), drummer Henry Spinetti (Eric Clapton, George Harrison, Paul McCartney, Roger Daltrey) and John ‘Rabbit’ Bundrick (Bob Marley, The Who, Pete Townshend) together with Roger Waters’ back-up singers Katie Kissoon, Carol Kenyon and PP Arnold. Twenty-six years is a long wait but ‘Sweet Soulful Music’ signaled a welcome return for one of the UK’s most distinctive artists, as heartily endorsed by many of the world’s greatest talents. The current band is also a who’s who of the best players on the rock scene, joining Andy on Drums is Paul Beavis (Thea Gilmore, Robbie Macintosh & Sunday All Over The World) on Keyboards is Chris Stainton (The Grease Band, Joe Cocker, Eric Clapton & The Concert For George) and on Bass is long standing associate Dave Bronze (Clapton, Concert For George, Dear Mr Fantasy tribute to Jim Capaldi). © 2006 Proper Records