Mary Ann Redmond

Mary Ann Redmond - Live aka "Live At Blues Alley" - 1997 - Spellbound

Singer/songwriter Mary Ann Redmond was described as "an exciting vocal talent" in a Billboard magazine article that also said that "Redmond is wowing club audiences as a completely formed stylist, who sings heartfelt ballads and funky tunes with equal ease and enthusiasm in an alto voice that soars effortlessly to soprano range." Dave Nuttycombe of the Washington City Paper said ”If Aretha is the Queen of Soul, Redmond must be considered an official Lady in Waiting.” Mike Ryan, of the Boston Herald said “Virginia's Mary Ann Redmond falls somewhere between Dusty Springfield and Aretha Franklin. Yes, her voice is that good.” Taped at Blues Alley in Georgetown, Washington DC, this is a great album of rock, jazz, blues and R&B. There are 12 wonderful tracks of both covers and originals. This lady has an outstanding voice, and should be heard by all lovers of good rock, jazz, blues and R&B. Live aka "Live At Blues Alley" is HR by A.O.O.F.C. Mary Ann founded an independent music company, Spellbound Music, to handle both her albums and her original songs. All of her material except "Here I Am" has been released on the Spellbound label. Buy her "Here I Am" album, and keep the blues alive!

TRACKS

1. Whispering Your Name
2. Too Many Cooks
3. Crossroads
4. Georgia (Intro)
5. Georgia
6. Yellow Moon
7. Footprints on the Ceiling
8. Tell Me What It Feels Like
9. I Can't Stand the Rain
10. Over the Hills and Far Away
11. (He'll Call) Right About Now
12. Many Rivers to Cross

MUSICIANS

Mary Ann Redmond - vocals, guitar
Mike Ault - guitar
Steve Taylor - bass
Benjie Porecki - Keyboards
Deren Blessman - Drums

BIO (WIKIPEDIA)

Mary Ann Redmond (born 1959) is an American singer known for her soulful and wide-ranging vocal style in popular and jazz music. She is based in the greater metropolitan Washington, D.C. area, but has performed in several locations in the United States and in other countries. Both her live performances and her four CDs to date have earned her acclaim from audiences and recognition from the music industry, although she has never achieved national fame on a par with many of the performers she has worked with, such as Mary Chapin Carpenter. She is primarily a regional artist and has won 16 Washington Area Music Awards (Wammies). Redmond was born in Richmond, Virginia, the youngest of three children. As a child she attended St. Elizabeth's Parochial School, where at the age of 6 she performed the song "Dominique," made famous by The Singing Nun. Later, she joined up with her brothers in a band singing pop tunes. Redmond eventually attended Virginia Commonwealth University (VCU) where she studied opera and voice while playing gigs at nights with the Jack Diamond band. As her career progressed, Redmond left VCU to sing with a series of bands and casino lounge acts during the 1980s. In addition to pop music, she performed jazz and blues tunes as well, developing a broad repertoire. In the mid 1990s, Redmond began singing with a band led by saxophone artist Al Williams. Tired of the road life, she settled in the Washington, DC area and with the Williams band recorded her first album, Prisoner of the Heart, first released in 1994 (a remixed version was re-released in 2002). It was around this time that the major recording company Motown signed Mary Ann Redmond to a development deal. However, before she had the opportunity to record or release any product, a change in personnel at the label resulted in her being dropped from Motown. Rather than seek another major label, Redmond founded an independent music company, Spellbound Music, to handle both her albums and her original songs. With the exception of her third album Here I Am, all of Redmond's material has been released on the Spellbound label. In 1995, Mary Ann Redmond formed her own supporting band and went out as a solo act, performing at Washington-area clubs and private parties. One of her first major shows was at the famed jazz club Blues Alley. This performance was recorded and released as Mary Ann's second CD, Live At Blues Alley. Redmond became increasingly well known, earning awards and positive reviews in major trade publications such as Billboard. Other artists began to seek her out, and she occasional worked with other performers in duos for specific shows. One of her friends was another upcoming artist of the period, Eva Cassidy. Redmond and Cassidy had different vocal styles but they performed together one night at "Fleetwoods," and when Cassidy was stricken with cancer, Redmond sang at a Georgetown benefit to raise funds for her. Following Cassidy's death in 1996, Redmond added her vocals to a version of Cassidy's song, "Hear," creating a recorded duet that is now considered a special track by fans of both women. After meeting fellow performer Jon Carroll, a member of Mary Chapin Carpenter's band, Carroll produced Redmond's 2000 CD, Here I Am. The album includes a song written by Mary Chapin Carpenter for Redmond, "Alone but Not Lonely." Another band member, John Jennings, later produced Redmond's 2005 release Send the Moon. Redmond also joined the others to perform during a USO show for the U.S. Armed Forces in Bosnia in 1999. The lineup of the Mary Ann Redmond Band is subject to change over the years and as of 2007 she is working with guitarist Dan Hovey (and sometimes Michael Ault), bassist Anthony Setola and drummer Derren Blessman. The Mary Ann Redmond Band performs every Sunday night (well almost every Sunday night) at Flanagan's Harp & Fiddle in Bethesda, Maryland. Since 1992, Mary Ann has won 16 Wammies (Washington Area Music Awards) with the latest award presented to her for the year 2007.

MORE

Had singer Mary Ann Redmond started recording in the ‘60s or ‘70s instead of the ‘90s, it's quite possible that she would have gone down in history as one of the major soul stars of the Baby Boomer era. A gritty, rugged, big-voiced belter whose primary influences range from Ike & Tina Turner to Etta James and Aretha Franklin, Redmond would have been perfect for the gospel-influenced soul climate of the ‘60s and ‘70s. Perhaps she could appeal to the urban contemporary market of the 21st century if she had more of a hip-hop-ish neo-soul approach à la Mary J. Blige, Lauryn Hill, Jill Scott, or Jaguar Wright, but Redmond's R&B is untouched by the high-tech, hip-hop-influenced urban contemporary sounds of the ‘80s, ‘90s, and 2000s — she is, for the most part, a gutsy, hard-edged soul singer in the classic sense (although with a definite rock edge most of the time), and Redmond's fans love the fact that she is unapologetically retro in her outlook. Some have described Redmond as a blues singer, which often happens when artists favor classic soul over urban contemporary; these days, the blues bins are full of CDs that are really more soul than blues. But even though Redmond can easily handle 12-bar blues (as well as rock and jazz), soul is really her main focus, at least on her CDs. Born and raised in Richmond, VA, Redmond grew up listening to a variety of R&B, rock, and pop. Redmond's interest in music was encouraged by her mother (who sang, although not professionally) and her two brothers (one of whom taught her to play the guitar). As a teenager, she learned to play "House of the Rising Sun" on the guitar, but singing — not guitar playing — would become Redmond's primary focus. After graduating from high school, Redmond majored in voice at Virginia Commonwealth University (VCU) and studied operatic classical singing. But at night, she performed in various rock and jazz bands on and around the VCU campus. Although the faculty at VCU felt that Redmond had great potential as a classical singer, she decided that a classical career wasn't for her and opted to concentrate on rock, R&B, and jazz instead. After moving to the Washington, DC area in the early ‘90s, Redmond was hired as a featured vocalist for the soul/funk-oriented band that saxman/flutist Al Williams led in DC and its suburbs. Eventually, the singer left Williams' employ and formed her own band, which performed a combination of covers and Redmond originals. As a solo artist, Redmond developed a small but enthusiastic following in the Washington DC area, and along the way, she won quite a few Wammie awards. Held by the Washington Area Music Association (WAMA), the Wammies are the local DC equivalent of the Grammies, and in the ‘90s and early 2000s, Redmond won a total of 14 Wammies (including awards for "Best Rock-Pop Vocalist," "Best Female Jazz Singer," "Best Roots Rock/Traditional R&B Vocalist," "Best Urban Contemporary Vocalist," and "Best Female Blues Vocalist"). Locally, Redmond created enough of a buzz to open for major soul veterans when they passed through DC, including the O'Jays, the Pointer Sisters, Smokey Robinson, Ashford & Simpson, and the Neville Brothers. Also in the DC area, one of Redmond's strongest supporters has been singer/songwriter Mary Chapin Carpenter, who invited Redmond to go on tour with her in 1999 as a background vocalist. Another DC resident who was an enthusiastic Redmond supporter was her friend Eva Cassidy, an eclectic, hard-to-categorize singer who was only 33 when she died of cancer in 1996. Redmond's solo albums have included, Prisoner of the Heart, 1997's Live!, and 2000's Here I Am, all of which she released on her own Spellbound label. In 2002, Prisoner of the Heart was re-released by the independent Q&W Music Group. © Alex Henderson © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:axfpxqqkldse~T1

D.A. & the Hitmen

D.A. & the Hitmen - Looking Past the Blues - 2002 - D.A.& the Hitmen

The blues has been recognized as a good foundation for other, “past the blues” genres for several decades now. You can look at the back of a CD with a title like Looking Past The Blues, see the longhaired, facial haired white guys in black shirts and be pretty sure you’re going to hear something along the lines of Foghat. Foghat had it right, and so do D.A. & the Hitmen. Blues is a great starting point for highly amplified, jam-based rock. Live, it’s a kind of music that often draws a discouraging crowd of drunks who just don’t get it and who applaud the hair length rather than the talent on the bandstand ("Yee-hah, bubba, that’s what I’m talkin’ ‘bout! Raise hell! Hey, got a light?"), but that makes it all the better news when an act in this category puts out an un-self-conscious record. You have the option of listening to it without that crowd, or with it, if you prefer. All ten songs here are Lance Dieckmann (vocals/harmonica) / Paul Alvarado (electric guitar) originals. Back to the Foghat comparison, Dieckmann’s harmonica tone is very Rod Price, but the harp/guitar teamwork is a completely different thing. Actually, the tandem hitting of notes by all instruments and singers here is what sets the album apart from most blues-rock releases. Another strong point is the harmonica solo work, which is impossible to categorize. It is not there just to rock, or just to provide a blues element, or just to thicken electric bass or guitar chording, but to take over the songs’ storytelling and tell them effectively for 12 or 24 bars. If Dieckmann is not recognized as one of the top x players of any particular subcategory of harp, it is only because he cannot be confined to any particular subcategory. In the frontline partnership, the guitar keeps up by virtue of very similar tone and deep mutual understanding between Dieckmann and Alvarado. Production-wise, the record’s a little heavy on reverb, and some of the guitar effects selected are a bit dated, but it achieves a blues-rock synthesis that most listeners only dream of and that wouldn’t even occur to most bands. Arthur Shuey All contents © 2003, Blue Night Productions. All rights reserved http://www.bluenight.com/BluesBytes/wn0803.html

In 2003 "Looking Past the Blues" was nominated for Best New blues CD in the San Diego Music Awards. All the songs are originals, composed by guitarist, Paul Alvarado, and harmonicist/vocalist, Lance Dieckmann. The band have a great "in synch. rapport", and although the guitar effects sound a bit dated at times, there is no doubting the sincerity of the musicians, and the obvious terrific musicianship on the album. The music is reminiscent at times of artists like Paul Butterfield, Roomful of Blues, and Walter Trout. "Looking Past the Blues" is HR by A.O.O.F.C. Check out the band's "Lucky Dog" album

TRACKS

1. Minuteman 4:35
2. Soul of the City 5:27
3. Blue Menagerie 4:57
4. Reap Just What You Sow 4:06
5. Monkey Dance 4:03
6. September Moon 5:21
7. Rolling the Dice 4:08
8. Beaver Fever 4:21
9. I Need You 3:50
10. Vegas Vows 4:13

All songs composed by Lance Dieckmann, & Paul Alvarado

BAND

Lance Dieckmann - Lead Vocals/Harmonica
Paul Alvarado - Guitars
Brad Engstrum - Bass
Jamie Luna - Drums

BIO

Lance Dieckmann – Lead & Background Vocals and Harmonica Born and raised in San Diego, Lance is a respected vocalist and blues harp player. Lance began his musical career as a power rock vocalist with bands such as Archer, Alley Rat and Gridlock, where he opened for national acts such as Blue Oyster Cult, Pat Travers and Fog Hat and others. He sings with power and deep conviction with a formidable range. Paul Alvarado – Lead and Rhythm Guitar An Encinitas native, Paul leans toward the heavier electric side of the blues. Strongly influenced by Johnny Winter, Jimi Hendrix and Carlos Santana, Paul started playing guitar at age 8 and joined his first band at the age of 15. Paul has played in many San Diego and North County bands including the Bluesmatics, Santa Fe Blues Line, and the Blue Ravens. Jaime Luna – Drums Hailing from North County, Jaime has been playing out for almost 20 years as well. Jaime is known as a well rounded drummer as shown through his versatile style and his ability to play all types of music. He’s played simultaneously with a variety of bands like The Rudies and Groove Lab. Jaime has also played with Phat Beat Squad, the Michael Bliss Band, Latin Express and the Blue Ravens. Bob Prater – Bass Bob Prater has been making music for most of his life. Playing upright and electric bass in surf and rock bands in the 60s; blues, country, and swing bands in the 70s; rock and Top-40 bands in the 80s; blues, jazz, and swing in the 90s, Bob has become a versatile player capable of producing many styles. http://bellyup4blues.com/bands/dahitmen

BAND MEMBER PROFILES - [© 2010 SD READER :: SAN DIEGO READER :: 1703 India Street San Diego, 92101
Your Online Resource for San Diego Music, Events, Restaurants, News and More! http://www.sandiegoreader.com/bands/d-hitmen/]

Lance Dieckmann -- lead & background vocals and harmonica: Born and raised in San Diego, Lance is a respected vocalist and blues harp player. Lance began his musical career as a power rock vocalist with bands such as Archer, Alley Rat, and Gridlock, where he opened for national acts such as Blue Oyster Cult, Pat Travers and Fog Hat, and others. He sings with power and deep conviction with a formidable range.
Paul Alvarado -- lead and rhythm guitar: An Encinitas native, Paul leans toward the heavier electric side of the blues. Strongly influenced by Johnny Winter, Jimi Hendrix, and Carlos Santana, Paul started playing guitar at age 8 and joined his first band at age 15. Paul has played in many San Diego and North County bands, including the Bluesmatics, Santa Fe Blues Line, and the Blue Ravens.
Jaime Luna -- drums: Hailing from North County, Jaime has been playing out for almost 20 years. He is known as a well-rounded drummer as shown through his versatile style and his ability to play all types of music. He’s played simultaneously with a variety of bands like the Rudies and Groove Lab. Jaime has also played with Phat Beat Squad, the Michael Bliss Band, Latin Express, and the Blue Ravens.
Bob Prater * -- bass: Bob Prater has been making music for most of his life. Playing upright and electric bass in surf and rock bands in the '60s; blues, country, and swing bands in the '70s; rock and Top-40 bands in the '80s; blues, jazz, and swing in the '90s, Bob has become a versatile player capable of producing many styles.
N.B: Not playing on this album

Michael Landau

Michael Landau - The Star Spangled Banner - 2001 - Ulftone/Unconscious

More intense than Michael's other albums. Michael Landau is an incredibly talented guitar player. "The Star Spangled Banner" is not full of the blistering guitar solos that Michael Landau is capable of, but the album is full of good electric guitar jazz with a fusion-tinged tone. Michael's vocals are not great, but his songs are well structured and original. If you want to hear more of Michael's blistering solo work, listen to his "Live" album. His "Tales from the Bulge" is another great album, with some beautiful understated blues solos in the "less is more" style of Eric Bibb or Robert Cray

TRACKS

1 Old Mind 1:19
2 That Day 4:41
3 Monk 5:11
4 Good Friend 3:43
5 Star Spangled Guitar 5:59
6 This House 3:49
7 Tacos 2:30
8 Problem 3:10
9 Rascal Balls 7:05
10 Red Fireplace 1:28
11 Another Day 3:05
12 Indian Man 3:26
13 Born in the Rain 6:08

MUSICIANS

Michael Landau - guitar, bass, vocals, sounds
Ted Landau, Mike Elizondo, Jimmy Johnson - bass
Jeff Babko - keys, melodica
Tom Keane, Jeff Young - keys
Abe Laboriel Jr.,Toss Panos - drums
Satnam Ram Gotra - tabla, percussion

BIO

To cover Michael Landau´s career takes a long time. He is one of the most used sessionplayers, he is a fantastic musician. Musician and composer Michael Landau was born and raised in Los Angeles California. He grew up with the music of The Beatles, Jimi Hendrix, Led Zeppelin, Cream and The Band. His grandfather Ernani Bernardi arranged and played the alto sax and clarinet during the "swing era" with the Dorsey Brothers and Benny Goodman. Michael began playing the guitar at age 11. As a teenager he quickly became very interested in jazz and electric jazz music. Weather Report, Pat Martino and Jaco Pastorius were some of his early obsessions. In the mid '70s Michael played in the L.A. dance clubs with an R&B band and toured the west coast with The Robben Ford Band, which included members of the Yellow Jackets, Jimmy Haslip and Russell Ferrante. At age 19 he joined Boz Scaggs for a world tour and by the age of 20 he started to do session work with the help of Steve Lukather and Jeff Porcaro. Some session highlights over the coming years would include Pink Floyd, Miles Davis, Joni Mitchell, BB King, James Taylor, Seal, Ray Charles and Rod Stewart. There is a complete session discography at allmusic.com with over 500 records and soundtracks listed. In 1984 Michael toured again and recorded with Joni Mitchell. This tour was called "The Refuge Of The Roads" with Vinnie Colaiuta, Larry Klein and Russell Ferrante. In 1989 he released his first solo studio album "Tales from the Bulge", an instrumental record initially released in Japan and on "Creatchy" records in the states. Wayne Shorter, Steve Tavaglione, Vinnie Colaiuta, Carlos Vega, David Garfield and Jimmy Johnson were among some of the players on this release. In 1990 he formed the blues-rock band Burning Water with his brother Teddy Landau, David Frazee and Carlos Vega. They put out 4 discs of original material and played in Japan and locally in L.A. It was also around this time that he started to record and tour with James Taylor. In 1993 he won the readers poll for "Best Studio Guitarist" in "Guitar Player Magazine". In 1994 Michael formed The Raging Honkies, a spicy rowdy rock band with Teddy Landau and Abe Laboriel Jr. They released 2 discs and toured in Europe and the US. In 2001 he released a double live album of original material and a studio album "The Star Spangled Banner" on his own label "Unconscious Records". Michael has also produced and or mixed some selected artists and side projects including: Scott Henderson, The Jazz Ministry, Stolen Fish and Freak Juice. He currently tours and performs with The Michael Landau Group, The Wreckers, Robben Ford, The Jazz Ministry, Stolen Fish, Hazey Jane and James Taylor. His most recent project, a double live album will be released on "Tone Center" records in the states, "Mascot Records" in Europe, and "Vega Music" in Japan. [Words from Jazz Network]http://www.bluedesert.dk/michaellandau.htm

Alan Price

Alan Price - Liberty - 1989 - Ariola

Alan Price is very much of the same musical tradition as Georgie Fame, who he collaborated with in the sixties. Price is probably best remembered as being the keyboard player with the successful British sixties group, The Animals, who had a huge hit with "House of the Rising Sun." He also had a hit in the late sixties with Randy Newman's great song, "Simon Smith and His Dancing Bear," which was instrumental in promoting Newman's music in the U.K. There are comparisons to be made with Randy Newman, Georgie Fame, and indeed artists such as Mose Allison who all wrote great songs with a touch of humorous cynicism. Alan Price is hardly known outside Europe, even though his music is of the highest calibre. Try and listen to Price's 1974 album, "Between Today and Yesterday." It is also worthwhile listening to Georgie Fame's "Name Droppin" album from 1999, Mose Allison's "High Jinks", a three CD package on Legacy Records, and Randy Newman's brilliant "Sail Away" album. Any info on the musicians playing on this album would be greatly appreciated!

TRACKS

Fool's In Love
Everything But Love
Days Like These
Bad Dream
Double Love
Changes
Mania Urbania
Liberty
Say It Isn't True
Free With Me (Bonus)
Man Overboard (Bonus)

All songs composed by Alan Price except "Say It Isn't True" by Jackson Browne

SHORT BIO

As the organist in the first Animals lineup, Alan Price was perhaps the most important instrumental contributor to their early run of hits. He left the group in 1965 after only a year or so of international success (he can be seen talking about his departure with Bob Dylan in the rockumentary Don't Look Back) to work on a solo career. Leading the Alan Price Set, he had a Top Ten British hit in 1966 with a reworking of "I Put a Spell on You," complete with Animals-ish organ breaks and bluesy vocals. His subsequent run of British hits between 1966 and 1968 -- "Hi-Lili-Hi-Lo," "Simon Smith and His Dancing Bear," "The House That Jack Built," and "Don't Stop the Carnival" -- were in a much lighter vein, drawing from British music hall influences. "Simon Smith and His Dancing Bear," from 1967, was one of the first Randy Newman songs to gain international exposure, though Price's version -- like all his British hits -- went virtually unnoticed in the U.S. A versatile entertainer, Price collaborated with Georgie Fame, hosted TV shows, and scored plays in the years following the breakup of the Alan Price Set in 1968. He composed the score to Lindsay Anderson's O Lucky Man!, where his spare and droll songs served almost as a Greek chorus to the surreal, whimsical film (Price himself has a small role in the movie). His 1974 concept album, Between Today and Yesterday, was his most critically acclaimed work. © Richie Unterberger, All Music Guide

Chicken Shack featuring Stan Webb

Chicken Shack - Goodbye Chicken Shack - 1974 - Deram

Chicken Shack were formed in April 1965 in Birmingham, England. In the band's early days they had a long residency at the Star Club in Hamburg. Their first break came when Mike Vernon signed them to his Blue Horizon label along with Fleetwood Mac. Their second break came when Christine Perfect, considered to be one of the Britain's best blues vocalists, joined them in April 1967. Along with Fleetwood Mac for the next couple of years they were at the forefront of the British blues boom, and released some great albums including "40 Blue Fingers", and "O.K. Ken" and had a couple of big hits with their cover of Elta James' "I'd Rather Go Blind" and "Tears In The Wind". Many people maintain that Christine Perfect's departure in August 1969 to join her husband John McVie in Fleetwood Mac, weakened Chicken Shack's dynamics. They still had a good reputation as a live band, based around Stan Webb's theatrics, and great guitar playing. Stan’s blistering guitar style matched with a huge stage presence have made Chicken Shack a firm favourite of rock and blues fans everywhere. He was really one of the unsung guitar heros of the British blues boom. Chicken Shack's first three albums are essential for blues fans. Stan Webb kept the band together through many personnel changes. They developed quite a strong club following in the early seventies but split at the end of 1973 after a German tour which was full of strife and conflict. Stan Webb later reformed them in the late seventies. Throughout a distinguished career Stan Webb has played and recorded with the very best, including, STEVIE WONDER, HOWLING WOLF, TAJ MAHAL, PETER GREEN and CANNED HEAT. As the ‘60’s have given way to the ‘70’s; ‘80’s and ‘90’s, Stan Webb and Chicken Shack show no sign of slowing down, continually touring the U.K. and Europe to packed houses and rave reviews. In 1997 Stan received the prestigious BLUE HEART AWARD for services to blues in Germany, a fitting tribute to Stan Webb and his love of the blues. In 2006, Stan embarked on an extension UK tour with John Mayall. Thankfully, this great British bluesman is still playing the blues. "Goodbye Chicken Shack" was recorded live at Brunel University, Uxbridge, West London, England on October 26th 1973. At times the sound gets a bit "muggy". The album could have been mixed better, especially the guitar, as sometimes Stan's playing is not prominent enough, being lost in the background, and the volume could have been "upped". However, it's a great example of early to mid '70's British blues rock live music, and the album is HR by A.O.O.F.C. Search this blog for more Chicken Shack / Stan Webb /Christine Perfect albums

TRACKS / COMPOSERS

01. Spoken Intro / Everyday I Have The Blues - Chapman
02. Thrill Is Gone - King
03. Going Down - Don Nix
04. You Take Me Down - Stan Webb
05. Webb's Boogie - Stan Webb
06. You're Mean - Harris/Jemmot/King/Lovelle/McCracklin
07. Poor Boy - Stan Webb
08. Webb's Guitar (Boogie) Shuffle - Stan Webb
09. Tutti Frutti - La Bostrie, Penniman, Lubin

BAND

Stan Webb - Guitar, Vocals
Rob Hull - Bass
Dave Wilkinson - Piano, Keyboards
Alan Powell - Drums

BIO (Wikipedia)

Chicken Shack was a British blues band, primarily of the late 1960s, consisting of Christine Perfect (vocals and keyboards), Stan Webb (guitar and vocals), Andy Sylvester (bass guitar), and Alan Morley (drums). The band was formed in 1967 and reputedly named themselves after the chicken coop in Kidderminster where they rehearsed. Their first concert was at the 1967 National Blues and Jazz Festival at Windsor and they were signed by the Blue Horizon record label in the same year. Chicken Shack enjoyed modest commercial success, with Christine Perfect being voted Best Female Vocalist in the Melody Maker polls, two years running. Christine Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. Pianist Paul Raymond, bassist Andy Sylvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown. Although the band went through several subsequent incarnations, it never equalled its earlier successes. However, Webb remains as its only constant band member.

ABOUT THE BAND

Along with late 60's early 70's blues based bands such as Savoy Brown, Fleetwood Mac and John Mayall's Bluebreakers, Chicken Shack was a big part of the genre. Originally formed in 1965, Chicken Shack started out as, more or less, a house band at the Star Club in Hamburg, Germany. They signed a recording contract with the newly formed Blue Horizon label in '67. That same year, former Sound Of Blue vocalist/keyboardist Christine Perfect, who was at one time considered one of the U.K.'s finest blues vocalist, joined. With the release of their debut album, 1968's Forty Blue Fingers Freshly Packed And Ready To Serve, and their 1969 follow up, O.K. Ken, Chicken Shack was in the forefront of the British Blues boom of the late 60's. Although Perfect would leave the group in the summer of '69 to join Fleetwood Mac (she would marry bassist John McVie), Chicken Shack would continue with a good live reputation as at this point their shows were mostly based around the guitar and soulful theatrics of Stan Webb who would keep the group together through many personel changes but by 1973, Chicken Shack had run it's course as Webb would join Savoy Brown. After staying with Savoy Brown for one album, Webb formed Broken Glass which at one time included guitarist Robbie Blunt (later with Robert Plant) and drummer Keef Hartley. Webb would reform Chicken Shack under his own name in '77. Like John Mayall's Bluesbreakers and Savoy Brown, many musicians would pass through the various formations of Stan Webb's Chicken Shack through out the 80's. Through the 90's, Webb's Chicken Shack line up has remained pretty much intact as his devoted fans and fans of traditional British blues remain faithful.

ABOUT STAN WEBB

In 1968 Chicken Shack were a major signing to MIKE VERNON’S now legendary BLUE HORIZON label. Led by the mercurial Stan Webb on guitar and vocals, Chicken Shack were a band brimming full of talent, far outweighing the bands, groups and solo performers purveying the BLUES – a musical tradition in many forms, taken from the ‘Folk Roots Of Black America’. Probably the bands most well known member was CHRISTINE PERFECT (later McVie) who went on at a later date to even greater fame and fortune with FLEETWOOD MAC. The late sixties were a prolific time for Chicken Shack with their first two albums “40 Blue Fingers Freshly Packed And Ready To Go” and “O.K. Ken” storming into the U.K. top twenty, whilst the singles “When The Train Comes Back” and “Tears In The Wind” also scored heavily in the charts. Stan’s blistering guitar style matched with a huge stage presence have made Chicken Shack a firm favourite of rock and blues fans everywhere. Since those heady days of the late sixties a further fifteen albums have been released together with numerous compilations proving that Stan, really is “The Man”.Throughout a distinguished career Stan Webb has played and recorded with the very best, including, STEVIE WONDER, HOWLING WOLF, TAJ MAHAL, PETER GREEN and CANNED HEAT, whom he joined on guitar for a U.K, tour following the departure of the bands guitarist. As the ‘60’s have given way to the ‘70’s; ‘80’s and ‘90’s, Stan Webb and Chicken Shack show no sign of slowing down, continually touring the U.K. and Europe to packed houses and rave reviews. In 1997 Stan received the BLUE HEART AWARD for services to blues in Germany, in 1996 that went to BB KING, a glowing testament to Stan Webb and his ongoing love of playing the blues. 2006 saw Stan embarked on an extension UK tour with John Mayall. “Stan The Man” shows no sign of slowing down.

The Barrelhouse Brothers

The Barrelhouse Brothers - Pick It Up, Pass It On - 2002 - Provogue

A side project formed by guitarist Jeff Ward and bassist Noel Jones. The album contains 15 tracks of rock, boogie, blues rock, and other styles played by an amazing line-up of rock musicians including Eric Bell (Thin Lizzy, lead guitar), Noel Redding (Jimi Hendrix Experience, bass), Corky Laing (Mountain, drums), Colin Earl (Mungo Jerry/Foghat, piano), John Coughlan (Status Quo, drums) and many others. A great album, and HR by A.O.O.F.C. TBB also released a cassette entitled "Loaded" which is not easy to locate.

TRACKS

01. Too Many Hot Dogs
02. The Fly
03. Love Her With A Feeling
04. Country Road
05. I Want Some Of Your Pie
06. Can't Get You Off Of My Mind
07. Wednesday Night Special
08. Blues In 3/4
09. It's No Secret
10. De Barras Boogie
11. Twenty One Jezebels
12. Just A Dream
13. Black Dog Blues
14. Love Crazy
15. Crazy 'Bout You Baby

MUSICIANS

Eric Bell - Lead Guitar [Thin Lizzy]
Jeff Ward - Lead & Slide Guitars, Vocals [Roy Harper/Noel Redding]
Noel Redding - Bass [Jimi Hendrix Exp.]
Noel Jones - Bass, Vocals [White Lithning/King Earl Boogie Band]
Colin Earl - Piano [Mungo Jerry]
Steve Pawsey - Piano
Corky Laing - Drums [Mountain]
Smiley - Drums [Robin Williams/Joe Strummer]
Roger Earl - Drums [Savoy Brown/Foghat]
John Coughlan - Drums [Status Quo]
Les Sampson - Drums
David Jackson - Saxophone [Van Der Graf Generator]
Neil Sanderson - Banjo, Backing Vocals
Paul King - Harmonica
John Davies - Harmonica
Gary Hill - Harmonica
Pete Sherlock - Washboard, Backing Vocals
Mal Dann - Washboard
Mik Perry - Vocals

Atomic Rooster

Atomic Rooster - Space Cowboy - 1991 - Marble Arch

Good, if limited compilation album from the British progressive rock group, Atomic Rooster. Tracks 1, 2, 3, 4, 6, 7, 8,10 are from the band's 1972 "Made In England" album: Tracks 5,9 are from the band's 1973 "Nice And Greasy" album. All in all, the album is a very good mix of blues funk, progressive rock, and hard rock

TRACKS / COMPOSERS

1. Time Take My Life - Vincent Crane (6:03)
2. Stand By Me - Vincent Crane (3:48)
3. Little Bit Of Inner Air - Rick Parnell (2:39)
4. Don't Know What Went Wrong - Vincent Crane (3:59)
5. Can't Find A Reason - Vincent Crane (4:27)
6. People You Can't Trust - Vincent Crane (3:53)
7. All In Satan's Name - Rick Parnell (4:45)
8. Close Your Eyes - Vincent Crane (3:52)
9. Take One Toke - Vincent Crane (5:02)
10. Space Cowboy - Steve Bolton (3:18)

MUSICIANS

Steve Bolton - electric guitars, 12-string guitar (1 — 4, 6 — 8, 10)
Johnny Mandala - electric guitar (5 & 9)
Bill Smith - electric bass (2) [ Guest Musician ]
Vincent Crane - Hammond organ, piano, electric pianos, A.R.P. synthesizer
Rick Parnell - drums & percussion, vocals (3)
Chris Farlowe - vocals
Doris Troy & Liza Strike - backing vocals (2 & 6) [ Guest Musicians ]

BIO

Atomic Rooster was a British progressive-rock group formed in 1969 with an original lineup of Vincent Crane (organ), Nick Graham (bass), and Carl Palmer (drums). Their debut album, Atomic Rooster, hit number 49 in the U.K. in June 1970, after which Graham and Palmer left the group. Crane maintained the name and recruited guitarist/singer John Cann and drummer Paul Hammond for the second album, Death Walks Behind You, which hit number 12 in the U.K., where it featured the number 11 single "Tomorrow Night," and number 90 in the U.S. Pete French of Cactus assisted on the third album, In Hearing Of, which featured the number-four U.K. single "The Devil's Answer" and reached number 18 in England and number 167 in America. Then the group split up again, and again Crane assembled a new Atomic Rooster, this time featuring singer Chris Farlowe, guitarist Steve Bolton, bassist Bill Smith, and drummer Rick Parnell. Made in England reached number 149 in the U.S. in 1972, but the group had split again by 1974. Crane fronted lineups of Atomic Rooster into the '80s, before taking up with Dexys Midnight Runners in 1983. In 1989, he committed suicide. © William Ruhlmann © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&searchlink=ATOMIC%7CROOSTER&sql=11:09fwxqr5ldae~T1

ATOMIC ROOSTER (UK)

Line-Up: John Du Cann (vocals / guitar), Vincent Crane (keyboards), Carl Palmer (drums)
Led by the extraordinary keyboard talents of Vincent Crane (né Cheeseman) ATOMIC ROOSTER purveyed a unique sound based on a hard driving Hammond organ rather than the guitar. Crane suffered from manic depression and as such the career of the band and Crane is an erratic one of unfulfilled promise. ATOMIC ROOSTER are now being increasingly recognized by the Doom / Stoner generation as having been of great influence. Crane first came to prominence as a founder member and main lyric writer for THE CRAZY WORLD OF ARTHUR BROWN, which initially comprised Brown, Crane and drummer Drachen Theaker. Crane had played keyboards on the number one hit 'Fire' by CRAZY WORLD quitting the band in the middle of an American tour. He formed ATOMIC ROOSTER with former CRAZY WORLD, drummer Carl Palmer and bassist Nick Graham in the early '70s. the debut album made the British charts at number 49 before dropping straight out again. 1970 saw the addition of former ANDROMEDA guitarist John Cann (he was later to change his name to John Du Cann). YES guitarist STEVE HOWE had auditioned too but Cann got the job. Cann overdubbed guitar on the first album for its American release but before touring commenced the band lost their bass player, Graham leaving to form SKIN ALLEY and later ALIBI. Somewhat inexplicably Crane refused a replacement and so ATOMIC ROOSTER's unique sound manifested itself with Crane performing bass parts on the lower end of his organ as the band soldiered on as a trio. Cann meanwhile had to radically change his playing style to cover for the missing bass and perform lead vocals. Second album 'Death Walks Behind You' fared better hitting the top 20 and yielded two hit singles in 'Tomorrow Night' and 'The Devil's Answer'. After nine months of solid touring Palmer also upped and left to join form the massively successful Progressive Rock trio EMERSON LAKE AND PALMER and drum duties were entrusted to ex-HORSE man Rick Parnell. However, the new drummer's tenure was brief and before long FARM member Paul Hammond was poached into the line-up. Parnell was to surface as part of Italian Jazz Rock outfit NOVA and much later relocated in America with ex-MC5 guitarist WAYNE KRAMER, a 1997 act BROWN RING and even as one of spoof Rockers SPINAL TAP's unfortunate drummers! Meantime back with ATOMIC ROOSTER the early '70s also found Crane guesting for Irish Blues Rock guitarist RORY GALLAGHER. Although successful on the surface internally ATOMIC ROOSTER were engaged in bitter in-fighting. Cann and Crane had got into a dispute regarding royalties for the second album. Although the line-up managed a third album, the top 5 'In Hearing Of...' Crane, on the eve of an American tour and toying with the idea of turning the band into a funk project, sacked Du Cann from the band. The hapless frontman found out via a job advert in the Melody Maker advertising his position! Hammond left in protest. Crane enrolled ex-CACTUS vocalist Pete French as replacement and also pulled in guitarist Steve Bolton and a redrafted Parnell. The departing duo of Du Cann and Hammond meanwhile founded BULLET signing to DEEP PURPLE's Purple Records, a band that released one single prior to being sued by an American band of the same name and retitling themselves HARD STUFF. With this act Cann issued two albums. Du Cann later undertook a German tour in 1973 with THIN LIZZY as guitarist but his stay in the band was purely a temporary one, filling in contracted gigs after Gary Moore had quit unexpectedly. Du Cann was later to reinvent himself as Johnny Du Cann and assembled an ad hoc band featuring STATUS QUO members Francis Rossi, Pete Kershaw and Andy Bown plus GILLAN's John McCoy on a proposed "Powerpop" project! The album, cut for Arista and to be titled 'The World's Not Big Enough' was never issued. The guitarist reverted back to his former name and gained himself a solo hit single with 'Don't Be A Dummy'. Cann's role in ATOMIC ROOSTER was to be filled by Bill Smith. French left in 1972, later recording a solo album 'Ducks In Flight' featuring THIN LIZZY guitarist Brian Robertson, and was replaced by ex-COLOSSEUM singer CHRIS FARLOWE, a man lauded by none other than MICK JAGGER as "having the best rock voice in Britain". Farlowe was to record the 'Made in England' and 'Nice n' Greasy' albums. Bolton was supplanted by former BRAND X man Johnny Mandala (real name John Goodsall) in 1973. Bolton formed HEADSTONE with ex-ARRIVAL bassist Phil Chen, former TRANQUILITY keyboard player Tony Lukyn and a pre-RARE BIRD Mark Ashton. Bolton was to turn up again over a decade later with the 1986 project MAX & THE BROADWAY METAL CHOIR. The '90s found Bolton as guitarist for PAUL YOUNG and then in 1990 for THE WHO. Bill Smith joined JADE WARRIOR for their 1978 Egyptian concept album 'Way Of The Sun'. Despite releasing some excellent albums ATOMIC ROOSTER were continually dogged by line-up changes. Crane re-joined ARTHUR BROWN to record the 1978 album 'Chisholm In My Bosom' on Gull records' reuniting again in 1980 to release 'Faster Than The Speed Of Sound' on I.C. Records. Resurrecting ATOMIC ROOSTER once more in 1980 Crane settled his differences with John Cann once more. Session man Preston Hayman was pulled in on drums for live work (he much later appeared on ASIA's 'Archiva 2' album of 1996) before none other than ex-CREAM drummer GINGER BAKER took his place. However, Baker's tenure was short and Hammond was re-enlisted to release an eponymous album on EMI Records. The band were blighted by an horrendous piece of bad luck as the pressing plant used to manufacture their 1981 single 'Play It Again' went on strike. Calculations made afterwards revealed this had cost the band a number 15 chart placing. Another stab at rekindling the flame arose in 1983 as Crane reassembled the band with drummer Paul Hammond once more and ex-GILLAN guitarist BERNIE TORME. This line-up toured Europe before with the release of the worthy 'Headline News' album featuring Hammond, Torme and guest musicians ex-ENERGY / OZO guitarist John Mizaroli and PINK FLOYD's guitarist DAVE GILMOUR. Torme joined OZZY OSBOURNE's band replacing Randy Rhoads on the road in America. Crane spent his post ROOSTER time playing keyboards for DEXY'S MIDNIGHT RUNNERS live band. Another attempt to re-ignite the ATOMIC ROOSTER flame with ex-CHEVY guitarist Barry Eardley never got off the ground. Crane was also assembling some unreleased ATOMIC ROOSTER material for a projected album on the Demi Monde label titled 'Something Old, Something New - The Rooster Tapes'. Sadly Crane committed suicide in February 1989 after suffering years of depression. The 1999 album 'The First Ten Explosive Years' adds bonus tracks re-recorded with bass from GILLAN's John McCoy. Cann and McCoy are working on a new ATOMIC ROOSTER album. Drums are being handled by no less than original IRON MAIDEN drummer Ron Rebel. © Garry Sharpe-Young http://www.cherryred.co.uk/books/book_rd_doom.php © Cherry Red Records - All Rights Reserved 2009 http://www.cherryred.co.uk/books/book_rd_doom.php

Jim Beard

Jim Beard - Song Of The Sun - 1991 - CTI Records

Whether you classify this album as smooth jazz, jazz fusion, or New Age, the music is brilliant played by Jim Beard, one of the very finest keyboard players of the last 50 years, and a cast of musicians including Wayne Shorter, Michael Brecker, Toots Thielemans, Jon Herington, Anthony Jackson, Victor Bailey, Dennis Chambers, Kenny Aronoff, Ben Perowski, Mino Cinelu and Don Alias. The album CD received much critical acclaim on it's release, and it's a tightly orchestrated, highly original, and very enjoyable album. Check out Jim Beard's "Revolutions" album

TRACKS

1 Camieff 5:13
2 Parsley Trees 6:48
3 Song Of The Sun 5:48
4 Holodeck Waltz 5:07
5 Diana 6:24
6 Baker's Annex 5:54
7 Haydel Bay 1:45
8 Lucky Charms 5:22
9 Long Bashels 6:49
10 Sweet Bumps 5:02
11 Crossing Troll Bridge 5:10

All tracks composed by Jim Beard

MUSICIANS

Jim Beard - Synthesizer, Piano, Vocals, Drums (Snare), Fender Rhodes
Jon Herington - Guitar (Acoustic), Guitar
Victor Bailey - Bass
Kenny Aronoff - Drums
Ben Perowsky - Drums, Drums (Bass)
Dennis Chambers - Cymbals, Drums
Mino Cinelu - Percussion, Castanets, Drums, Djembe, Whistle
Don Alias - Percussion
Michael Brecker - Sax (Tenor)
Wayne Shorter - Sax (Soprano), Sax (Tenor)
Bob Mintzer - Flute, Clarinet (Bass), Sax (Soprano)
Bob Carlisle - French Horn
Toots Thielemans - Harmonica

BIO

James Arthur Beard (born August 26, 1960 in Philadelphia, Pennsylvania) is an American jazz pianist, contemporary instrumental composer, arranger and record producer. Jim Beard is best known as a performer, writer and producer who has had long standing working relationships with artists like Wayne Shorter, John McLaughlin, Jon Herington, Mike Stern, Pat Metheny and Steely Dan. Jim was born in Philadelphia and developed a keen interest in music from a very early age. He first wanted to play tuba (at age 5), then drums and saxophone shortly after. His parents decided that he should start with piano and move to the other instruments later. He began with piano at age seven and his classical teacher for almost twelve years was Mary Anne Rietz. As a teenager, he studied arranging with Don Sebesky and jazz piano with Roland Hanna and also studied privately with George Shearing for several years. He credits as strong influences during his teen teen years Oscar Peterson, George Shearing, Erroll Garner and the Thad Jones-Mel Lewis Jazz Orchestra as well as Elton John, The Beatles, Stevie Wonder, Steely Dan and Earth Wind and Fire. He also studied clarinet, saxophone and double bass all before the age of 15. He took his first overseas tour at the age of sixteen with The American Youth Jazz Orchestra under the direction of Hal Schiff. Jim attended Indiana University studying jazz under David Baker and classical piano under John Ogden earning a BMD and the highly coveted ‘Performers Certificate’. While in university, Jim performed professionally with jazz artists such as Slide Hampton and Red Rodney and was in a bar band who's members included Jon Herington, Kenny Aronoff, Bob Hurst and Chris Botti. Jim's musical influences in his college years were Herbie Hancock, Wynton Kelly and Prince. Jim moved to New York in 1985 and quickly established himself in the contemporary jazz community. Within a year of arriving, he became a touring member of John McLaughlin’s Mahavishnu Orchestra , started working relationships with Bill Evans and Mike Stern and had recorded with Dave Liebman. He also began producing many successful recordings for artists such as Mike Stern, Bob Berg. Bill Evans and Eliane Elias. In 1986 he began a working relationship with Wayne Shorter that lasted until 2000. In 1988 he became a member of John Scofield’s band and he toured the world in 1992/1993 with Pat Metheny’s ‘Secret Story’ project. Jim established himself as a writer during his early New York period by contributing compositions to Michael Brecker and John McLaughlin recordings. Jim is noted for a uniquely eclectic and often whimsical compositional style which can run the spectrum from rich and deeply wild to melodic and childlike. His compositions and arrangements can incorporate elements of humor, unpredictability and classical forms. Many of Beard's compositions have been recorded by top jazz artists, for example "The Wait" by John McLaughlin; "Riddle Me This" by Bob Berg; "In The Hat" by Victor Bailey; "Ode to the Doo Da Day", "Quiet City" and "The Gentleman and Hizcaine" by Michael Brecker and "I'll Miss You" by Bill Evans. Throughout the 90s and 2000’s, Jim Beard has remained very active performing, writing and producing. He is considered to be the ‘musicians musician’ and has worked in the studio and on stage with Victor Bailey, Rosa Passos, Ralph Bowen, Jon Herington, Steve Vai, Madeleine Peyroux, John Mayer, Walter Becker, Richard Bona, Esperanza Spalding, Steely Dan, Meshell Ndegeocello, Al Jarreau, Dizzy Gillespie. Chris Botti, David Sanborn, Bela Fleck, Larry Carlton, Vince Mendoza and Kenny Garrett taking on musical responsibilities that range from playing piano to programming computer sequencer music to producing. Jim has released five solo recordings: “Song of the Sun” in 1990 that featured Wayne Shorter and Michael Brecker. “Lost at the Carnival” in 1995. “Truly” in 1997, “Advocate” in 2000 and "Revolutions" in 2008. His music productions and compositions have been nominated for seven Grammy awards and Jim won a Grammy in 2007 as a featured performer on 'Some Skunk Funk' (Randy and Michael Brecker). Jim Beard has taught at Berklee College of Music in Boston, The Mason Gross School of the Arts at Rutgers University, The Sibelius Academy in Helsinki, Finland and The Aaron Copland School of Music in New York. He has taught graduate level arranging and composing, improvisation, applied piano, ensemble and has also been juror and mentor for doctoral students. © 2007-2010 Mahalo.com Incorporated http://www.mahalo.com/jim-beard

Joe Beard

Joe Beard - Dealin' - 2000 - Audioquest Records

In the blues world it's OK to be a late bloomer, and when it came to recording, Joe Beard was exactly that. The charismatic singer/guitarist, whose influences range from Jimmy Reed to Lightnin' Hopkins, worked "day gigs" when his kids were growing up and didn't start to build a catalog until he was in his fifties. Blues lovers who heard Beard's AudioQuest dates of the '90s found themselves saying, "Hey, this guy is very talented; why haven't I heard of him until now?" And, of course, the answer to that question is that his nine-to-fives and family life had kept him from being a full-time bluesman. But when his kids reached adulthood, the Mississippi native turned Rochester, NY, resident had more time to devote to music. Recorded in April 2000 (when he was 62), Dealin' is Beard's third CD for AudioQuest and underscores his ability to handle a variety of electric blues styles. Beard's appreciation of Reed and the Chicago blues is evident on gutsy, rough-and-tumble tracks like "Give Me Up and Let Me Go," "My Eyes Keep Me in Trouble," and "The Bitter Seed," a Jimmy Reed classic. Like Reed, Beard favors a gentle and laid-back style of singing but still has plenty of grit and doesn't mind having a tough, hard-driving band behind him. Meanwhile, "Holding a Losing Hand" and "If I Get Lucky" (both Beard originals) go for the sort of moody, shadowy, haunting ambiance that often worked so well for Hopkins and John Lee Hooker. This isn't to say that Beard is going out of his way to emulate Reed, Hopkins, Hooker, or anyone else. Dealin' shows who some of his influences are, but it also reminds you that Beard is an appealing bluesman in his own right. © Alex Henderson © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wjfexqwkldje

Fundamentally this is a Mississippi blues roots style album with many electric blues styles. Joe Beard may not be a great vocalist, but his voice is full of soul. Joe's Delta-style guitar turns are impressive, and his great backing band includes Duke Robillard, Bruce Katz, and Jerry Portnoy. Listen to Joe Beard's "Blues Union" with Ronnie Earl and his Broadcasters
TRACKS / COMPOSERS

1 The Bitter Seed - Jimmy Reed 3:00
2 You Don't Love Me Anymore - Willie Cobbs 4:51
3 Just Like a Fish - Pearl Woods 3:07
4 Life Without Parole - Joe Beard 7:40
5 My Eyes (Keep Me in Trouble) - Walter Hap 2:55
6 Holding a Losing Hand - Joe Beard 3:06
7 Give up and Let Me Go - Al Smith 5:12
8 Three Day Love Affair - Joe Beard 5:00
9 Making a Fool Out of Me - Joe Beard 2:40
10 Long Tall Shorty - Herb Abramson, Don Covay 3:05
11 That "So-Called" Friend of Mine - Joe Beard 6:45
12 You'd Better Be Sure - Ricky Allen 2:51
13 If I Get Lucky - Joe Beard 4:09

MUSICIANS

Joe Beard - Guitar, Vocals
Duke Robillard - Guitar
Rod Carey - Bass
Bruce Katz - Piano, B-3
Per Hanson - Drums
Jerry Portnoy - Harp

BIO

Born and raised in Ashland, Mississippi, guitarist Joe Beard grew up with the Murphy brothers, one of whom later found an international following as Matt "Guitar" Murphy. Guitarist Nathan Beauregard lived with Beard's cousin, so he was surrounded by aspiring and veteran blues musicians while growing up, and he began singing at an early age. Beard became interested in playing guitar via the Murphy brothers, who sat in with a young B.B. King when he played at the Roosevelt Lake Club. Beard began to learn guitar at age 17 from Ernest Scruggs, a neighbor, before heading to Chicago. Beard moved to Rochester, N.Y., and from time to time would visit one of his brothers in Chicago. He quickly became enamored of the blues being played in clubs there by people like Jimmy Reed and Sonny Boy Williamson. Beard sat in with John Lee Hooker one night and received encouraging words from Hooker, and also later sat in with his idol, Muddy Waters. While in Rochester, he formed the Soul Brothers Six, playing bass and singing, but he didn't perform in public on guitar until 1965. Beard befriended classic blues guitarist Son House, who was a neighbor in Rochester, and played a concert for students at the University of Rochester in 1968. Beard worked as an electrician by day and would occasionally play out at night and on weekends for most of the 1960s on through to the '80s. He has a reputation as one of the best local players around Rochester, and though he may not be a household name in other parts of the U.S., he toured Europe in 1983 and did studio and stage work that same year with Buster Benton, Lafayette Leake and Memphis Slim. At the famed BK Lounge, Beard and his backing bands opened for Bobby Bland, Albert King and others. More recently, Beard performed at President George H.W. Bush's inaugural gala. In 1990, he recorded an album for Kingsnake Records, No More Cherry Rose, which was well received by the blues radio community. Beard recorded an album with Ronnie Earl's band for the California-based AudioQuest label, Blues Union (1996). Accompanying him are Hammond B-3 organist Bruce Katz and tenor saxophonist David "Fathead" Newman. The album was a critical success, winning Offbeat Magazine's Blues Album of the Year award. He followed it up with 1998's For Real and 2000's Dealin', both records featuring Duke Robilard. © Richard Skelly © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fpfrxqy5ldde~T1

David Jackson, Guy Evans & Hugh Banton (aka The Long Hello)

David Jackson, Guy Evans & Hugh Banton (aka The Long Hello) - The Long Hello - 1974 - United Artists (Italy)

A side project of Van Der Graaf Generator members Hugh Banton, David Jackson and Guy Evans, with the participation of former member Nic Potter and guests Ced Curtis and Piero Messina on guitars. From a compositional standpoint, it's mainly Jackson's album, with a single entry (the raucous "Brain Seizure") from Hugh Banton. In terms of attitude and performance, this is light, fluffy stuff, miles away from the usual dark VDGG moods. © Steven McDonald © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:0xfexqw5ldae~T0

While Peter Hammill was off busy with his solo career, the Long Hello offered a rare glimpse into VDGG sans their leader. The initial impetus for the project revolved around Guy Evans and what would become his Foel Studios. Along with David Jackson, he got together with some Italian friends in Wales to record the resulting album. Jackson wrote most of the material and graces the album on sax and flute, while Nic Potter lends his hands on bass. Hugh Banton's role was primarily technical in nature, although he does contribute one rather lackluster track in its entirety. The instrumental album trades the fury of VDGG for a melodic beauty that, no doubt, reflected the environment in which it was recorded. Highly original, the album defies categorization. It has jazz elements, but is most certainly not jazz. It rocks, but that too would also be cutting it short. "The O Flat Session" approaches the sonic lunacy of Henry Cow, but there's nothing that high brow here. "Morris to Cape Roth" captures the immediacy of VDGG, but avoids any chaotic digression. The acoustic guitar of Piero Messina is one of the album's charms, providing an understated rhythmic element on the second side. "Fairhazel Gardens" in particular is a highlight. The album was issued several times in small numbers, ranging from a near white label pressing in the UK to a full color Italian issue. Three other volumes under the Long Hello umbrella would see release in the early '80s, each under the direction of a former VDGG member. all text © 2000-2010 progressiverock.com. all rights reserved http://www.progressiverock.com/1974.php

A side project of mainly Van der Graaf Generator musicians. David Jackson, Hugh Banton, Guy Evans had all been members of Van der Graaf Generator, but the band had split up in August 1972, and reformed in 1975. A decent instrumental jazz rock album. Sound quality is only fair, but the album is still worthy of a listen especially for the guitar work of Piero Messina. In 1981 Nic Potter and Guy Evans released a follow-up to this album, "The Long Hello Volume Two". There also is a "Long Hello Volume Three" (David Jackson and Guy Evans, 1982) and "Long Hello Volume Four" (David Jackson, Guy Evans, and Life of Riley, 1983). The album "Gentlemen Prefer Blues" (Jackson, Banton, Evans, 1985) is often regarded as a "Long Hello Volume Five".

TRACKS / COMPOSERS

A1 Fairhazel Gardens - D. Jackson & P. Messina
A2 Looking At You - D. Jackson
A3 I've Lost My Cat - D. Jackson

B1 The Theme From "Plunge" - D. Jackson
B2 The O Flat Session (Mistakenly listed as The Obsession) - P. Messina
B3 Morris To Cape Wrath - D. Jackson
B4 Brain Seizure - H. Banton

MUSICIANS

Piero Messina - electric guitar, acoustic guitar, piano
Ced Curtis - electric guitar, bass on "Fairhazel Gardens"
Nic Potter - bass
Hugh Banton - all instruments on "Brain Seizure", bass on "The O Flat Session"
Guy Evans - drums
David Jackson - saxophones, flute, piano

ALBUM RELEASE NOTES

The Long Hello was first possible by fans. In 1973, I wanted to create an outlet for collaborations involving former Van der Graaf members and others, free from the angst of record company involvement and the dreaded necessity to maintain a permanent band. Some close friends I had first met as Van der Graaf fans offered to finance the project. I set about finding a location, equipment and assistance, this, in days long before the availability of cheap compact multi-track machines. Finally, I a derelict farmhouse in Wales, a 3m machine and a valve mixing desk, both very ancient and Hugh Banton, recruited not, at his insistence, as a musician but as a technical advisor and engineer, since, at the time my technical knowledge was non-existent and my engineering experience, nil. There then followed the peculiar mix of musical design and random event wich has characterized the Long hello ever since. Large numbers of Italians came and went, a piano arrived by sheep trailer, David persuaded the local bird population to perform; Hugh Banton nbanned everyone from the studio in order to re-align the tape machine and ended up recording all the instruments on 'Brain Seizure'. The derelict farm became Foel Studio. © Guy Evans © http://www.gaudela.net/vdgg/the_long_hello-v1.html

BIO

Originally a side project developed by Van der Graaf Generator players Guy Evans, Hugh Banton, Nic Potter, and David Jackson while bandleader Peter Hammill was off making solo records after the release of Pawn Hearts, and originally marketed prominently via the Van der Graaf connection, the Long Hello became the umbrella name for a series of instrumental records centered around virtuoso drummer Evans (with bassist Potter on Vol. 2). As of Vol. 3, most of the connections with Van der Graaf Generator had been left behind. © Steven McDonald © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:f9foxqu5ldte

J.B. Hutto

J.B. Hutto - Slidewinder - 1973 - Delmark

Fire in his eye, Joseph Benjamin "J. B." Hutto specialized in wringing from his slide guitar tones of such acidity and rough- hewn vividness that he went a long way toward making the distinctions between rural and urban blues-and blues rock- meaningless. He and his three 1972 studio revelers ravage the songs here as if boogie were a devastating force of nature. © Frank John Hadley 1993 From Grove Press Guide to Blues on CD http://www.amazon.com/Slidewinder-J-B-Hutto/dp/B000004BJH

"Slidewinder" does not contain J.B. Hutto's strongest material, but his slide playing is brilliant. The late bluesman had a unique, very distinctive sound. Listen to this great bluesman's "Hawk Squat" album. The late Rory Gallagher plays a great version of J.B. Hutto's "Too Much Alcohol" on his "Irish Tour '74" album

TRACKS

01. Slidewinder - 05:59
02. Blues Do Me A Favor - 03:46
03. Precious Stone - 03:29
04. Young Hawks' Crawl - 03:24
05. Too Late - 04:40
06. Letter From My Baby - 03:37
07. Shy Voice - 04:49
08. Boogie Right-On - 06:21

All songs composed by J.B. Hutto

MUSICIANS

J.B. Hutto - guitar, vocal
Lee Jackson - guitar
Bombay Carter - bass
Elbert Buckner - drums

BIO

J.B. Hutto — along with Hound Dog Taylor — was one of the last great slide guitar disciples of Elmore James to make it into the modern age. Hutto's huge voice, largely incomprehensible diction, and slash-and-burn playing was Chicago blues with a fierce, raw edge all its own. He entered the world of music back home in Augusta, GA, singing in the family-oriented group the Golden Crowns Gospel Singers. He came north to Chicago in the mid-'40s, teaching himself guitar and eventually landing his first paying job as a member of Johnny Ferguson & His Twisters. His recording career started in 1954 with two sessions for the Chance label supported by his original combo the Hawks (featuring George Mayweather on harmonica, Porkchop Hines on washboard traps, and Joe Custom on rhythm guitar), resulting in six of the nine songs recorded being issued as singles to scant acclaim. After breaking up the original band, Hutto worked outside of music for a good decade, part of it spent sweeping out a funeral parlor! He resurfaced around 1964 with a stripped-down version of the Hawks with two guitars and drums but no bass, working regularly at Turner's Blue Lounge and recording blistering new sides for the first time in as many years. From there, he never looked back and once again became a full-time bluesman. For the next 12 years Hutto gigged and recorded with various groups of musicians — always billed as the Hawks — working with electric bass players for the first time and recording for small labels, both in the U.S. and overseas. After fellow slide man Hound Dog Taylor's death in 1976, J.B. "inherited" his backup band, the Houserockers. Although never formally recorded in a studio, this short-lived collaboration of Hutto with guitarist Brewer Phillips and drummer Ted Harvey produced live shows that would musically careen in a single performance from smolderingly intense to utter chaos. Within a year, Hutto would be lured to Boston, where he put together a mixed group of "New Hawks," recording and touring America and Europe right up until his death in the mid-'80s. Hutto was an incredibly dynamic live performer, dressed in hot pink suits with headgear ranging from a shriner's fez to high-plains drifters' hats, snaking through the crowd and dancing on tabletops with his 50-foot guitar cord stretched to the max. And this good-time approach to the music held sway on his recordings as well, giving a loose, barroom feel to almost all of them, regardless of who was backing him. © Cub Koda © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:anfexqu5ldte~T1

MORE ABOUT J.B.HUTTO

It has often been associated with Robert Nighthawk's combining the electrification of the guitar with the Delta tradition of using a slide that developed one of the most haunting and popular forms of Blues music. Elmore James expanded this form to new heights, in turn creating a following of players attempting to emulate his skills. But, when James passed away in 1963, a pair of slide magicians were there to take command: Theodore Roosevelt "Hound Dog" Taylor and J.B. Hutto. Though the influence of James and Nighthawk were apparent, they also had their own unmistakable sound, taking command as Chicago's elite slide musicians. But, following the death of Taylor, Hutto found himself the last of the great students of Elmore James. He was born in Blackwell, South Carolina, as Joseph Benjamin Hutto on April 26, 1926. Some sources claim that he was born in Augusta, Georgia, but his family moved there when young Joseph was three years old. It was in Augusta that he first came into contact with music, teamed with his three brothers and three sisters in a family group known as The Golden Crown Gospel Singers. But, Hutto claimed that he never had any true desire to perform musically until after his family relocated to Chicago, following the death of his father. Once in Chicago, J.B. took up both the piano and drums. He also heard Blues for the first time and, by the mid-1940s. he was working professionally with local Bluesman, Johnny Ferguson and his band, The Twisters. At the time he was the band's drummer and occasional vocalist. He started to develop an interest in the guitar and would practice using Ferguson's guitar between sets. He also began to frequently perform at the city's famed open-air market on Maxwell Street on weekends, often working as guitarist with the one-man band Porkchop (Eddie Hines). In 1950, J.B. met Elmore James and quickly became entranced by James' bottleneck style. He began to follow him whenever he could and studied his method of playing and singing. From the outset of teaching himself to play guitar, Hutto had always used an electric. But, after hearing James, his work would only consist of slide-playing thereafter. Hutto formed a band in the early 1950s that featured himself as guitarist/vocalist, with Porkchop on washboard, Joe Custom on second guitar and George Mayweather on harmonica. He named the band The Hawks; a name that he would use with all of his subsequent bands throughout his life. The Hawks were given the opportunity to record for Chess' subsidiary label, Chance, in 1954, holding two sessions that resulted in a total of nine numbers. Six of these selections were released, including the single, "Now She's Gone." The public reception was only minor, perhaps mostly due to the ever-changing taste of the buying public at the time. J.B. started to become disenchanted with performing due to the lack of the success he had hoped for. Finally, his displeasure took its toll one night while playing in a club. A couple began to fight in the audience and the woman involved grabbed J.B.'s guitar, breaking it over her husband's head. That was enough for Hutto. He walked away from music for the next 11 years, supplementing his income by working as a janitor in a funeral home. It was the death of his mentor Elmore James in 1963 that first made Hutto think about playing again. But, it wasn't until the following year he actually returned. He put together a new gathering of Hawks, including drummer Frank Kirkland and bass player Herman Hassell, also frequently working with Johnny Young and Big Walter Horton. The group soon became the house band for Turner's Blues Lounge and Hutto released an album in 1966 for Testament Records titled, "Master Of Modern Blues", which featured Young, Horton, bassist Lee Jackson and drummer Fred Below. In 1967, Delmark Records released the milestone compilation, "Chicago/The Blues/Today!" It prominently showcased J.B. Hutto and the Hawks on five cuts, considered by many to be some of the premier pieces of his career. They clearly displayed Hutto's fierce and pounding slide guitar. Delmark responded to the popularity of this album by releasing J.B.'s first full-length solo disc the next year, the brilliant masterpiece "Hawk Squad". Over the next 16 years, Hutto recorded with a variety of labels that would include JSP, Varrick and Wolf, releasing classic recordings such as 1973's, "Slidewinder", and 1983's, "Slippin' & Slidin'" Hutto's good friend, Hound Dog Taylor, died in 1975 and it was J.B.'s fortune to inherit Taylor's band, The Houserockers, with Brewer Phillips and Ted Harvey. This was the only time during Hutto's career where he performed with a backing unit called anything other than The Hawks. The band never truly gelled as a group and never entered a studio to record. Several live performances were recorded during 1976 and 1977, including a show at Boston's famed Tea Party which was later released posthumously as "J.B. Hutto And The Houserockers Live 1977." Hutto eventually moved to Boston in the late-1970s, where he pieced together a new version of The Hawks. Other than his stellar work as a slide player, J.B. Hutto was also regarded as a master showman. Following in the footsteps of people such as Guitar Slim, he took to wearing brightly-colored outfits and a wide array of hats. He was also known for walking a room with a lengthy extension to his guitar cord, casually jumping atop tables from time-to-time while performing. Hutto returned to Illinois in the early 1980s, where he was diagnosed with cancer. He died in 1983 in Harvey, Illinois, and at the time of his passing, was considered one of the top-drawing Bluesmen working. His popularity can easily be pointed out by the fact that The Blues Foundation welcomed J.B.. Hutto into its Hall of Fame only two years Following his death. His legacy lives on, though, through the playing of his nephew, Lil' Ed Williams, who learned first-hand at the knee of Hutto, and also through all slide guitarists playing Blues today. By & © : Greg Johnson [ Article Reprint from the November 2001 BluesNotes ]© 2001 Cascade Blues Association http://www.cascadeblues.org/History/JBHutto.htm

Mick Ralphs

Mick Ralphs - That's Life - Can't Get Enough - 2003 - Angel Air

"That's Life" is Mick Ralphs' third solo album. "Under Pressure" is a good mid-tempo blues number. "For My Baby" is a heavy, moody dark song. "Our Time", "A to Z" and "You And Me" are all ballads, and Mick uses keyboards only on "You And Me". "Hey Hey" is a typical Mick Ralphs mid-tempo rocker. "Everybeat" and "Nobody Knows Me" are slow tempo numbers, and "Ain't It Good" is a good tune which demonstrates Mick Ralph's guitar talents. "Fool For Your Loving" is another good blues rock track with some great guitar playing from Mick. "Budgie" is a Bad Company instrumental demo from 1977 and is a great track which should have been given more studio time. "Can't Get Enough" is the original demo Mick recorded back in 1970. A great song when sung by Paul Rodgers. Not Mick Ralph's best album. It could do with some more guitar and good ol' Rock 'n' Roll, but overall "That's Life" is a competent album full of earthy, blues-based tunes with Mick singing on most of them. Mick's "It's All Good" album is @ MICRAL/IAG

TRACKS

1. Under Pressure
2. For My Baby
3. Our Time
4. A to Z
5. You and Me
6. Hey Hey
7. Every Beat
8. Nobody Knows Me
9. Ain't It Good?
10. Fool For Loving
11. That's Life
12. Budgie - (bonus track - unreleased track from Bad Company from 1977) *
13. Can't Get Enough - (bonus track - 1970 demo of the Bad Company hit) *

All songs composed by Mick Ralphs: * Written when Mick was with Mott The Hoople

BAND

Mick Ralphs - Vocals, Guitar, Keyboards, Multi Instruments
Boz Burrel RIP - Bass
Simon Kirke - Drums

SHORT BIO

Mick Ralphs was the lead guitarist for not one, but two of album rock's most storied bands: underappreciated glam rock legends Mott the Hoople, and the far more commercially successful Bad Company. Born in 1948 in Hereford, England (near Wales), Ralphs played with a blues-rock group called the Buddies (who released a single in 1964) in his teens, and then moved on to the mod-styled Doc Thomas Group, whose self-titled 1967 debut album was issued only in Italy. A name change to Silence followed in 1968, and the group evolved into Mott the Hoople by the following year. Several years of struggle followed before the group hit it big with David Bowie's "All the Young Dudes" in 1972. The more popular Mott became, the more they emphasized Ian Hunter's songwriting over the other members'; Hunter's increasing ambition was more and more at odds with Ralphs' taste for simple, riff-driven hard rock. In 1973, after the release of Mott, Ralphs left the band to form Bad Company with two ex-members of Free. His composition "Can't Get Enough," which Mott was unable to record because of the vocal register in which it was written, became an immediate hit and pushed the group's 1974 debut album to number one in the U.S. A string of hugely successful albums followed up to 1982, making Bad Company one of the top arena rock acts in the world. After the initial lineup disbanded, Ralphs recorded a solo album, Take This!, which was released on the small, poorly distributed Rock Machine label in 1984 (it was later reissued on CD). In 1986, the first of several Bad Company reunions took place, which have continued to the present day (Ralphs was present for all of them, and plays guitar on every one of the group's albums and singles). In 2001, Ralphs released his second solo album, the all-instrumental effort It's All Good, on the Angel Air label. © Steve Huey, allmusic.com

Charlie Mariano

Charlie Mariano - Cascade - 1974 - Keytone (Netherlands)

The late Charlie Mariano was a very talented musician who played with the best, including Stan Kenton, his wife,Toshiko Akiyoshi, Charles Mingus, Eberhard Weber, the United Jazz and Rock Ensemble and many other notable musicians. Charlie Parker was a major influence on Charlie Mariano's playing style. Mariano formed the fusion group Osmosis in 1967, where his music developed into a "world" style, that encompassed rock, folk, and "ethno-fusion". "Cascade" is an obscure but good jazz funk fusion LP featuring Philip Catherine on guitar and Chris Hinze on flute. It's a good example of his mid seventies style. Listen to Embryo's great 1973 "We Keep On" album featuring Charlie Mariano on sax. Charlie Mariano's "Reflections" album can be found @ CHARLMARI/REF and Philip Catherine's "Guitars" album @ PHILCATH/GU

TRACKS / COMPOSERS

Suite of the Festival (Chris Hinze) 5:01
Harriet (John Lee) 6:28
Quest (John Lee) 4:08
Electric Funk Jungle (Charlie Mariano) 5:46
Cascade (Charlie Mariano) 5:31
Piece for Banjo and Kazoo (Charlie Mariano) 9:00
Locus (John Lee) 4:22

MUSICIANS

Charlie Mariano – alto & soprano saxophones, indian wooden flutes, nagaswaram
Philip Catherine – spanish guitar, electric guitar
Michael Samson – electric guitar
John Lee – bass, fender bass
Rob van den Broeck – piano, fender piano
Jasper van't Hof – fender piano, organ
Gerry Brown – drums, percussion
Chris Hinze – flute

BIO

Born: November 12, 1923, Boston, MA Died: June 16, 2009, Cologne, Germany. Charlie Mariano's career can easliy be divided into two. Early on he was a fixture in Boston, playing with Shorty Sherock (1948), Nat Pierce (1949-50) and his own groups. After gigging with a band co-led by Chubby Jackson and Bill Harris, Mariano toured with Stan Kenton's Orchestra (1953-55) which gave him a strong reputation. He moved to Los Angeles in 1956 (working with Shelly Manne and other West Coast jazz stars), returned to Boston to teach in 1958 at Berklee and the following year had a return stint with Kenton. After marrying Toshiko Akiyoshi, Mariano co-led a group with the pianist on and off up to 1967, living in Japan during part of the time and also working with Charles Mingus (1962-63). The second career began with the formation of his early fusion group Osmosis in 1967. Known at the time as a strong bop altoist with a sound of his own developed out of the Charlie Parker style, Mariano began to open his music up to the influences of folk music from other cultures, pop and rock. He taught again at Berklee, traveled to India and the Far East and in the early '70s settled in Europe. Among the groups Mariano has worked with have been Pork Pie (which also featured Philip Catherine), the United Jazz and Rock Ensemble and Eberhard Weber's Colours. Charlie Mariano's airy tones on soprano and the nagaswaram (an Indian instrument a little like an oboe) fit right in on some new agey ECM sessions and he also recorded as a leader through the years for Imperial, Prestige, Bethlehem, World Pacific, Candid (with Toshiko Akiyoshi in 1960), Regina, Atlantic, Catalyst, MPS, CMP, Leo and Calig among others. © Scott Yanow, All Music Guide

McCarty-Hite Project

McCarty-Hite Project - Weekend in Memphis - 2001 - Inside Sounds

When Rock'n Roll Hall of Fame inductee Jim McCarty was asked to come to Memphis for a spontaneous recording session with some Memphis bluesmen, he enthusiastically accepted the invitation. Nearly 30 years earlier, he and his bandmates, the Yardbirds, had come to Memphis to record at Sun Studio. Now, with former Canned Heat bassist Richard Hite at the helm as producer, the session for Weekend in Memphis went very well - over an hour's worth of material was recorded in less than 3 days - the climate of the session was open and creative while elements of blues, rock, and jazz exploded into the air and were captured on tape. The best of these tracks were selected for Weekend in Memphis. While the core studio players (Richard Hite on bass, Jim McCarty on drums and percussion, Danny Lancaster on vocals and guitar, and Robert Tooms on piano) provide the heart and soul, guests artists include Billy Gibson on harmonica, Blind Mississippi Morris on harmonica and vocals, Sandy Carroll on vocals, and Brad Webb on electric and slide guitar. From the catchy sing-along track "Memphis Town" to Danny Lancaster's haunting and emotional rendition of the blues classic "So Many Roads, So Many Trains," Weekend in Memphis encompasses a broad spectrum of blues that is convincing and a must have for any serious fan of blues or rock. 1996 - 2010 CD Universe; Portions copyright 1948 - 2010 Muze Inc.
For personal non-commercial use only. All rights reserved.

http://www.cduniverse.com/search/xx/music/pid/7191561/a/Weekend+In+Memphis.htm
A great variety of blues, rock and jazz tunes from Bukka White's "Shake 'Em On Down" to the Yardbirds' "Over Under Sideways Down" and great originals like "Zulu Stomp" and "Memphis Town". Listen to the group's "A Yardbird in Memphis" album, and Canned Heat's great "One More River to Cross" album with the late Richard Hite on bass, rhythm guitar and vocals

TRACKS / COMPOSERS

Shake 'Em On Down - Booker T. Washington White aka Bukka White
Keep It to Yourself - Sonny Boy Williamson
Lonesome - Peter Chapman
Memphis Town - Richard Hite
Going To The Country - Richard Hite, Jim McCarty
So Many Roads, So Many Trains - Otis Rush
Over, Under, Sideways, Down - Jeff Beck, Jim McCarty, Keith Relf
Zulu Stomp - Richard Hite, Danny Lancaster, Jim McCarty
My Home Ain't Here - Lester Jerome Williams
Somebody Loses, Somebody Wins - Richard Hite, Jim McCarty
Second Hand Store - Morris Cummings

MUSICIANS

Richard Hite - Guitar (Acoustic), Bass, Vocals
Brad Webb - Guitar
Robert "Nighthawk" Tooms - Piano
Jim McCarty - Percussion, Drums, Vocals
Hannah Burdine - Percussion, Vocals (bckgr)
Sandy Carroll - Percussion, Vocals, Vocals (bckgr)
Eddie Dattel - Percussion, Vocals (bckgr)
Keith Soltys - Trumpet
Billy Gibson - Harmonica, Percussion, Vocals (bckgr)
Blind Mississippi Morris - Harmonica, Vocals
Mississippi Fred McDowell, Bukka White - Inspiration

Robert Wyatt & Friends

Robert Wyatt & Friends - Theatre Royal Drury Lane 8th September 1974 - 2005 - Hannibal Records

Recorded on September 8, 1974, this set features Robert Wyatt (post-accident) with a slew of mates, including Ivor Cutler! Introduced by John Peel and recorded by the BBC — only a little over half the concert survives — this is a wild, freewheeling document featuring Wyatt, Cutler, and Julie Tippetts on vocals; Dave Stewart and Tippetts on keyboards; alternate drummers Nick Mason and Laurie Allan; Hugh Hopper on bass; Fred Frith on guitar, violin, and viola; the late Mongezi Feza on trumpet; the late great Gary Windo on reeds; and guitarist Mike Oldfield. It's quite a lineup and an awesomely inspiring performance. Wyatt is in excellent form here, and the bandmembers, who are a bit ragged in places, are nonetheless tight and full of fire. From "Dedicated to You But You Weren't Listening" and "Memories" to "Alfie," "Instant Pussy," "Mind of a Child," and "Little Red Robin Hood Hit the Road," this set is alternately an early tribute recording to Wyatt and a fine get-together of friends from the Canterbury scene. Sonically, the recording is very present, though a bit overloaded in places, but the music more than compensates for this. All Wyatt fans will need this, as it is as close to an essential document of 1970s experimental/prog as one is likely to find. Thom Jurek © 2010 Rovi Corporation. All Rights Reserved

Recorded live 8th September 1974 at Theatre Royal Drury Lane, London, this is an album of really original and upbeat progressive rock in the Canterbury style from the great drummer of Soft Machine, Robert Wyatt, and a few distinguished friends. Listen to Robert Wyatt's great "Rock Bottom" album, and Soft Machine's "Fourth" album. For music in a similar vein, it is worth checking out band's like Hatfield And The North, Caravan, Gong, Matching Mole, and other bands from the giant "Canterbury Scene" family tree of British progressive rock artists. Robert Wyatt's "Shleep" album can be found @ ROBWY/SHLEEP

TRACKS / COMPOSERS

Introduction By John Peel - John Peel
Deticated To You But You Weren't Listening - Hopper
Memories - Hopper
Sea Song - Robert Wyatt
A Last Straw - Robert Wyatt
Little Red Riding Hood Hit The Road 1 - Robert Wyatt
Alife - Robert Wyatt
Alifib - Robert Wyatt
Mind Of A Child - Tippetts
Instant Pussy - Robert Wyatt
Signed Curtain - Robert Wyatt
Calyx - Miller, Robert Wyatt
Little Red Robin Hood Hit The Road 2 - Robert Wyatt
I'm A Believer - Neil Diamond

MUSICIANS

Lead Vocals - Robert Wyatt
Guitar - Mike Oldfield
Bass Guitar - Hugh Hopper
Keyboards - Dave Stewart
Vocals, Keyboards - Julie Tippetts
Violin, Guitar, Viola - Fred Frith
Drums - Laurie Allan , Nick Mason
Trumpet - Mongezi Feza
Reeds - Gary Windo
Vocals - Ivor Cutler , John Peel

BIO

An enduring figure who came to prominence in the early days of the English art rock scene, Robert Wyatt has produced a significant body of work, both as the original drummer for art rockers Soft Machine and as a radical political singer/songwriter. Born in Bristol, England, Wyatt came to Soft Machine during the exciting, slightly post-psychedelic Canterbury Scene of the mid-'60s that produced bands like Gong and Pink Floyd. Unlike many of the art rock bands that would come later (Jethro Tull, Yes, King Crimson), Soft Machine eschewed bloated theatrical excess, preferring a standard rock format that interpolated jazz riffing, extended soloing, and some forays into experimental noise. Wyatt, then Soft Machine's drummer, left the band during its initial wave of popularity. His solo career was built less around his abilities as a percussionist and more around his frail tenor voice, capable of breaking hearts with its falsetto range. It was not long after his first solo release, End of an Ear, that Wyatt fell from an open window during a party, fracturing his back and permanently paralyzing him from the waist down. After months of painful recuperation, Wyatt reemerged with the harrowing Rock Bottom (1974) and the bizarre Ruth Is Stranger Than Richard (1975), the former dealing explicitly with his post-accident life, the latter a series of surreal fables. And while the music on these records is trance-like and experimental, Wyatt shockingly recorded a straight version of the Monkees' "I'm a Believer" in 1974 that became a big British hit. Controversy ensued when the BBC's long-running weekly pop music program Top of the Pops refused to allow Wyatt to perform the song in his wheelchair. After a significant protest played out in the music trade papers, Wyatt did perform. Despite his success, Wyatt remained quiet for much of the rest of the decade, breaking his silence during the punk era with a handful of singles recorded for the great English indie label Rough Trade. Again, going against audience expectations, he recorded a beautiful version of Chic's "At Last I Am Free." This signaled the start of a full-fledged career renaissance that included numerous albums and artists such as Elvis Costello writing songs for him. His albums were lush, at times almost meditative, and Wyatt's voice — clear, emotionally charged, and always on the verge of breaking — brought great depth and soul to songs that, if recorded by a lesser artist, would have sounded terse and tired. Always on the political left, Wyatt's radicalism increased exponentially during Margaret Thatcher's years as Prime Minister, as he maintained an unwavering support for Communism even as glasnost was nigh. The resulting music he recorded during this period reflects his strong, bordering on strident, political beliefs. As of the mid-2000s, Wyatt has comfortably worked in and out of the music business. He records when he feels like it, paints, writes, devotes time to political work, and continues to show no interest in the machinations of the music industry. But, despite his occasionally strident political posture, he has recorded some stunning music, full of wonder, possibility, and pure emotion, that remains undiscovered by many. John Dougan © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:3ifixqr5ldfe~T1 http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:kjfyxq8sldse

Patti Dahlstrom

Patti Dahlstrom - Your Place Or Mine - 1975 - 20th Century Records

The lovely Patti Dahlstrom was Born and raised in Houston, Texas and Went to LA in 1967 to become a pro songwriter...Wrote songs on weekends, pushed them to publishers and A&R departments during her lunch breaks; after a few turndowns from utter fools ...basically told she had no talent and to go back to Texas. GRRRR.... Signed to Motown's Jobete Music as a staff songwriter along with Severin Browne (Jackson's brother). She and Severin became co-writers for the length of her recording career. [from Emotion : The Music of Patti Dahlstrom crrev299 @ http://www.cherryred.co.uk/revola/artists/pattidahlstrom.php]

"Your Place Or Mine" is a great but forgotten mid '70's album by the wonderful songwriter and vocalist, Patti Dahlstrom. With her gritty, emotional voice, like a cross between Stevie Nicks, Maria Muldaur, and Carole King, she covers ten great tracks covering a myriad of musical styles including roots, jazz, blues, Motown and pop rock. The album includes Dean Parks and Jay Graydon on guitar, Klaus Voorman on bass, George Clinton on keys, Jim Keltner on drums, and Chuck Findley on horns. It would be great to hear a remixed and remastered version CD version of this album. Try and listen to her "Livin' It Thru" album

TRACKS / COMPOSERS

A1 Used To Be In Love With Love - Patti Dahlstrom, Al Staehely, Jimmy Howell
A2 If You Want It Easy - Patti Dahlstrom
A3 Break Of Day - Patti Dahlstrom, Andy Cahan, Jimmy Seals
A4 Painter - Patti Dahlstrom, Severin Browne
A5 Louisiana - Patti Dahlstrom, Al Staehely

B1 He Did Me Wrong, But He Did Right - Patti Dahlstrom, Al Staehely
B2 Runnin' Out Of World - Patti Dahlstrom, Artie Wayne
B3 When It Comes To You - Patti Dahlstrom
B4 Good To Be Alive - Patti Dahlstrom, Severin Browne
B5 Sending My Good Thoughts To You - Patti Dahlstrom, Artie Wayne

MUSICIANS

Vocals - Patti Dahlstrom
Guitar - Al Casey , Al Staehely , Art Munson , Dean Parks , Freddy Tackett, Jay Graydon , Steve Cropper
Bass - David Hungate , Jack Conrad , Klaus Voorman
Banjo, Fiddle, Guitar [Slide] - David Lindley
Keyboards - Andy Cahan , George Clinton, Larry Knechtel , Michael Utley
Drums - David Kemper , Gary Mallaber , Jim Keltner
Percussion - Milt Holland , Steve Foreman
Horns - Chuck Findley , Jackie Kelso , Jim Horn , Lon Van Eaton
Flute - Jim Horn
Accordion - Nick Decaro

BIO (WIKIPEDIA)

Patti Dahlstrom is a widely respected singer/songwriter, recording artist and teacher. Born in Texas, she cut four albums in the seventies, and co-wrote the Helen Reddy hit "Emotion", before enjoying a renaissance and renewed visibility in 2010. Dahlstrom was one of five children born in Houston. Her aspirations to become a singer were evident from an early age. Having started to make up songs in her pre-teens, she was writing frequently by the time of her adolescence, and was given to examining record sleeves for the songwriting credits while burnishing dreams of seeing her own name in such a setting. In 1967, she left Texas to pursue a career in music in Los Angeles. After three years of struggling, Dahlstrom broke into the world of professional songwriting. She was signed to Jobete, the publishing division of Motown, where she was mentored by Berry Gordy. She also struck up a fruitful and enduring songwriting relationship with Severin Browne, brother of Jackson Browne. Russ Regan signed her to Uni Records and, in 1972, her first album, the Toxey French-produced Patti Dahlstrom, was released. Moving to 20th Century Records, which was also headed by Regan, she followed with three more albums, The Way I Am (1973), Your Place or Mine (1975), and Livin It Thru (1976), produced by Michael J Jackson and Michael Omartian, Jack Conrad and Bill Schnee, and Larry Knetchel respectively. The albums featured an impressive cast of musicians and prominently displayed Dahlstrom's gritty, engaging vocal style and her emotionally perspicacious songwriting. Among the notable songs from Dahlstrom's 20th Century tenure was 'Sending My Good Thoughts To You', which she co-wrote with Artie Wayne, and dedicated to her friend Jim Croce. Implicit in the song's lyric is the notion of continuing a loving friendship with someone after that person's death, and this consoling message has helped the it endure. In one of her most plaintive and subtly heart-rending vocal performances to date, Dahlstrom included the song on Your Place or Mine in 1975. Despite the fact that there was no break out hit single for Dahlstrom herself, her popularity as a songwriter for other recording artists was considerable. Notable among the recordings of her work are "Ain't No Way To Rise Above (Fallin' In Love)" by Anne Murray (1982); "Running Out of World" by Cilla Black (1976), "Emotion" by Helen Reddy and Shirley Bassey, "What If", "I'm Letting Go", and "I Never Did" by Thelma Houston (1972); "Dialogue" by Michael Johnson (1979); "Feels Like More Than Dancing" by Captain & Tenille, "Over The Line" by Johnny Rivers (1973); and "Even Texas Isn't Big Enough Now" by Riders in the Sky (1986) from the album New Trails. Dahlstrom's second album, The Way I Am, included "Emotion", a song that had arisen when Artie Wayne, Warner Brothers Publishing's General Manager, brought a copy of a Veronique Sanson album to Patti, with a view to her providing English lyrics. Dahlstrom was taken by the song Amoureuse, and set it to her own words to form "Emotion". Confusingly, there was another contemporaneous English version of the song, with translated lyrics by Gary Osborne, which retained the title 'Amoureuse'. However, it was Dahlstrom's version, recorded by Helen Reddy, that became a US #22 and US AC #1 hit in 1974. In 2009, Véronique Sanson declared in an interview to the french magazine Platine that Dahlstrom's version remains her favorite version of Amoureuse. In the seventies, Dahlstrom's recording career came to an end when she declined the opportunity to make a fifth album, and was, by her own request, released from her contract. She cited exhaustion among the reasons for the decision. Years later, Russ Regan publicly disclosed his surprise and confusion that Dahlstrom's albums had not been high profile successes, saying, "In my career there are two female singer/songwriters who I signed, that should've been stars, Patti Dahlstrom and Harriet Schock. She continued to pursue songwriting through the seventies and eighties, as well as branching out into photography. Photographic assignments included working on set with Robert Altman and shooting an album cover and 1978 tour book for John Denver. Returning to Texas in 1990, Dahlstrom taught songwriting at The Art Institute of Houston before swiftly being made Department Director. In addition to teaching, she pursued studies of her own, including a degree in Liberal Arts. Following a birthday trip to England in 2007, Dahlstrom decided to move to London in 2008, undertaking a Masters in Professional Writing, and has lived in the city ever since. In March 2010, the CD Emotion - The Music of Patti Dahlstrom was released by Rev-ola. The 20 track compilation, drawing on Dahlstrom's four albums, was the culmination of renewed internet-based interest in her music, which had been mounting for several years. The package contained a 24-page booklet with essay by Mick Patrick, revitalised sound quality consequent to work by Norman Blake and Joe Foster, and design and artwork by Andy Morten. Engineering was by Nick Robbins. Norman Seeff's striking photographs of Dahlstrom were used throughout. The compilation scored a four-star review by Kingsley Abbott in Record Collector magazine.