Pierre Moerlen's Gong

Pierre Moerlen's Gong - Breakthrough - 1986 - Eulenspiegel

Pierre Moerlen's band released very few albums in the '80s. Breakthrough, recorded in 1986, is a disappointing, bland project that bears little resemblance to any previous incarnation of Gong. Aside from bassist Hansford Rowe, who struggles to be heard on this recording, the group is comprised of entirely new personnel, including Dag Westling, who is credited for acoustic guitar, although such an instrument fails to surface in the mix. A mostly instrumental affair, Breakthrough breaks no new ground. Like his compositions, Moerlen's performance is adequate but lacks innovation (for once). His best efforts are exhibited in the appropriately titled "Far East," and the CD's most flavorful composition, on which Moerlen and Zieden (on electric guitar) create an Eastern sound, a glorified, romantic journey through the incensed back alleys and city streets of Thailand. Most of the music on Breakthrough, though, seems unnatural and, at times, devoid of life; this is due in part to Moerlen's frequent and cursory use of synthesizers. Zieden's generic guitar solos, especially on the boring "Spaceship Disco," and Moerlen's spewing of L. Ron Hubbard's philosophies on the mundane "Road Out" lack much-needed inspiration. The pedestrian "Romantic Punk" sounds more like "New Age Disco," and Moerlen's robotic vocal delivery on "Children's Dreams" mars this otherwise blood-flowing tune. The latter piece and the following "Portrait" are solid, rhythmic tunes revealing, albeit briefly, the capabilities of Rowe and Moerlen. Diehard fans of Gong are relegated to savoring the title cut for its strains of Time Is the Key; however, the lukewarm, uneventful Breatkthrough ultimately leaves the listener with but one question: "Breakthrough to what?" © David Ross Smith © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fzftxq85ldhe

The late Pierre Moerlen created some wonderful progressive jazz rock/fusion. "Breakthrough" is regarded by many as his weakest album. Here is one review of the album which gives little praise; "Breakthrough" is, with the exception of one excellent track, an absolute disaster. It's commercial trash and Pierre Moerlen seems determined to determined to prove to the world that he can't sing". A.O.O.F.C would be very interested in your opinion of this album. Pierre Moerlen was a musical genius, and his expertise in the percussive field was unequalled. His music was innovative and futuristic, and as a member of the great Franco-British progressive/psychedelic rock band, Gong, he created some of the greatest prog. rock of the last forty years. Gong has many offshoots in the Rock tree, and it would take far too much details to elaborate on some of the great progressive rock work of Pierre Moerlen, Daevid Allen, and Gong on this blog. Listen to Pierre Moerlen's Gong's "Downwind", and "Gazeuse!" albums, and search this blog for other Pierre Moerlen/Gong related releases.

TRACKS

1 Breakthrough 6:00
2 Spaceship Disco 3:22
3 Rock In Seven 3:10
4 Six 8 4:05
5 Poitou 3:50
6 Children's Dreams 3:20
7 Portrait 4:18
8 Road Out 3:25
9 Romantic Punk 2:17
10 Far East 6:57

All songs composed by Pierre Moerlen, except Track 7 (Lyrics by Joëlle Kopf0, & Track 8 (Lyrics by L. Ron Hubbard)

MUSICIANS

Pierre Moerlen - Drums, Vibraphone, Timpani, Marimba [Xylo-marimba], Gong, Synthesizer, Vocals
Ake Zieden - Guitar
Dag Westling - Acoustic Guitar
Hansford Rowe - Bass
Chris Rhedin - Keyboards
Michaël Zilka - Chapman Stick
Sax, Vocals - Nina Andersson
Vocals - Lena Andersson

PIERRE MOERLEN'S GONG BIO (WIKIPEDIA)

Pierre Moerlen's Gong is a jazz fusion outfit which is very different from the first incarnation of Gong, the psychedelic space-rock act led by Daevid Allen. It is notable for the prominent use of mallet percussion, such as marimba, xylophone, and vibraphone featured in a rock/jazz context, making for a very distinctive and unusual sound that could have been classified as warmer and more melodic than most typical fusion could be, and is comparable to the sort of fusion-influenced output many bands on the Canterbury scene were producing at around this time. Amid a flurry of lineup changes in the mid-1970s, including the departure of founding members Daevid Allen and Gilli Smyth, Gong drummer Pierre Moerlen found himself in charge of the band and with two albums remaining on their Virgin recording contract. Moerlen formed a new Gong lineup featuring his brother Benoit on mallet percussion, US-born bassist Hansford Rowe and a rotating cast of session guitarists, notably Allan Holdsworth, Mike Oldfield, ex-Rolling Stone Mick Taylor, and Bon Lozaga. They released two albums under the Gong moniker, Gazeuse! (called Expresso in North America) in 1977 and then Expresso II in 1978. Following the completion of the Virgin contract, Moerlen changed the name of the group to Pierre Moerlen's Gong, presumably to distance itself from its very different previous incarnation. In early 1979, the group released Downwind, which was a more rock/pop flavoured album that featured occasional lead vocals by Moerlen himself and a cameo by Steve Winwood. Later in 1979 they released another album, Time is the Key, that took the band further into pop/rock territory. The live album "PM's Gong Live" was released in 1980, followed later that year by another studio album Leave It Open. By this point, Pierre Moerlen's incarnation of Gong scaled back its activity greatly, not releasing another record until 1986's Scientology-inspired Breakthrough, featuring members of the Swedish band Tribute. The group quietly disbanded soon after. Lozaga, Rowe, and Benoit Moerlen went on to form Gongzilla in the early 1990s, releasing four albums to date which are very much an extension of the percussive fusion that the original group brought to the fold, and they perform a mix of new and old live material going back to the Gazeuse/Expresso II period. Moerlen joined them for their 2002 European tour. Pierre Moerlen died unexpectedly on May 3, 2005 of natural causes, while rehearsals for yet another line-up of PM's Gong were underway.

PIERRE MOERLEN'S BIO

Born : October 23rd, 1952 - Colmar (France). Died : May 3rd, 2005. Past Bands : Asthme Congélateur (1970-71), Gong (1973-78, 1997-99), Pierre Moerlen's Gong (1978-89), Mike Oldfield Band (1979-83), Magma (1981), Faton Bloom (1983-84), Tribute (1985-87), Biréli Lagrène Trio (1988), various musicals (1990-), Brand X (1997), Gongzilla (2002). One of the most accomplished musicians of the whole Canterbury scene, Pierre Moerlen, who died on May 3rd 2005 aged only 52, was certainly a world-class drummer, whose work with Gong and Mike Oldfield, not to mention his 'solo' albums as Pierre Moerlen's Gong, has attracted wide critical praise. Pierre Moerlen was born in Colmar into a very musical family, his father being the resident organist of the Strasbourg cathedral as well as a piano and organ teacher, and his mother a school piano teacher. His three sisters and his brother Benoît are also musicians, although not all play music professionally. Moerlen started playing piano until he turned to percussion while a teenager. In 1967, he entered the Conservatoire Régional in Strasbourg to learn classical percussion under the guidance of Jean Batigne, founder of the famed Percussions de Strasbourg. While studying strictly classical music at the Conservatoire, Moerlen also developed an interest for more contemporary musical genres, and soon found himself involved in rock and fusion groups. The most notable was called Asthme Congélateur and featured future Magma guitarist Gabriel Fédérow, and its main claim to fame was appearing on a regional television programme alongside Belfort progressive rockers Ange and an even more obscure band featuring the Lemoine brothers, Jean-Sébastien and Patrice. The latter joined Moerlen in Gong around the time of Shamal. Around that time, Moerlen began to feel the urge to write and perform his own music, based on the use of the various tuned and untuned percussion instruments at his disposal. He rehearsed his pieces with Mireille Bauer, a fellow Conservatoire student and his girlfriend at the time (and coincidentally a cousin of Jean Batigne). One interesting anecdote on this period is that sometime in 1972, Moerlen and Bauer both attended a Gong concert in Strasbourg, and neither was too enthused about the gig. Certainly not the shape of things to come! As a matter of fact, while on a visit to Paris to try and find work in classical music, an idea he was not too keen on, he met Patrice Lemoine on the station platform where he was waiting for his train back to Strasbourg. Lemoine told him that Gong were looking for a drummer after the band had broken up during the tumultuous sessions for Flying Teapot. Although reluctant at the start, one listen to the just completed record convinced him that there was potential in the band and Daevid Allen's musical concept. He joined the band in its Voisines headquarters. In the Spring of 1973, with Allen and Gilli Smyth resting in Mallorca, the rest of Gong toured under the name of Paragong in French youth centres, and when the pair came back, the new consolidated line-up went into the studio to record the second volume of Allen's Radio Gnome trilogy, Angels Egg. In the meantime, Moerlen had been recruited by Mike Oldfield to appear, alongside an impressive cast of Canterbury scene musicians like Steve Hillage, Mike Ratledge, Fred Frith, Kevin Ayers, John Greaves and David Bedford, at a live performance of Oldfield's just-released Tubular Bells at the Queen Elizabeth Hall. Moerlen's time in Gong was one of constantly leaving the band, then joining in again, which led to using a lot of replacement drummers. But he was unsure whether this was the right place for him to be, and he kept returning to Strasbourg to work and tour with the Percussions de Strasbourg, as well as continuing work on his own percussion music. He came back to the Gong fold during the Summer of 1974 to work on the You album, but left again once it was completed. It was in the subsequent period that he wrote pieces like "Mandrake" and "Expresso". Then in July 1975, Moerlen received a phonecall from Virgin, asking him if he would agree to rejoin Gong and lead the band with Didier Malherbe : Allen, Smyth and Tim Blake had all left the previous Spring. This offer came as a replacement for the solo project that Virgin had accepted to release, so it was a tough decision to take, but finally Moerlen agreed and brought with him both Mireille Bauer (who in the meantime had guested on both Angels Egg and You) and Patrice Lemoine (who had sat in with Gong at a gig in Strasbourg in 1973). At first, the new Gong tried to maintain a continuity with the concepts created by Daevid Allen, with Hillage and his girlfriend Miquette Giraudy taking on Allen and Smyth's roles, but this approach proved a failure. By the time work started on Shamal in late 1975, after an extensive British tour with Clearlight opening, a new direction had been defined, and Steve Hillage was not too enthusiastic about it. Having enjoyed reasonable success with his first solo album, Fish Rising, he decided to concentrate on a solo career. Recruiting Clearlight violinist Jorge Pinchevsky as replacement, Gong finished the album and embarked on a long European tour. But the line-up didn't last long, and by the Summer of 1976 only Moerlen, Bauer and Malherbe were left. The latter recruited guitarist Allan Holdsworth, while Moerlen decided to further increase the percussive dimension of Gong, adding his brother Benoît to the line-up. Bassist Francis Moze, late of the Flying Teapot line-up, came back to the fold, alongside his friend Mino Cinélu, a promising young conga player. This new team toured Europe in the Summer of 1976, then headed to the studio, recording Gazeuse! before splitting up again soon after its completion. Following the split, Pierre Moerlen went to live in New York for a few months and met bass player Hansford Rowe, aged 22. 'Hanny' was involved in a band whose drummer had to leave to join the army, so Pierre replaced him for a few weeks and the pair forged a very special musical relationship. Back in his hometown of Strasbourg, France, in the late winter of 1976/77, Moerlen decided to form a new line-up of Gong with Rowe, and recruited former members Mireille Bauer (vibes and percussion), Jorge Pinchevsky (violin) and Benoit Moerlen (vibes), his younger brother, along with a youthful newcomer, François Causse (on percussion also). During the following months, this line-up often toured under the name Gong-Expresso, making its debut performance at the Gong family gathering of Paris, Porte de Pantin, May 1977, which witness the reformation of the 'classic' Gong line-up. Following Pinchevsky's departure (he subsequently vanished from the surface of the earth), several lead players guested on album and gigs (although at times only the basic percussion-led quintet performed), including Didier Malherbe, Darryl Way (violin player of Curved Air), Bon Lozaga, Allan Holdsworth and Mick Taylor. The latter four guested on the Expresso II album which, although recorded in the summer of 1977, only came out the following spring. This was the band's final release for Virgin and its release coincided with the name change to Pierre Moerlen's Gong. This period saw the departure of Mireille Bauer to the jazz-rock band Edition Speciale. Her relationship with Moerlen had by then become a purely musical one (she now lived with ex-Gong bass player Francis Moze while Moerlen was married with a child) and she felt she needed a bit of fresh air. She was not replaced, although a permanent guitarist, Ross Record, was recruited to fill the gap, and appeared on the subsequent album Downwind, which again was graced with superb guest appearances by Didier Lockwood (of the French bands Magma, Zao and Clearlight, not to mention his own Surya), Mike Oldfield (who co-produced the title-track), Steve Winwood and Didier Malherbe. After a few gigs with the new line-up, it became apparent that Ross Record was suffering from severe stagefright, so Moerlen summoned back Bon Lozaga, who in the meantime had gone back to live in the States. The trio of Lozaga, Rowe and Moerlen would be the mainstay of PMG until its demise in 1981. The band kept touring, but it had to be put on hold for a couple of months while the Moerlen brothers were touring Europe with Mike Oldfield. This marked the end of Benoït's involvement in the band, and for subsequent tours François Causse came back. Exhausted from incessant touring, Moerlen rented a house in Ireland with his wife and son, and wrote a complete album there, which would surface as Time Is The Key, considered by Pierre to be his best. It was recorded by Moerlen, Bon and Hanny with help from Peter Lemer on keyboards and various guests (Allan Holdsworth, Darryl Way, Nico Ramsden). This effort highlighted Moerlen's talents on a variety of tuned percussion instruments, making good use of overdubbing facilities. Of particular note was the superb introduction, "Ard Na Greine", with its intertwined vibraphone, glockenspiel, marimba and tympani over layers of synthesizers. During the following months, both Moerlen and Hansford were employed by Mike Oldfield for session work and touring, so there was no new album from Pierre Moerlen's Gong until 1981's Leave It Open. This final effort carried on in a similar vein to its predecessor, albeit a more inconsistent one. Following a change in the management of the band's label, Arista, PMG were dropped and forced to split up. There followed a period of uncertainty for Moerlen. After failing auditions for a couple of French pop singers, he briefly joined Magma but didn't get on well with Christian Vander (who does?) and preferred to turn to drum teaching in his native Strasbourg. In 1982 and 1983, he also worked again with Mike Oldfield, mainly in a live setting (although he does appear in the video of "Moonlight Shadow", miming to Simon Phillips' drum parts!). Then in the spring of 1985, Moerlen received a call from Tribute, a Swedish band he'd already been in touch with three years previously. At the time, the band wanted to hire him to play drums on an album but had to give up the idea. Now Tribute was a well-established gigging band and had both a Swedish and European tour in sight. This sounded good to Moerlen who joined Tribute, ultimately staying for two years and playing on two albums : the studio effort Breaking Barriers (1986), to which he contributed the beautiful closing piece "I Felt Like It"; and the live album Live - The Melody, The Beat, The Heart (1987). While in Sweden, he also recorded an album of his own compositions (one of which, "Far East", was played live at Tribute gigs) with the help of Tribute musicians. However, he asked Hansford Rowe to add bass parts to the tapes, and thus released the album under the Pierre Moerlen's Gong name. In 1987, Tribute ground to a halt (it later reformed under Gideon Andersson's sole guidance) and Moerlen formed a new PMG line-up back in France, with Hansford Rowe, Benoît Moerlen, ex-Tribute guitarist Ake Zieden and new members Frank Fischer (keyboards) and Stefan Traub (vibraphone). That line-up would tour Germany twice between 1987-89 (as documented on a forthcoming live CD), and record yet another album, Second Wind (1989), the band's most democratic effort to date, and one of their best. Unfortunately, things weren't as great from a financial point of view, and PMG broke up for good during 1989. Both Moerlen and his brother Benoît returned to teaching, while Rowe crossed the Atlantic again to settle in Montreal. Eventually, Moerlen began to work as resident drummer in several big musicals (Evita, Les Misérables etc.) and toured in Europe and the US with them, while Rowe formed Bon with Bon Lozaga, who in the meantime had quit the music scene to run a restaurant. There was talking of reviving PMG in 1994, but eventually the project became Gongzilla, a band featuring Lozaga, Rowe and Benoit Moerlen, but not Pierre, who did however join the band on a temporary basis in 2002 for a European tour. In March 1997 it was announced that Moerlen was joining Brand X for a tour of Japan, which regular drummer Frank Katz had declined to do. This series of gigs proved successful and he stayed for a further tour of Europe in May and June. In the meantime, he had also agreed to rejoin Gong following Pip Pyle's departure, in August 1997. He stayed on for a further French tour in 1998, but left two dates into the spring 1999 European tour under controversial circumstances. After leaving Gong, Moerlen resumed teaching and worked on compositions for a new album and a new incarnation of PMG. Spring 2000 saw a couple of live appearances which proved unsatisfactory. He had just begun rehearsing a new group, when the tragic news of Pierre's sudden death was released. © http://calyx.perso.neuf.fr/mus/moerlen_pierre.html

Matt Powell

Matt Powell - The Money And The Grass - 1998 - MIA Records

A very impressive album with songs and guitar styles influenced by greats like Hendrix, Clapton, SRV, and players of that genre. Matt Powell himself said that "Living in Austin really opened my ears to the stuff THEY learned from (or really, where everything good comes from), the pure and natural blues. This was a blossoming period for me as well as far as songwriting was concerned. So I wrote some tunes combining both aspects and, yep, "The Money And The Grass" was born. I had a real good band back then (Matt Powell, Chris Gilson, Nate Rowe) and we made that record ourselves. It was later picked up, and dropped, by a little label out of Houston. It received no critical acclaim but is still my favorite of my old stuff. Lots of guitars and nice tones around young, but interesting songs".
"Thank you for taking the time to find the music you want to listen to instead of listening to what you think you’re supposed to. Don’t be fooled by mainstream radio and, as always, thanks for supporting the little guys" Love, MP © 2008 OurTracks, LLC. All rights reserved http://www.ourtracks.com/artistpage.php?id=154

Matt has said in his autobio, "I have just finished my fifth independent studio project. It’s called “New Kind of Something”. If you’ve heard my previous work, this record draws a little bit from all the styles I’ve touched on in the past. If you haven’t, then this cd is a perfect place for us to become acquainted. It is the best record I’ve ever made across the board; writing, playing, singing and producing. I played nearly everything (even some drums and piano) on this one. Of this effort I am proudest of all. I produced NKS with a dear friend of mine, Britton Beisenherz, at his studio called Ramble Creek in Austin, Texas. I feel this record aptly represents me as an artist and definitely reflects my growth on the crazy journey that is this life. I hope you will buy a copy for yourself, and if you enjoy it tell everybody you know. I hope you'll go back and pick up my other cds as well. On behalf of myself and artists like me, thank you for taking the time to find the music you want to listen to instead of listening to what you think you’re supposed to. Don’t be fooled by mainstream radio and, as always, thanks for supporting the little guys. Love, MP © 2008 OurTracks, LLC. All rights reserved http://www.ourtracks.com/artistpage.php?id=154

"The Money And The Grass" is HR by A.O.O.F.C. Buy Matt's "New Kind Of Something" album, and promote real music.

TRACKS

The Money & The Grass
Rich Man
Turtles & Rabbits
Daisy Chain
You Never Know
Striped Sunshine
What You Do To Me
Jet Black Dreams
Lover Man
Ride
Crow
Turn The Page

All songs composed by Matt Powell except "Ride" by Seth Walker

BAND

Matt Powell - Guitar, Vocals, Percussion
Nate Rowe - Bass
Chris Gilson - Drums

ABOUT MATT POWELL

Hmmm. What do you say about yourself to the world? Let me hit the basics quickly for the newcomers. I’m a singer/songwriter, multi-instrumentalist, record producer, left-handed Taurus born and raised in Rocky Mount, Virginia. Gasp! That’s right I’m not from Texas. And chances are you’re not from Virginia. So what. I hate labels. I’m from Earth and I live in Austin. I live to make music and I love almost all styles. I’ve let every kind I listen to influence my sound at some point or another over the 18 years I’ve been playing. I play alone. I play with my bands. I play with other peoples' bands. The tough Austin music scene has helped me to shine in many different situations. I pride myself on that, but right now…I’m working on my own situation. I could bore you with a long bio about my life but this is really about the music, isn’t it? So let me give you a rundown of my catalog. Let’s start with: “The Money and the Grass” - When I first moved to Austin I was heavy into blues. I’m a guitar player firstly and I’ve always loved Hendrix, Clapton, Stevie, and players of that genre. Living in Austin really opened my ears to the stuff THEY learned from (or really, where everything good comes from), the pure and natural blues. This was a blossoming period for me as well as far as songwriting was concerned. So I wrote some tunes combining both aspects and, yep, “The Money and the Grass” was born. I had a real good band back then (Matt Powell, Chris Gilson, Nate Rowe) and we made that record ourselves. It was later picked up, and dropped, by a little label out of Houston. It received no critical acclaim but is still my favorite of my old stuff. Lots of guitars and nice tones around young, but interesting songs. That was ‘98ish. My next two records I actually did at the same time: “Dragonfly” and “Ten Gallon Heart” - While I was waiting out the aforementioned record deal I wrote a ton of songs; more than enough for one album. So I decided to make two: one that I knew I would like, and one that I thought everyone would like. I always wanted to do something that I played all the instruments on so I made “Dragonfly”. This was the one I thought only I would like, but as it turns out it seems to be everyone’s favorite. I like to call it “porch music”. I don’t think I played all the instruments on it that well back then but I guess I got my point across. I do love most of those songs though. I did it in my bedroom on an Otari MX20-20 with a couple of AKG-414s (for you gearheads) for about $800 bucks. It’s a great “sit by the water” record. “Ten Gallon Heart” consists mostly of songs that my band was playing at the time. Texas had rubbed off on me so there’s definitely some country on it. It’s still me though so it’s more like twangy rock. I made this record with some airplay in mind so it’s got its hooks and big choruses. The first track is my version of the song that just won’t die, “$50 and a Flask of Crown” (yes, I wrote it). Chris Gilson played drums, Ricky Davis played pedal steel, and I did the rest on TGH. “Fluke Luck and Jesus” - Being from Virginia I grew up around bluegrass music. I never played it a lot back home but I guess it kind of imbedded itself in my subconscious. The whole “Down From the Mountain” trend a few years back made it okay to be a hillbilly so I let my true colors shine for a while. I wasn’t traveling and the Austin scene had taken a nose dive. Honestly, I had been taking a much needed rest from bars and crappy gigs. I was bored with playing until bluegrass flatpicking became my new hobby. It made me fall in love with guitar again. Then I saw Alison Krauss and Union Station for the first time and it literally changed my life. I’ve only had a handful of religious experiences in my day and that was definitely one of them. Pretty soon I had written the songs that would become “Fluke Luck and Jesus”. This record sounds like “Dragonfly” after a LOT of practice. My friend Nate Rowe played upright bass and I played everything else on this one. “New Kind of Something” - This brings us up to date. I have just finished my fifth independent studio project. It’s called “New Kind of Something”. If you’ve heard my previous work, this record draws a little bit from all the styles I’ve touched on in the past. If you haven’t, then this cd is a perfect place for us to become acquainted. It is the best record I’ve ever made across the board; writing, playing, singing and producing. I played nearly everything (even some drums and piano) on this one. Of this effort I am proudest of all. I produced NKS with a dear friend of mine, Britton Beisenherz, at his studio called Ramble Creek in Austin, Texas. I feel this record aptly represents me as an artist and definitely reflects my growth on the crazy journey that is this life. I hope you will buy a copy for yourself, and if you enjoy it tell everybody you know. I hope you'll go back and pick up my other cds as well. On behalf of myself and artists like me, thank you for taking the time to find the music you want to listen to instead of listening to what you think you’re supposed to. Don’t be fooled by mainstream radio and, as always, thanks for supporting the little guys. Love, MP © 2008 OurTracks, LLC. All rights reserved http://www.ourtracks.com/artistpage.php?id=154

Zola Moon

Zola Moon - Tales of Love and Desperation - 2003 - Postmodern Music

Brilliant postmodern blues from the great Californian blues vocalist, Zola Moon. The album has strong elements of soul, blues rock, folk, and roots music. Among her influences are Janis Joplin & Big Mama Thornton. She provides electrifying vocals and music, and has performed with Albert Collins, Etta James, Elvin Bishop, Albert King, Big Mama Thornton, Al Kooper, and Junior Wells among others. "Tales of Love and Desperation" is VHR by A.O.O.F.C. Buy her great "Earthquakes, Thunder and Smiling Lightning" album, and promote this great music. Zola's "Lost in the Blues" album is @ ZOLMO/LITB

TRACKS

1 Never Give Up on Ya 4:06
2 Hard Liquor 3:19
3 How Long 4:31
4 Bluesville 3:40
5 Steel Bars 5:06
6 Talkin' 'Bout You 3:53
7 Snake Eyes 7:32
8 Don't Blame It on God 4:19
9 Sweet Pea 2:44
10 House of the Rising Sun 4:16
11 Mechanical Beast 4:11

All words and music by Zola Moon except Track 10 (Trad.)

BAND

Zola Moon - Vocals, Harmonica
Vince "the Silver Fox" Joy - Guitar
Ron Battle - Bass
Jerry Olson - Drums

ZOLA MOON IS THE MOST CRITICALLY ACCLAIMED BLUES ARTIST ON CDBABY. THE QUOTES BELOW ARE FROM MAGAZINES, NEWSPAPERS, WRITERS, REVIEWERS, AND DJs FROM AROUND THE WORLD : -

"A charismatic singer with a restless, blues-wailing sound, Zola Moon's literate original tunes exude a Charles Bukowski wit and a lyrical immediacy missing from most current blues revivalists. This longtime blues-rocking vet remains one of the Southland's best-kept musical secrets."--LOS ANGELES WEEKLY

"Zola Moon's pretty damn scary; she can belt 'em out like nobody's business, and she plays a wicked-ass harp. When she croons, she grabs you by your throat, knocks you out flat, sits on your chest, and makes sure you know how much she's hurtin';."--ORANGE COUNTY WEEKLY

"Not only does Zola sing her heart out, but she plays the harmonica, writes all the songs, and generally just shines."--SOUTHLAND BLUES

"Willie Dixon once said to Koko Taylor 'That's what what the world needs, a woman with a voice like yours that sings the blues;. If Willie were alive today you can bet he'd be saying the same thing to Zola Moon. Zola serves up some wild rocking blues complete with gut wrenching vocals, hot guitar licks and some pretty mean harp-and shows that the blues don't have to be the same old thing, they can be fresh, original and very, very HOT!"--BLUEZ4U.COM

"When Zola sings, you can just FEEL the blues drip down, like wax on a candle."--THE ONCE AND FUTURE BLUES

"I am more excited about Zola Moon than any female blues singer that has ever passed my way in 47 years. She is the best female blues singer I have ever heard. She is SPELLBINDING."--BIG DADDY BLUZHARP'S Guide To The Best Of Blues Harmonica And Beyond

"Zola Moon should make any blues fan jump for joy."--BLUESBOYMUSIC.COM

"It's very refreshing to hear something new, yet still in a great blues tradition. Zola Moon will be heard on my show over & over & over."--Brett Parker: THE BLUES BOX, Logan 101.1FM, AUSTRALIA

"Zola Moon has a voice that places her on the same level with the legends of the blues. It is hard to find any accolades that haven't already been used to describe her talent."--DELTA SNAKE DAILY BLUES

"Zola Moon has been picking up hot reviews from several quarters."--BLUES ON STAGE

"Zola writes original songs that swing and rock, plays the harp, and is a full-voiced blues singer who can hold a note with power forever and still get soft and sultry."--BLUES ACCESS

"Wow! This gal has a great set of powerful pipes. Zola Moon pulls no punches. There is a real echo of Big Mama Thornton and Janis Joplin and I'd be the last to complain about that. Zola is a truly honest talent and fills a very bright spot on the blues scene today. This is refreshing as hell blues."--JAZZREVIEWS.COM

"It's 105 degrees in Texas, but Zola Moon makes that seem cool by comparison. This woman and her music are HOT!!!"--Dave Johnson: Host of the nationally-syndicated BLUES DELUXE radio program

"South Bay blues legend Zola Moon plays a wicked harp and belts the blues like she grew up on the Mississippi Delta."--LOS ANGELES DAILY NEWS

"Zola Moon is one of the most exciting blues singers in the United States."--THE-MP3-WAY.COM

"If talent is truly in the equation, this Moon should rise, indeed."--MUSIC CONNECTION

"The blues would not be the blues without the timeless songs of people like John Lee Hooker, Robert Johnson, Willie Dixon, Mississippi John Hurt, and Muddy Waters. Zola Moon's songwriting and singing put her in very good company."--EASY READER

"You get 200 percent when she's on stage. She must lose at least 5 pounds a night when she performs. Zola Moon is marked for greatness."--CULTURE WARS

"Her name is Zola Moon and she is a triple-threat talent. Not only does she write the songs and sing the hell out of them, she plays a mean harmonica."--WHAT'S UP

"Zola Moon delivers blues the way blues were meant to be delivered, with passion and soul. No doubt about it, Zola Moon is the REAL DEAL."--Karen E. Reynolds: WDVX

"Steamy, raw, wailing songs; she is completely original. Miss seeing Zola Moon at your own risk."--ROCK CITY NEWS

"Zola Moon is making a name for herself in the blues like there's no tomorrow."--4 FRONT

"Zola Moon's incredible voice, smoldering presence, and powerful charisma have captivated everyone from legendary blues players to brain-fried club patrons."--BUZZ

"Zola Moon is one of the great blues singers."--EDGE

"Zola Moon is a riveting stage presence. With her flair for improvisation, each performance has its own unique flavor. Her powerful style and charisma are undeniable. Don't miss her act."--NEW MILLENNIUM

"Zola Moon can rip through a song with the ferocity of a caged lion that's finally been freed."--STEREOPLAY

"It's not often that we get a blues singer that has the ballsy style of Zola Moon. TOTALLY original. If you love hot & heavy blues with GUTS, you'll agree with me when I declare her to be one of the BEST OF THE BEST!" --IMPROVIJAZZATION NATION

"It has been a long time since I have had the pleasure of listening to such a spectacular voice. Zola Moon is the Goddess of the Blues. Zola draws you in and makes you feel the blues like you've never felt them before. I grew up on the blues, and can tell you that it just doesn't get any better than this. If it does, I've yet to hear it."--THE GLOBAL MUSE.COM

"Zola Moon is a blues icon."--Left Coast Carl: KSPC

"Real blues fans, the ones with B.B. King and John Lee Hooker in their CD collections, will love Zola Moon."--INDIE-MUSIC.COM

"Zola Moon will be on our playlists for as long as forever is."--Larry Lowe: CYBRORADIO

"***** Zola Moon recordings are must-haves for any blues lover."--BEACH NEWS

"Zola Moon is the hardest working blues singer in Southern California."--RAVE

"Zola Moon sings some powerful original blues with a powerful voice that is not really like any other we have heard in quite a while.--GRITZ.COM

"Zola Moon is one of the TOP TEN artists of the year."--FEMMUSIC.COM

"Zola Moon has energy and style-an unbeatable combination where the blues are concerned."--Dave Butler: WHBN

"Zola Moon serves up fiery original blues songs, powerfully versatile vocals, and great harmonica prowess."--PLAYBACK

"As both a singer and a songwriter, Zola Moon continues to add luster to her well deserved renown her with wild, rocking blues. Yet her music is, at the same time, very sophisticated, and when she wants to, in spite of her force-of-nature power, she can draw you in and create an intimate atmosphere."--HALLANDSPOSTEN

"South Bay legend Zola Moon's CDs are packed with the kind of blues that makes you laugh, cry, sing along and tap your foot."--SOUTH BAY WEEKLY/LA TIMES

"Zola Moon is a powerhouse. She reminds me of Etta James and Koko Taylor at their peaks."--Erica Reed: KUOR

"Zola Moon is the best blues artist I have heard in many years."--Kjell Andreassen: RADIO HOLSTEBRO

"Zola Moon is a challenging talent and a master of the blues. Her incredible power and stunning vocals clearly prove that she is, indeed, a force to be reckoned with."--GOGIRLSMUSIC.COM

"Zola Moon is unique, insightful, passionate and genuine. My only disappointment is that I live in Australia and can't experience her music live all the time."--Stewart Dorman: WALKING THE BLUES, 4DDB FM 102.7, AUSTRALIA

"Zola Moon's lyrics are totally clich-less and, with only slight inflections in her phrasing, her voice can convey irony, menace, or sadness."--BLUES BYTES

"Zola Moon is one of the finest blues singers I've ever heard."--Curtis Tillman (bass player for Big Mama Thornton, Lowell Fulson, Albert Collins, Bobby Blue Bland, Freddie King, Johnny Ace, etc., etc., etc.)

"Zola Moon can blow you away one minute, then take you to another place the next, still leaving you with the blues. She can sing, play harp, and write a bloody good song. If you have got the blues, you need Zola. Recommended? You better believe it."--Terry Iredale: HOT-FM 106.7

"Zola Moon sounds like no other blueswoman in the business. She scratches and bites with a vocal aggression seldom heard today. Nevertheless shes no rock singer, but is deeply rooted in the blues. This is also evident in her songwriting. Her blues seem to come out of deep soul even when she swings. Her voice reminds me of Koko Taylor and Janis Joplin. Live, Zola Moon must be a phenomenon of nature."--CONCERTO, GERMANY

"From the first time of the many times I have seen Zola perform, I have always considered her incredible voice and power to be true forces of nature."--Vince Daniels: WPMD

"Zola Moon delivers tons of passion with an incredible voice. Great original songs, great backing band, great production. Wow! Wow! Wow!"--Uncle Vasja: MOJO BLUES 103 FM

"Zola Moon concentrates on good songs (hers) and is a welcome different take on the blues, doing away with the cheesy, self-indulgent, fake-Stevie Ray noodlings many bands mistake as blues. She is enrapturing. One of our picks of the year."--SHADOWWORLD

"Great musicianship and an incredible voice make Zola Moon a definite winner. For those of you who look at the Blues as an old man style of music, all I have to say is, listen to Zola!Those who have heard her, understand what I'm talking about. Those who are interested, are going to be shown the way.This is just simply fantastic blues!!! Highest rating-A++."--LIVE MUSIC

"Zola Moon plays a deadly harp, has a tight hard-assed band, and belts the blues like the early shouters. The fact that she writes all her material is a bonus. When is she coming to Australia?"--Stephen Hall: RED HOUSE BLUES, Radio 2NSB, Sydney, AUSTRALIA

"Does Zola Moon know how to sing the blues?-Damn right she does!!! Does Zola Moon know how to play harp?-Damn right she does!!! Does Zola look GOOOOOD?-Oh, Mama, she sure does!!!"--Kruno: VFM BLUES RADIO, CROATIA

"Man, if Zola Moon doesn't grab you by the soul, then you must be dead!"--DJ Smilestir: BLUE ICEWATER RADIO, blueicewater.cjb.net

"Zola Moon is a staple of our radio show. Her vocals and songwriting are stellar. Plus, Zola's band is top-flight and keeps the party rockin."--Joe Kelly: THE UPPER ROOM WITH JOE KELLY, WVOF 88.5 FM, CONNECTICUT

"I was too young for Billie Holiday; I never got to see Janis Joplin perform, but I can tell the world that I've seen Zola Moon and, friends, she was something to see. Zola Moon is an artist you can tell your grandchildren about."--SOUTHBOUND BEAT

"Zola Moon is one of the few contemporary American blues artists who manages to say some new things in a truly original way."--Gustavo Rozenberg: GOODTIME BLUES, VIERNES 91.3 FM, Buenos Aires, ARGENTINA

"Zola Moon and her music are hot as Hell."--Johnny Timewarp, WFCS 107.7 FM, CONNECTICUT

"As ever, Zola Moon is a cool artist full of vitality who shows what she is able to do, which is more than one can really imagine."--Vicente Zumel: THE BLUES HOUR, 96.6 FM, Barcelona, SPAIN

"Zola Moon has a powerhouse voice. These are original songs sung by a woman who puts emotion and feeling into her song stylings."--Doug Lewis: The Doug Lewis Show, WGVN, 107.3 FM, St. Thomas, US VIRGIN ISLANDS

"An amazing Blues harmonica player as well as an incredible singer."--BELLY UP 4 BLUES

"Zola Moon not only sings, but writes from the heart, always with honesty, power and beauty."--LIVELY ARTS

"As Zola Moon sings, you can feel the hairs on your arms and the back of your neck standing on end. She grabs you by the throat and comes up fighting."--SOCAL BLUES

SHORT BIO

Female blues singer and songwriter Zola Moon was born in San Jose, CA, but her powerful song stylings might mislead listeners to guess that she was raised in the Deep South of Louisiana or Mississippi on grounds better known for producing great blues artists. She is self-taught, though she does mention numerous musical influences, ranging from B. B. King and Muddy Waters to Hank Williams and Tina Turner. Even with all of those wonderful influences, Zola Moon has worked hard to keep her sound all her own. Zola Moon began her career in blues about 1983, in the San Francisco area. After seven years of performing, which helped her grow a large fan base, she finally released a debut album in 1990. It was titled Dangerous Love and recorded under the BareMoon Records label. Five years later, and with a new label, she finished work on an enjoyable sophomore offering, Lost in the Blues. It was followed in 1998 by Almost Crazy and then in 2000 by Earthquakes, Thunder, and Smiling Lighting. Some of the original blues tunes fans can sample on Zola Moon's albums are "Doll House," "Lucky Me," "I Look at the Fool," "Imagination," "Alley Cat," "Hollywood to the Hood," and "I Don't Think So." Over the years Zola Moon has performed at concerts, festivals, and nightclubs, appearing with many artists, including Etta James, Junior Wells, Al Kooper, Albert Collins, and Elvin Bishop. Her band consists of longtime drummer Jerry Olson, guitarist Vince "the Silver Fox" Joy, and bassist Ron Battle. © Charlotte Dillon, allmusic.com

MORE ABOUT ZOLA MOON

“For me, It’s always about the music,” says Zola Moon. “It’s like a painter who just has to paint that painting. I do it because I can, because I’m lucky enough to be able to do it, and because I have to. It’s an unstoppable drive. Artists do it because something makes them do it. Not the money,” she laughs. “Although, sometimes that helps.” Blues singer Zola Moon has been a consistent presence in Los Angeles for more years than we have fingers and toes, going back to the early and mid-1980s. When I first interviewed her, she had just released “Lost in the Blues” on the prestigious Kent Records label. That was early in 1995. The deal with Kent soured. “When I wanted to start writing my own material and controlling what I sang more, that became a problem for my guitar player and then musical director. So I fired him and the whole band. But we had had a long successful run. Because of my insistence on original material, we were selling original blues shows for 13 years, hammering out an identity, which can be very hard to do. We opened up a lot of doors for a lot of blues acts. We proved to the owners and bookers of a lot of venues, at a time when there were pretty well no blues venues, that the blues was viable.” That was ten years ago, and a year after that Zola released her first record of her own original material, “Almost Crazy.” Her fifth and latest CD of original songs (her seventh overall) “Wildcats under My Skin” is about to be released. When it comes to what she looks for and expects from her band, Zola is one savvy character. The ability to play well is not enough; her players have to have their chops, but they need to be fearless, too, and must be able to extemporize and turn on a dime like the alert, well-seasoned musicians they are. Zola calls her group The Pretty Boys, and the lineup consists of bassist Eric Williams, drummer Jerry Olson, guitarist Michael Carter. “Michael is a sensitive, exciting guitar player,” she says. He’s also got a jazz attitude, like me. There’s plenty of room for him to move, and he really delivers for me.” Williams is described as a solid, old school bass player, like Bill Wyman of The Rolling Stones. “Eric plays the bottom, you know, and he is rock steady.” And Olson? “Jerry is the engine of the band. He will put on a show for you. I have had him in every kind of circumstance or show. Jazz clubs where they want a lower volume show, not a boring show, but lower, which is hard for some drummers to do, to huge outside concerts in front of thousands of people where I need a real fire drummer with lots of power and energy. Jerry always delivers what I need. My group always delivers what I need; I love them.” This is the band that recorded “Wildcats under My Skin” on an analog 2-inch tape machine at Dino M4 Studio in Torrance, CA. In this digital age, analog tape is going the way of the dinosaur, but for some musicians it is still the only way to go for its wide sonic range and big sound. The album contains eleven tracks, all of them penned by Zola, with the exception of a little help from Cynthia Manley and Jessica Williams on “Boat Man.” The record also has guest appearances by Ricky Stelma on piano and accordion, Elizabeth Hangan on back-up vocals, and Jimmy Z on saxophone and harmonica. Zola says she can be nervous about a new release at first, but that she’s already sold on her latest, “which I liked immediately. I think it’s because of ‘Tequila Dreams.’ ” At eight and a half minutes, “Tequila Dreams” is by far the longest track, but it stands out in a good way, in part because of its surreal narrative, Zola’s mesmerizing vocals, and Jimmy Z’s sinuous and slithering sax work that plays well against the solid foundation set down by the bass and drums. “ ‘Tequila Dreams’ is a combination of -- yes, I confess – drinking mescal and eating the worms in Tijuana,” Zola says with a loud laugh. “It’s kind of a mescal hallucination. But it’s also the story of the rise of the Insect Queen who dominates the world at the end of Earth’s life-cycle in the solar system.” She then additionally describes the contents of the song which don’t get any less surreal and ends by saying, “So that’s the story of the Dowager Empress Worm Commissioner of the World.” We agree that it’s very Jim Morrison-like, and for me reminiscent of “Beggars Banquet”- era Stones without being derivative of either Mick Jagger or Jim Morrison. Not surprisingly, a list of Zola’s influences puts her own work into perspective, and conveys something of the standards she sets for herself when composing and performing. When asked who has impressed her, she mentions Patti Smith, both as a lyricist and for her Jim Morrison-like spirit. She quickly adds others: Charles Bukowski, Buddy Guy, Kurt Cobain, Janis Joplin, Etta James, Linda Hopkins, Big Mama Thornton. Some of these artists, those still with us, have been slogging away at their art – at times without due recognition – for year after year. So how does Zola keep herself going, particularly after – and I assume that all artists have some – a show not up to her exacting standards? “Me and my band are what you would call the last of the roadhouse warriors,” she replies, “and you only feel as good as your last show. So even if it’s a night that there’s not a lot of people there, you still have to make it happen. If those people are excited after the show, you can walk out with your head high. It’s what you have to do. Every show matters. And that is hard to do – but some of us long-distance runners learn how to do that.” As strenuous as they sometimes can be, the live shows inevitably fuel the recordings. “You know, I still believe in the work ethic. To get out there and work the band in front of a real audience tells you more about where you are and the legitimacy of what you’re doing than any kind of record company executive – they live in a different, artificial world. But when you’re out there with people watching your show, and they love you, and you’re doing original material, you know you’re on the right track. That’s why my CDs come out of my live shows. I learned a hard lesson in the past, where you go in and let a producer do what they think the record company wants, and then your fans go, ‘What’s this? This isn’t you.’ Now I take my boys into the studio, no studio players, and I do what I want. “ Often the kernel of a new song evolves while Zola is singing onstage. “A lot of the time it’s the hook and the melody line, it’s all there. Other times it’s the melody line and the story. If the story’s there, the rest will come later.” On occasion, when she’s writing the lyrics, she’ll solicit suggestions from her producer, Richard Vidan, who has overseen her recordings and shows for several years. Although there is a certain autobiographical element in many of Zola’s songs, one can’t fail to notice that her music is billed as postmodern blues, and to a large extent, that is due to her wide range of subject matter, which often parts company with the usual laments of desire and despair that pervade most songs, whether pop, country, or blues. “I think this why postmodern is a good explanation for what I do,” she says, and this is referring to her political and social commentary. But there’s another aspect as well. “I’ve come to realize in the past year that we’re a blues-based band with what I would Americana-roots rock influences. Although it’s all blues-based, some of the blues purists probably don’t think it’s not blues or not blues enough. They’re the same people that don’t like Janis Joplin or Stevie Ray Vaughn or Buddy Guy’s recent work.” Zola acknowledges their viewpoint, but doesn’t seem overly concerned about not fitting neatly into someone’s narrow definition of what they think the genre should be. “We are different, this is true. I’m in love with the blues, always have been. But we are different. I’m doing my blues.” © Bondo Wyszpolski, © 1998-2008 Postmodern Music

Cæcilie Norby

Cæcilie Norby - London/Paris - 2004 - Copenhagen Records

Caecilie Norby is a singer with an unusual repertoire that not only includes some jazz standards, but a few pop tunes of the past 30 years (including "Spinning Wheel" and "The Look of Love"). She has a strong voice and a style that shows potential. Born in Denmark to parents active in the classical music world, Norby's background is actually in rock, recording with Frontline in 1985 and spending 1986-1993 as half of the rock group One Two. However, she also sang occasionally with a small jazz group in clubs, and pianist Niels Lan Doky was impressed enough to offer to produce her first jazz record. Caecilie Norby, whose greatest musical influence is early Nancy Wilson, recorded two sets released domestically by Blue Note. © Scott Yanow © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll

Cæcilie Norby was born on September 9th 1964 in Frederiksberg (Denmark). In 1982 she was one of the founders of the band Street Beat and from 1983 she was part of the Jazz/Funk group Frontline, which released the albums "Frontline" and "Frontlife". From 1985 to 1993 she was part of the group One Two. In 1995 she released the album "Cæcilie Norby" on the Blue Note label. In 1996 she released "My Corner Of The Sky". Her third album "Queen Of Bad Excuses" was released in 1999, followed by "First Conversation" in 2002. In 2005 she released her great "Slow Fruit" album. "London/Paris" was recorded during a European tour at the Pizza Express Jazz Club, Soho, London and the Sunside Jazz Club, Rue de Lombards, Paris in 2003. "The album gives a dusty atmospheric sound with Ulf Wakenius (Sweden) on guitar and Xavier Desandre Navarre (France) on percussion. "London/Paris" is a bouquet of the best jazz standards and pop classics transformed to new versions in experimental and playful ways" A good album from a great jazz vocalist, very reminiscent of Nancy Wilson. "African Fairytale" with original lyrics by Cæcilie is a brilliant interpretation of Wayne Shorter’s classic, and is arguably the outstanding track on the album. Listen to her "Slow Fruit", and "My Corner of the Sky" albums

TRACKS / COMPOSERS

1 Face It Girl, It's Over - Badale , Stanton
2 How Deep Is Your Love - Gibb
3 But Not For Me - G.& I.Gerschwin
4 Both Sides Now - J.Mitchell
5 Cuban Cigars - C.Norby, L.Danielsson
6 In A Sentimental Mood - D.Ellington
7 Rules Of The Road - Leigh, Coleman
8 The Good Life - Reardon, Distel
9 You Don't Know What Love Is - Raye, DePaul
10 Sorry Seems To Be The Hardest Word - E. John, B. Taupin
11 African Fairytale - C.Norby, W.Shorter

MUSICIANS

Vocals - Cæcilie Norby
Guitar - Ulf Wakenius
Bass, Cello - Lars Danielsson
Piano [Grand] - Carsten Dahl
Piano [Grand], Synthesizer - Jesper Nordenström
Drums - Morten Lund
Percussion - Xavier Desandre Navarre

BIO

Cæcilie Norby has been celebrated by fans, critics and many of the world's greatest musicians. In Europe she was one of the very first who contributed to bridge the gap between Jazz and the young traditionally rock oriented audiences. She has released 4 of her 7 solo albums on the prestigious BLUE NOTE Records, recieved awards and selling thousands of albums in Europe, US, Japan and South Africa. In 1982 she was one of the founders of the band Street Beat, where she was a vocalist for the next 2 years. From 1983 she was part of the Jazz/Funk group Frontline, which released 2 very successful albums "Frontline" and "Frontlife", and was awarded the prestigious Ben Webster prize. In the former Danish music magazine MM, a readers poll bestowed prizes on the orchestra for "Jazz-act of the year", "Live-act of the year", "Most promising act", "Album of the year" and Cæcilie was elected "Soloist of the year". In 1985 she launched on a long cooperation with the singer Nina Forsberg in the highly popular Pop/Rock group One Two. The group existed right up to 1993 and recorded 3 albums; "One Two", "Hvide Løgne" and "Getting Better" which sold approx. 250,000 copies in Denmark alone. The year of 1986 saw Cæcilie representing Denmark in an international Jazz orchestra at the Knokke Festival in Belgium. In 1990 Cæcilie's father wrote the work "Concerto for two sopranos" for Zealand Symphonic Orchestra. The two sopranos were Cæcilie herself and her mother, and the work contained both classical and rhythmic and improvising elements. Cæcilie has also performed with her mother and Thomas Clausen with a mixture of Opera, Musical and Jazz titled: "Ballads, Blues and Lieder". Cæcilie begun performing as a soloist which, both early on and throughout her career, has seen her collaborating with numerous renowned European and American musicians, bands and orchestras - such as: Musicians Dianne Reeves, Curtis Stigers, John Scofield, Mike Stern, Randy and Michael Brecker. Bassplayers: Ray Brown, Niels Henning Ørsted Pedersen, Lars Danielsson, Heyn van der Geyn, Mads Vinding. Drummers: Billy Hart, Al Foster, Terri Lyne Carrington and Alex Riel. Pianists: Bobo Steenson, Lars Jansson, Carsten Dahl, Joey Calderazzo, Dave Kikoski and many many more. Big Bands & Orchestras: Tolvan BigBand, The Danish Radio Big Band, Klüvers BB, Bohuslen BB and The Umo Big Band. In the spring of 1995 the album "Cæcilie Norby" was released on Blue Note, the legendary Jazz label, with contributions by a number of composers and soloists such as: Randy Brecker, Chick Corea, Don Grolnick, Rick Margitza, Billy Hart and Lars Jansson. The CD was mixed and partly recorded in New York. The Jazzspecial magazine elected "Cæcilie Norby" one of the five best records, and the five digit sales figures achieved so far both in Japan and Denmark are exceptional for a Jazz album. (sales: approx. 60,000 copies) Her second Blue Note release "My Corner Of The Sky" includes drummer Terri Lyne Carrington, bassist Lars Danielsson and the Brecker Brothers. After achieving the sales figure of of 70,000 copies Cæcilie was elected one of the ten most popular jazzsingers throughout the world in 1996. Cæcilie toured for 3 weeks in Japan with her Scandinavian Quartet in December 1996, 3 weeks in USA and 4 months all over Europe during the summer of 1997. Her third album "Queen Of Bad Excuses" was released September 1999. This time she wrote 95% of the music and the lyrics herself; a "selfbiographical fiction" as she calls it. All arrangements, programming and producing were done in cooperation with Lars Danielsson. The album was released in Europe, Australia, Japan and South Africa. It received overwhelming good reviews both from hardcore jazzreviewers to the broad pop-jazz audience. And once again the sales figures exceeded 50,000 copies. Cæcilie's 4th Blue Note album "First Conversation" was a fast selling record. It was created in cooperation with producer Lars Danielsson - who wrote special arrangements for the orchestra, tailored for the improvised sessions recorded in the famous ECM Rainbow Studio in Oslo, Norway. The album features legendary drummer Jon Christensen and pianist Carsten Dahl to mention a few. To date, "First Conversation" has exceeded 40,000 copies sold in Denmark alone and collected a tremendous amount of fine reviews. The Live album "London/Paris" came to life during the Europe Tour in 2003. Two intimate Jazz Clubs became the backdrop for a successful documentation of the hectic touring life of Cæcilie Norby and band. The album gives a dusty atmospheric sound with Ulf Wakenius (Sweden) on guitar and Xavier Desandre Navarre (France) on percussion. "London/Paris" is a bouquet of the best jazz standards and pop classics transformed to new versions in experimental and playful ways. A month after "London/Paris" was released, the American jazz diva, Dianne Reeves, invited Cæcilie Norby to guest appear on 5 songs at a TV concert recorded at the Baltica Jazz Festival in Germany. The duet collaboration was repeated at the Copenhagen Jazz Festival the same summer. "London/Paris" has also received a gold award for 25,000 copies sold in Denmark. The next studio album from Cæcilie was "Slow Fruit" which was released in September 2005. All material on the album is solely written and composed by Cæcilie Norby herself. Lars Danielsson has co-composed 3 of the songs and appeared as both primary pianist and bassist. A significant note about the album is the high degree of intensity derived from collaborations set in a home environment. Prominent musicians, who have influenced Cæcilie's sound both live and on recordings throughout the years, add to the personal and warm atmosphere heard on this album. "Slow Fruit" also introduced a new collaboration opportunity by the American saxophone player and singer Curtis Stigers, who join Cæcilie in duet on the track "Big Time". "Slow Fruit" has truly been a well received album and collected highly appraised reviews. "I Had A Ball" is Cæcilie Norby's latest album. It was released on Copenhagen Records and recorded Live with Klüvers Big Band, featuring her greatest songs and more. The album also include the track "Comes Love" where Cæcilie and the American vocal star Kurt Elling join in a duet. Cæcilie's performances has included work with the Eremitage Sct. Petersburg Symphony Orchestra; concerts in Moscow and at the Warsaw Jazz Festivals with her own group; a sold-out tour in Germany with her own band; working with the Wroclaw Symphony Orchestra (Poland); the Danish Radio Big Band (Denmark) and Malmö Symphony Orchestra (Sweden) among others. Cæcilie joined forces with leading Jazzsinger in Norway; Silje Nergaard and Sweden's Rigmor Gustafsson in an album-recorded project with the Danish Radio Big Band called "Jazz Divas of Scandinavia" released on EMI Records. Touring aside, Cæcilie Norby is working on a project based on the repertoire of music legend Johnny Cash collaborating with renowned Scandinavian musicians. caecilienorby.com copyright © 2010 all rights reserved http://www.caecilienorby.com/bio.php

Crack The Sky

Crack The Sky - From The Greenhouse - 1989 - Grudge

From the Greenhouse, the eighth "proper" Crack the Sky album, expands on the "John Palumbo and a guy to play the guitar solos" format of their previous album (Raw, 1986) with the return of keyboardist Vince DePaul. Also returning to the CTS fold are founding members Rick Witkowski (lead guitar) and drummer Joe D'Amico (relegated to just singing back-up vocals). This album is a must-have for any fan of aggressive, prog rock. The album has late 80's synth. sound in places, but it's still a great album from this very underrated band. Crack The Sky could have been a huge, but in the music business you're only as good as your last album. Although the band have reformed at various intervals since 1975, arguably, they never bettered their classic mid seventies s/t release which received Rolling Stone magazine's 'album of the year' award, or their 1976 "Animal Notes" album. CTS's "Live Sky" album can be found @ CRACKTHESKY/LIVESKY

TRACKS

A1 From The Greenhouse 5:40
A2 Under Red Skies 3:26
A3 Big Money 5:43
A4 The Frozen Rain 5:51

B1 Monkeyboy 3:48
B2 All The Things We Do 5:00
B3 Lost In America 4:28
B4 Can I Play For You (Ian's Song) 8:17

All songs composed by John Palumbo

BAND

Guitar [Lead] - Rick Witkowski
Voice, Guitar, Bass, Drums - John Palumbo
Keyboards - Vince DePaul
Guitar Solo - Dave Carrero on "Lost In America" [Guest]
Brass - Louis Roscar , Otis Demteen [Guests]
Lyricon [Solos], Brass - Paul Soroka [Guest]
Backing Vocals - Joe D'Amico, Marvin Brown, Terry Brown [Guests]

SHORT BIO

Progressive rock group Crack the Sky was formed in the Ohio River Valley region (Steubenville, OH) in 1975 by frontman John Palumbo, guitarists Jim Griffiths and Rick Witkowski, bassist Joe Macre, and drummer Joey D'Amico. According to the website at www.crackthesky.com, the band was originally dubbed ArcAngel, building a loyal following on the Cleveland and Baltimore club circuits before signing to the Lifesong label to issue their self-titled debut LP, which earned critical acclaim for Palumbo's acerbic lyrics and the songs' complex structures and time changes. Commercial reward was minimal, however, and after completing Crack the Sky's second LP, 1976's Animal Notes, Palumbo exited to pursue a solo career. D'Amico assumed lead vocal duties on 1978's Safety in Numbers, with singer Gary Lee Chappell featured on the Live Sky release. Crack the Sky then disbanded, but in 1980 Palumbo, Witkowski, and keyboardist Vince DePaul briefly reformed the group to record the White Music album before again dissolving. Palumbo then formed another new lineup for a series of albums including Photoflamingo, World in Motion I, and Raw before reuniting with Witkowski, D'Amico, and DePaul for a series of 1986 live dates at the Baltimore club Hammerjacks and eventually a new 1989 studio LP, From the Greenhouse. Dog City followed in 1990, and Crack the Sky infrequently reunited throughout the decade to come. © Jason Ankeny © 2010 Rovi Corporation. All Rights Reserved http://allmusic.com/cg/amg.dll?p=amg&sql=11:0ifuxqw5ldte~T1

Eric Bell

The Eric Bell Band - Thin Lizzy Blues - 2007 - Music Avenue

Thin Lizzy's forgotten guitar hero returns in a bare-bones blues trio format, taped before an appreciative crowd. Curiously, the venue isn't listed, although the album's Swedish-only release in 1996 most likely points there. Angel Air's reissue sweetens the pot with three tracks not on the original release. Straight-ahead blues is the game here. The gig opens with a rampage through "The Stumble," whose 1966 recording featured Eric Clapton on guitar. Bell's style is scrappier, but no less spirited, as he demonstrates on brisk strides through standards like "Baby Please Don't Go," "Oh Pretty Woman," and "Things I Used to Do." Being an Irishman also enables Bell to explore his own roots, as evidenced by a show-stopping slow burn through Van Morrison's epic ballad, "Madame George." Naturally, Bell revisits his Thin Lizzy days with a fiery demolition of the late Phil Lynott's swaggering macho anthem "The Rocker." Bell makes room for Lizzy's rearrangement of the traditional "Whiskey in the Jar" — a song so radical it didn't include a bass part, yet still graced the U.K. Top Ten in 1973, and soars just as highly here. The real surprise is why Bell includes just three originals, including the lovelorn lament of "Two Ships" and "Just to Get By," a world-weary tally of life's ups and downs. That neither track made the original cut is amazing. But that's a minor point, especially since the music here is so crisp. Bell's guitar is succinct and to the point, while bassist Tony Wooton and drummer Romek Parol lend appropriately unobtrusive support. (The Bell-written anecdotes, "Just a Belfast Boy," are also delightful.) Pure blues fans and Lizzy devotees should find plenty to satisfy them here. © Ralph Heibutzki © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fpfwxq80ldte

Eric Bell was a founder member of Thin Lizzy, one of the world's greatest rock bands. In 1969 he met Phil Lynott and drummer Brian Downey in Dublin, Ireland and they formed Thin Lizzy, one of the first Irish bands to be a huge success worldwide. Eric stayed with Thin Lizzy until 1973 and was part of the band's first three albums: "Thin Lizzy", "Shades of a Blue Orphanage", and "Vagabonds of the Western World". Some of Thin Lizzy's great songs were composed by Eric and Phil Lynott. The band’s first massive hit was "Whiskey in the Jar" which demonstrates Eric Bell's very distinctive guitar style. Before Thin Lizzy, Eric played in an Irish band called The Dreams. He also had his own band: Shades of Blue. Eric has worked with the best, including Van Morrison and Them, Noel Redding, Rory Gallagher, Bo Diddley, Henry McCullough, Dick Heckstall-Smith, Keith Tilman and Keef Hartley. Eric, Thin Lizzy's sometime's forgotten Irish guitar hero does what he does best on this great album, and plays the blues! For far too long he has been overshadowed by the big names around him. On this album he displays his great talent. Eric, like many bluesmen was never a great vocalist, but he more than compensates for this on the album with some terrific guitar work. It's always a pleasure to hear anything from Eric Bell, who plays the blues with a real understated Celtic touch. His small back up band also do a tremendous job on this recording which is HR by A.O.O.F.C. Eric Bell Band's "Irish Boy" album is located @ ERICBELL/IRBOY and Eric Bell Band's "A Blues Night In Dublin" can be found @ ERICBELL/ABNID Check out Thin Lizzy's "Vagabonds Of The Western World" album, on which Eric played an important part. It is also worth hearing Bo Diddley's "Bo's The Man" album on which Eric Bell plays some fine guitar

TRACKS / COMPOSERS

1 The Stumble [Live] - Freddie King/Sonny Thompson
2 Oh Pretty Woman [Live] - Bill Dees/Roy Orbison
3 Things I Used to Do [Live] - Guitar Slim
4 Baby Please Don't Go [Live] - McKinley Morganfield
5 Madame George [Live] - Van Morrison
6 Walk on Water [Live] - Andy Bell
7 Three O'Clock Blues [Live] - B.B. King/Jules Taub
8 Hold That Plane [Live] - Buddy Guy
9 Whiskey in the Jar [Live] - Trad.
10 The Rocker [Live] - Eric Bell/Brian Downey/Phil Lynott
11 Just to Get By [*] - Andy Bell
12 Two Ships [*] - Andy Bell
13 Gloria [*] - Van Morrison

N.B: Tracks 1-5 recorded at Ghothenburg, Sweden. Tracks 6-10 recorded at Helsingborg, Sweden. Tracks 1-10 originally released as "Live Tonite" in 1996 on BMA Records (Sweden). Album reissued as "Live Tonite...Plus!" in 2001 on Angel Air Records, and in 2007 as "Thin Lizzy Blues" on Music Avenue Records with the extra tracks, "Just to Get By", "Two Ships", and "Gloria"

BAND

Eric Bell - Lead Guitar, Lead & Backing Vocals
Tony Williams - Bass, Lead & Backing Vocals
Tony Woolton - Bass
Andy Golden, Romek Parol - Drums

BIO

Eric Bell may not have been present for Thin Lizzy's best known and most successful era (the mid to late '70s), but he was there for the group's formation, as a founding member. Born on September 3, 1947 in Belfast, Ireland, Bell played guitar throughout the '60s for several local bands (including Them, and John Farrell & the Dreams), but paid the bills by working as a 'street gas lamp lighter,' and in both pickle and shirt factories. One night in 1969, Bell caught a gig by another local Irish outfit, Orphanage, which featured bassist/singer Phil Lynott and drummer Brian Downey. Soonafter, Bell relocated to Dublin, where he joined up with the others to form Thin Lizzy. Bell's bluesy, Hendrix-esque leads were perfect for the hard rock direction that both Lynott and Downey sought for their new outfit, which led to a recording contract with the Deram label. Three albums followed in as many years - 1971's self-titled debut, 1972's Shades of a Blue Orphanage, and 1973's Vagabonds of the Western World - the latter of which contained a pair of early Lizzy classics, "Whiskey in the Jar" and "The Rocker." Bell, Lynott, and Downey also issued an additional recording in 1973 under the alias of Funky Junction, the self-explanatory A Tribute to Deep Purple. But Bell became unhappy with Lizzy's current, more streamlined musical direction (he longed for the early days of free-form jamming). After single-handedly sabotaging an important hometown Dublin gig with unpredictable and drunken behavior, the guitarist was sacked. The fast paced life of being in a rock band had paid its toll on Bell, who had to take a break from being in a band for several years. But a few years later (by which time Lizzy had become a worldwide hit with a pair of replacement guitarists, Brian Robertson and Scott Gorham), Bell was ready to play music again. When ex-Jimi Hendrix Experience bassist Noel Redding launched a solo career during the middle of the decade, Bell signed on as the project's guitarist, playing on such releases as 1975's Clonakilty Cowboys and 1976's Blowin', before moving on. For the remainder of the '70s, Bell appeared on such obscure releases as a self-titled release by Brush Shiels and a Phil Lynott-produced single for Ron McQuinn. With his differences between his former Lizzy bandmates long settled, Bell reunited with Lynott and Downey for a one-off 'flexi-single' for a Euro magazine, "Song for Jimi," and even joined Lizzy on stage for a night during the group's final tour in 1983 (documented on double disc set, Life). The early '80s also saw Bell attempt to launch his own group, the Eric Bell Band. But aside from a four-track EP in 1981, the group failed to get off the ground. Bell then joined up with blues-rockers Mainsqueeze (playing on their 1983 release, International Blues Rock Revue), who also briefly backed Bo Diddley during a European tour in 1984, and appeared on the subsequent live Diddley recording, Hey..Bo Diddley In Concert (aka Bo Diddley/Screamin' Jay Hawkins). Bell began performing again under the name of the Eric Bell Band during the late '90s, issuing such recordings as Irish Boy and Live Tonite...Plus! (a previously unreleased album Bell recorded with Noel Redding 20 years earlier, The Missing Album, was also issued around this time, as well). © Greg Prato, All Music Guide © 2010 Answers Corporation http://www.answers.com/topic/eric-bell

BIO (Wikipedia)

Eric Bell (born Eric Robin Bell, 3 September 1947, Belfast, Northern Ireland is a rock musician and guitarist. He was the lead guitarist for Thin Lizzy, and played on the band's first three albums Thin Lizzy, Shades of a Blue Orphanage and Vagabonds of the Western World. Although Thin Lizzy were gaining in popularity, the pressures of recording, touring and the excesses of the rock-star lifestyle, began to take its toll. He left the band after a New Year's Eve concert in 1973, after throwing his guitar into the air in the middle of the concert, pushing the amplifiers into the audience and storming off, as he said on the Gary Moore and Friends DVD interviews. There was a brief reunion for Thin Lizzy's 1983 tour, but for the most part, Bell concentrated on a solo career with his group, the Eric Bell Band. He has subsequently worked extensively with ex-Jimi Hendrix sideman, Noel Redding and toured with Bo Diddley.

Amos Lee

Amos Lee - Amos Lee - 2005 - Blue Note Records

With a dusky soul voice and a knack for literate, thoughtful lyrics, singer/songwriter Amos Lee is a throwback to a more organic-sounding pop time period. Calling to mind a mix of Bill Withers, Arthur Lee, and James Taylor, Lee croons through his mellow eponymous debut with a singular sense of his time and place that adds weight to his already heartfelt songs. Much like Taylor's Sweet Baby James and Withers' Still Bill, Amos Lee is an album about an artist's life and loves in a world that often seems at odds with his desires. On "Arms of a Woman," Lee sings "I am at ease in the arms of a woman/Although now most of my days are spent alone/A thousand miles from the place I was born/But when she wakes she takes me back home." Similarly, the darkly evocative "Black River" has Lee in a gospel mood, drawing comparisons between a swift-moving river, God, and whiskey, while the brisk country-rock-inflected "Love in the Lies" finds him proclaiming that "The world ain't no harder than it's ever been/Lookin' for love in the lies of a lonely friend." For all intents and purposes with Lee, Blue Note has found the male Norah Jones. In fact, Jones guests here and, interestingly, on "Colors," Lee sings about getting "lost in the circus" — one wonders if Blue Note hopes that Jones' "house of fun" is close by. Joining in are other members of the Blue Note extended family, including Jones' longtime bassist Lee Alexander, guitarist Kevin Breit, and others. The result is an album not dissimilar to Jones' multiple Grammy-winning Come Away With Me, as Wurlitzer and Hammond organs pipe softly next to acoustic guitars, allowing Lee to glide on top of a wave of tasteful coffeehouse soul. While the comparison is mostly positive, it does pose one rub in that even Come Away With Me, while unfailingly intimate and classy, was somewhat calculated to be beautifully crafted, deeply emotional wallpaper, and Amos Lee holds to that template. Which basically means that, despite Lee's stellar melodic abilities, the arrangements are often too low-key for their own good. That said, Lee has a phenomenal voice matched by a journeyman's sense of songcraft that is just too good to go unnoticed. © Matt Collar © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fpftxq8sldae

Though Amos Lee's music is frequently described as a fusion of folk and soul, such an equation fails to reflect the singular artistry of this impressive debut. Like labelmate Norah Jones (who guests on two cuts), the Philadelphia singer-songwriter recognizes the power of simplicity, distilling an emotional essence that cuts across categories. The opening of his "Seen It All Before" echoes Bob Dylan's "Knockin' on Heaven's Door"; the stunning "Arms of a Woman" channels Otis Redding's "I've Got Dreams to Remember"; "Give It Up" cuts a classic Bill Withers groove; "Black River" has the sound of an age-old spiritual; and the closing "All My Friends" follows Van Morrison into the mystic. Throughout the song cycle, the bare-bones arrangements behind Lee's vocal flutter reinforce an organic unity that transcends genre. For all of the debts he owes to the music of the 1960s and '70s, the results sound timeless rather than retro. In his cautionary "Soul Suckers," Lee sings that "nothing is more powerful than beauty in a wicked world"--and proceeds to prove it. © Don McLeese [Editorial Review] © 1996-2010, Amazon.com, Inc. or its affiliates. http://www.amazon.com/Amos-Lee/dp/B00070G6Y2

Good album from the talented Philadelphian, Amos Lee, featuring eleven original songs which encompass R&B, soul, country, gospel, folk, and jazz. Amos has been consistently compared to to the musical styles of artists like Jackson Brown, Eric Bibb, James Taylor, Bill Withers, and Norah Jones. There are definite comparisons, but the guy is a good songwriter, musician, and vocalist. He has his own style, and this album holds up very well. Check out his "Supply And Demand", and "Last Days At The Lodge" albums

TRACKS

1."Keep It Loose, Keep It Tight" – 3:08
2."Seen It All Before" – 4:15
3."Arms of a Woman" – 4:11
4."Give It Up" – 2:38
5."Dreamin'" – 2:54
6."Soul Suckers" – 2:49
7."Colors" – 2:40
8."Bottom of the Barrel" – 2:00
9."Black River" – 3:31
10."Love in the Lies" – 3:23
11."All My Friends" – 4:18

All songs composed by Amos Lee

MUSICIANS

Amos Lee - Guitar, vocals
Kevin Breit - Acoustic guitar, mandolin, resonator guitar
Adam Levy - Electric guitar, Background vocals
Chris Thomas, Jaron Olevsky - Bass guitar
Lee Alexander - Bass guitar, drums
Devin Greenwood - Hammond organ, background vocals, Wurlitzer
Norah Jones - Piano, background vocals, Wurlitzer
Fred Berman - Drums, background vocals
Dan Rieser, James Gadson - Drums
Larry Gold - Cello, string Arrangements
Alexandra Leem - Viola
Nate Skiltes - Mandolin
Zara Bodé - Background vocals

SHORT BIO

Singer/songwriter Amos Lee draws inspiration from such soul and folk artists of the '70s as Bill Withers, John Prine, Neil Young, and James Taylor. The Philadelphia native first became serious about performing while attending the University of South Carolina during the mid-'90s. After graduating, the English major taught elementary school before deciding to pursue a music career full-time. A period of waiting tables and bartending followed as Lee honed his songwriting skills. Eventually, he landed some high-profile opening-slot gigs including an extended tour with pianist/vocalist Norah Jones. He released his eponymous debut album on Blue Note in 2005 and his sophomore effort, Supply and Demand, in 2006. Last Days at the Lodge followed in 2008. © Matt Collar © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:wjfuxqwald0e

BIO (WIKIPEDIA)

Amos Lee (born June 20, 1978 is an American singer-songwriter and guitarist from Philadelphia, Pennsylvania. His musical style encompasses folk, soul, and jazz. He has released three albums on Blue Note Records, Amos Lee, Supply and Demand and Last Days at the Lodge. He has been on tour with musicians such as Bob Dylan, Elvis Costello, Norah Jones, Paul Simon, Merle Haggard, John Prine, and Dave Matthews Band. Lee performs with drummer Fred Berman and bassist Jaron Olevsky. Some of his musical influences include Stevie Wonder, John Prine, Bill Withers, and James Taylor. Born Ryan Massaro on June 20, 1978, Lee grew up in Philadelphia, Pennsylvania and Cherry Hill, New Jersey. He graduated from Cherry Hill High School East. He enrolled at the University of South Carolina in 1995, graduating with an English degree. While attending the university, Lee's stepfather gave him an acoustic guitar. Lee also found a job at a record store that specialized in jazz musicians, where he picked up an affinity for Thelonious Monk and Miles Davis. After college, he moved back to Philadelphia and taught elementary school for two years, but later made the decision to stop teaching in order to pursue a career in music. Lee released a self-produced EP that featured five songs in 2003, and was signed by Blue Note Records soon afterward. The EP sold well in Philadelphia, catching the attention of Norah Jones. Jones invited Lee to open for her on her 2004 tour. Lee has also taken part in shows with Bob Dylan, Van Morrison, Paul Simon and John Prine. Some people think his music is a mixture of Folk and R&B. He has publicly said, "I've always gone for that folky-R&B sound for my music." Lee Alexander, the bassist in Norah Jones' band, produced Amos Lee's self-titled debut album, which was released in March 2005. Norah Jones made an appearance on several of the tracks, playing piano and contributing vocals. The album found significant commercial success, hitting a peak of #2 on the Billboard Top Heatseekers chart. Later that month he was named one of Rolling Stone's "Top 10 Artists to Watch." To promote the album, Lee performed on popular television shows such as The Late Show with David Letterman, The Tonight Show, Total Request Live, and Austin City Limits, the latter on August 10, 2005, which was also aired on PBS on November 11 of that year. In March and April 2005, Lee opened for Merle Haggard and Bob Dylan. Lee's song "Colors" was featured on House, and on the finale of the second season of Grey's Anatomy. It was also used in the 2005 movie Just Like Heaven, which featured Reese Witherspoon and Mark Ruffalo. The songs "Colors" and "Sympathize" were also used in episodes of the first season of abc's "Brothers & Sisters". Lee's songs "Shout Out Loud" and "Keep It Loose, Keep It Tight" were both used during the ABC show Six Degrees. "Keep It Loose, Keep It Tight" was also heard during NBC's Studio 60. NBC also utilised Lee's "Seen It All Before" on an episode of their widely-acclaimed ER primetime drama series. The song "Colors" was also featured on the second season of the Lifetime's Army wives. Lee's second album, titled Supply and Demand, was released on October 3, 2006 in the United States. The album was produced by Natalie Merchant's bassist Barrie Maguire, and peaked at #76 on the Billboard 200. Jazz singer Lizz Wright contributed background vocals on the song "Freedom". The first single from the album is "Shout Out Loud." To promote the album, Lee played on The Tonight Show on September 28, 2006. The track "Skipping Stone" also played on the ER episode "Dying Is Easy" (originally aired February 8, 2007). The song "Sweet Pea" was also featured in December 2007 in television commercials for AT&T. Lee's third studio album, Last Days at the Lodge, was released on June 24, 2008. The first single off the album is "Listen". The track "What's Been Going On" has also gained moderate success among radio stations. Lee has stated that he will be going into the studio in May 2010 to begin work on his fourth studio album which is due out in the fall. Amos Lee recorded a live session at Abbey Road Studios in the summer of 2006 for Live from Abbey Road. His performance was screened on the Sundance Channel in the USA and Channel 4 in the UK in an episode also featuring Randy Crawford and Joe Sample and David Gilmour. There are also two short live recordings available from KCRW, one released in November 2005 and the other in March 2007 (available digitally).

Denny Laine

Denny Laine - Master Suite - 1988 - Magnum Force

Rarely heard instrumental album on which Denny Laine plays 12 tracks, incorporating many musical elements including, classic, Latin, and country. Although Denny Laine is a very underrated guitarist and is capable of some amazing guitar wizadry, on "Master Suite" (which is not rock based), he plays with great subtlety and technique, and guitar pyrotechnics are absent. Seven of the tracks are under three minutes long, but all the music is very well constructed, with melody being the main ingredient. An unusual album from Denny, with absolutely no Wings/McCartney connections. If you want to hear the more rock orientated style of Denny, listen to his "Ahh....Laine" album or his great "Rock Survivor" album. Denny's "Hometown Girls" album can be found @ DENLAIN/HOMTGRLS and his "Wings On My Feet" album is @ DENLAIN/WOMF

TRACKS

1 Loving Touch 02:49
2 The Blue Musician 04:23
3 Rory's Theme 02:52
4 La Manzanera 03:39
5 Campfire 02:26
6 Read the Cards 02:52
7 The Thin Air 04:00
8 Mountain Pass 04:08
9 The Highlands 02:33
10 Moors and Christians 03:23
11 Old Man Loving 02:34
12 Diego 02:41

All music composed by Denny Laine. Guitar, Keyboards,Vocals by Denny Laine

BIO (WIKI)

Denny Laine (born Brian Frederick Arthur Hines, 29 October 1944, Holcombe Road, Tyseley, Birmingham) is an English songwriter and multi-instrumentalist, best known for his roles as former guitarist and lead singer of The Moody Blues and, later, co-founder (with Paul McCartney) of Wings. Laine was the only musician in Wings, along with Paul and Linda McCartney, who did not quit. Laine joined Wings in 1971 for their album Wild Life and stayed until 1980, when Wings broke up. Denny Laine is of Romani descent, was educated at Yardley Grammar School in Birmingham, and took up the guitar as a boy under the influence of Gypsy jazz (Jazz manouche) legend Django Reinhardt; he had his first solo performance as a musician at the age of twelve and began his career as a professional musician fronting Denny & The Diplomats, which also included future The Move and Electric Light Orchestra drummer Bev Bevan. In 1964, Laine left The Diplomats to join Mike Pinder in The Moody Blues and sang their first big hit, "Go Now"; other early highlights included "From The Bottom Of My Heart", "Can't Nobody Love You" and the harmonica-ripping "Bye Bye Bird". However, Denny's tenure with the MB's was short-lived and, after a number of comparative failures, Laine quit the band in August 1966 (the last record issued by The Moody Blues that featured Laine was "Life's Not Life"/"He Can Win" in January 1967, but the October 1966 "Boulevard De La Madeleine" single looked ahead to the fancier sounds for which The Moody Blues would later become famous). After leaving The Moody Blues, he formed The Electric String Band, which featured Denny (guitar, vocals), Trevor Burton (guitar, another former member of The Move) and Viv Prince (drums), also featuring electrified strings in a format not dissimilar to what Electric Light Orchestra would later attempt. They made two singles, "Say You Don't Mind / Ask The People" (Apr 1967, Deram) and "Too Much In Love / Catherine's Wheel" (Jan 1968, Deram); and, in June 1967, they shared a bill with The Jimi Hendrix Experience and Procol Harum at the Saville Theatre in London. However, national attention was not to be, and the pioneering Electric String Band broke up. (There was apparently a third single recorded called "Why Did You Come?". Why it never released is unknown, but there have been rumours that the finished track - and probably the B side as well - was sent by post to Decca and was lost.) Laine and Burton then went on to the band Balls from 1969 until the band's breakup in 1971, with both also taking time to play in Ginger Baker's Air Force in 1970. (Only one single was issued by Balls; "Fight For My Country" / "Janie, Slow Down" on UK Wizard Records. Strangely, the top side was re-edited and reissued on UK Wizard and issued in the US on Epic under the name of Trevor Burton, which was odd since Laine and Burton shared lead vocals on the B side. The single was reissued again as B.L.W. as "Live In The Mountains" for a small Pye distributed label. There was supposed to have been a Balls album recorded, but it has never seen the light of day). Laine's 1967 song "Say You Don't Mind" was a hit when recorded in 1972 by ex-Zombie, Colin Blunstone. In 1971, Denny joined Paul McCartney to found the group known as Wings, and would stay with them for a full ten years until they officially disbanded in 1981; Denny provided lead & rhythm guitars, backing vocals, keyboards, bass, writing and co-writing skills, as well as being a solid solo performer. Together with Paul and his wife, Linda, they formed the nucleus of the band, being called that "strange, 3-winged beast". It was with Wings that Denny enjoyed the biggest commercial and critical successes of his career, including co-writing the smash hit "Mull of Kintyre". In January 1980, McCartney was arrested for possession of marijuana upon arrival at an airport for a tour in Japan. The tour was cancelled. Wings recorded through the year on new tracks as well as tracks still in the vaults, but a press release by Paul in early 1981 officially announced that Wings had broken up. The new tracks ended up on Paul's next two solo albums, and Laine's relationship with McCartney soured (speculation also has it that financial matters were close to the heart of this dissolution, similar to the McCartney/Jackson partnership). The title track of Denny's first solo album after Wings, called "Japanese Tears", appeared to be a visible attack on McCartney much like John Lennon's "How Do You Sleep?" in 1971; however, closer inspection to the lyrics shows that it more likely tells the tongue-in-cheek story of a Japanese fan's disappointment after Wings' tour got cancelled (or possibly even tears of excitement at Wings' arrival in Japan in the first place). In 1986 Denny played at the Birmingham Heart Beat Charity Concert 1986 which was a very special day,raising money for the Birmingham Children`s Hospital. Denny filed for bankruptcy in the mid-80s after selling his lucrative co-publishing rights to "Mull of Kintyre" to co-author McCartney. However, he has continued to record music at a prolific rate and has appeared at Beatles conventions and on tributes to both The Beatles and Wings. He is currently working on an autobiography. He was briefly married to Jo Jo Laine (13 July 1953 — 29 October 2006), with whom he had a son, Laine Hines, and a daughter, Heidi Hines. He has three other children from other relationships: Lucianne Grant, Damian James, and Ainsley Laine-Adams. His current wife is Rosha.

MORE ABOUT DENNY LAINE

For a few months at the height of the British invasion, Denny Laine was one of the most recognizable voices on the entire British music scene. As the lead singer on the Moody Blues' recording of "Go Now" -- a worldwide multi-million seller -- he stood out in a large pack, and did so splendidly. His soulful, agonized lead vocal performance, coupled with Mike Pinder's chiming piano, proved irresistable on the radio. Within a year, however, the band fell by the wayside. Denny Laine was born Brian Hines and grew up in Birmingham, England. As a boy he took up the guitar, not under the influence of Chuck Berry or Buddy Holly, or even Scotty Moore, but rather jazz legend Django Reinhardt. His first band of any significance was Denny and the Diplomats, formed in Birmingham in the early '60s. The group's line-up also included future Move and Electric Light Orchestra drummer Bev Bevan and guitarist-singer Roy Wood. By 1964, Laine had abandoned Denny & the Diplomats and -- with four members of the city's other top bands -- formed the group that became the Moody Blues. Laine's tenure with the band was highlighted by one monster hit ("Go Now"), a brace of superb R&B-styled sides ("From The Bottom of My Heart," "Lose Your Money," etc.), and a string of commercial failures that left the band languishing by the end of 1965. Laine exited the group, to be replaced by Justin Hayward, whereupon the reconstituted Moody Blues adopted an increasingly adventurous sound that ended up making them the premiere progressive rock band of the late '60s. Ironically, Laine himself went in a similar direction with his next major project, the Denny Laine String Band, an electric psychedelic outfit that featured an amplified violin and cello, remarkably similar in many ways to the configuration that the Electric Light Orchestra would adopt more successfully three years later. The Electric String Band failed to attract serious public attention, despite a lot of good press and enthusiastic concert reviews. Laine's next major gig was as a member of Ginger Baker's Air Force, a big-band rock outfit that was a partial offshoot of Blind Faith. The group attracted enormous amounts of press attention on both sides of the Atlantic, played some good shows in England, and then embarked on an American tour that collapsed almost immediately through lack of ticket sales. Laine was the band's lead guitarist and principal vocalist and even had a featured blues spot in their sets. Laine was next heard from in 1971, when Paul McCartney announced that he was forming his first permanent band since exiting the Beatles. The group, christened Wings, was McCartney (joined by his wife Linda McCartney) on bass, guitar, piano, and vocals, with Laine at the core on guitar, bass, and vocals. In a 1980s interview, Laine indicated that he and McCartney got along well, not only because they came out of similar music backgrounds but also because each of them had lost control of bands they'd helped to found. Wings got off to a rocky start with an album called Wild Life, which wasn't really that bad but was mercilessly criticized by reviewers, who pounced on anything that didn't meet their expectations of Beatles-like perfection and importance. Beginning with Red Rose Speedway, however, they began winning the hearts of listeners and the minds of critics. By 1976, with Wings At The Speed of Sound, they'd become one of the top-selling acts of the decade, and the tour that followed was a success of monumental proportions, at least as far as ticket sales were concerned. Wings was, along with ABBA and Led Zeppelin, one of those money acts that seemed to generate tens of millions of ticket sales around the world and reams of press copy with every note they played and utterance that they pronounced. Laine wasn't quite an ex-Beatle, but as the member closest to McCartney (other than his wife), he was the most recognizable member of the band who wasn't a former Beatle. He even got a solo spot during concerts on their "Wings Over America" tour on which he sang and played several of the songs with which he was associated (most notably "Go Now") and a few covers that showcased his talents. Laine had a falling out with the McCartneys at the close of the 1970s, as Wings itself collapsed, amid myriad personal and personnel problems. He recorded several solo albums and was a featured guest at some Beatles conventions, but retained only a fraction of his visibility. He re-emerged in the late '90s with a tribute album to McCartney, and has been the subject of many CD reissues spotlighting odd solo cuts from his post-Wings and pre-Ginger Baker's Air Force period. Laine will likely never achieve the stardom that his career seemed to point toward when he cut "Go Now" in the mid-'60s. On the other hand though, he has played enough interesting and inspired music to make him a recognizable name to two generations of rock & roll fans, and one of the more deservedly enduring alumni from the original British invasion. © Bruce Eder, All Music Guide

Johnnie Bassett & the Blues Insurgents

Johnnie Bassett & the Blues Insurgents - Live at the Montreux-Detroit Jazz Festival - 1995 - No Cover Productions

Johnnie Bassett has spent a lot of his life in Detroit. His guitar mastery stems from an eclectic history that includes stints with artists like Joe Turner, Ruth Brown, Little Willie John, Tina Turner, Smokey Robinson and even Jimi Hendrix. His smooth, elegant style and velvet-coated urban sounds conjure up aural images of T-Bone Walker and B.B. King--two of his major influences. In 1994, the Detroit Blues Society presented Johnnie Bassett with a lifetime achievement award. In 1993, he received five W.C. Handy nominations for his great "Cadillac Blues" album. In 1995, The Blues Review said, "This (Live at the Montreux-Detroit Jazz Festival) isn't just the best local release so far this year, it's one of the best discs I've heard period. Johnnie Bassett!! Yes,yes." Living Blues said, "The real draw is Bassett's fleet, tasteful guitar work." The editor of Real Blues called Johnnie Bassett "one of the finest blues/jazz guitarists of the decade." "Live at the Montreux-Detroit Jazz Festival" recorded at the Montreux-Detroit Jazz Festival, Detroit, Michigan on 3/9/1994 is a brilliantly played set of both originals and blues standards. Johnnie's guitar work is not always to the forefront on the album, but what he plays is superb. The musicianship of his backing band, The Blues Insurgents, and guest players including pianist, Bill Heid, and saxophonist, Dezie McCullers, Sr., is incredibly good. This is as good as a jazz blues album as you will ever hear and is HR by A.O.O.F.C. Listen to "Cadillac Blues" and "I Gave My Life to the Blues" albums, of which the latter album really showcases Johnnie Bassett's tremendous guitar talents.

TRACKS / COMPOSERS

1. One Mint Julep - R. Toombs
2. Times Gettin' Tougher Than Tough - J.Witherspoon
3. I Want A Little Girl - Mencher, Moll
4. Hentai Ni - B.Heid
5. Pick Up The Pieces - B.Heid
6. Woke Up This Morning - B.B King
7. Sweet Little Angel - B.B King, Jules Taub
8. Please Send Me Someone To Love - P.Mayfield
9. Honky Tonk - Glover, Butler, Doggett, Scott, Sheppard

MUSICIANS

Johnnie Bassett - Guitar, Vocals

The Blues Insurgents are : -

Scott Petersen - Alto & Tenor Sax.
R.J Spangler - Drums
Chris Codish - Organ on Tracks 5-9

Additional Insurgents : -

Kurt Krahnke - Acoustic Bass
Russ Miller - Alto Sax.
Johnny "Showtime" Evans - Baritone Sax.
John "T-Bone" Paxton - Trombone
James O'Donnell, Walt Szymanski - Trumpet

Special Guests : -

Bill Heid - Piano, Vocals
Dezie McCullers, Sr. - Tenor Sax. on Tracks 8, & 9

BIO (WIKIPEDIA)

Johnnie Bassett (October 9, 1935, Marianna, Florida) is an American electric blues guitarist, singer, and songwriter. Working for decades primarily as a session musician, by the 1990s Bassett had his own backing band and has since released six albums. He has cited Billy Butler, Tiny Grimes, Albert King, B.B. King and especially T-Bone Walker as major influences. Born in Florida, Bassett relocated with his family in 1944 to Detroit. As a guitarist in his local group, Joe Weaver and the Bluenotes, they won talent contests, and locally backed Big Joe Turner, and Ruth Brown. In 1958 Bassett enrolled into the United States Army, but on his return to Detroit worked with the Bluenotes as session musicians for Fortune Records. During this time he provided accompaniment to Nolan Strong & The Diablos and Andre Williams. He later backed The Miracles in a short tenure at Chess Records, working on their debut single, "Got a Job" (1958) In concerts while in Detroit, Bassett played on stage alongside John Lee Hooker, Alberta Adams, Lowell Fulson and Dinah Washington. Basset spent most of the next decade doing gigs in Seattle, also backing Tina Turner and Little Willie John. The Detroit Blues Society recognized Bassett's contribution to the blues with a lifetime achievement award in 1994. He released the album I Gave My Life to the Blues on the Dutch label Black Magic in 1996, before recording and touring in North America and Europe with his own backing band, the Blues Insurgents. Their 1998 album Cadillac Blues was nominated for five W.C. Handy Awards. His then record label, Cannonball Records ceased to trade, but Mack Avenue Records signed him to a new recording contract, after its owner saw Bassett and his band play in concert in Detroit's suburb of Grosse Pointe. At the 2003 Great Lakes Folk Festival, Bassett performed as part of the Detroit Blues Revue with Alberta Adams and Joe Weaver. At the 2006 Detroit Music Awards, Bassett won the 'Outstanding Blues/R&B Instrumentalist' title. Bassett's latest album, The Gentleman is Back was released in June 2009. Johnny Bassett and the Blues Insurgents currently play every Monday night at Alvin's bar in Detroit's Midtown.

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Guitarist, singer and songwriter Johnnie Bassett grew up with blues music all around him in his native Florida. His unique ability to combine jump blues and Delta stylings gives his playing a distinctive sound. The self-taught guitarist recalls seeing Tampa Red, Arthur "Big Boy" Crudup and other classic blues artists at fish fries in his grandmother's backyard. Bassett cites Aaron "T-Bone" Walker as a major influence, as well as B.B. and Albert King, Tiny Grimes and Billy Butler. After Bassett's family moved to Detroit in 1944, he made his debut as a guitarist with Joe Weaver and the Bluenotes, a teenage R&B band. The group won local talent contests and were hired to back up Big Joe Turner, Ruth Brown and others on their tour stops in Detroit. Bassett went into the Army in 1958 and played in a country & western group while stationed in Washington state. After returning to Detroit, he found work as a session guitarist for Fortune Records by day and in nightclubs at night. In the studios, he played backup to musicians and groups like Nolan Strong and the Diablos, Andre Williams and the Don Juans and the Five Dollars. He also played guitar on the first recording by Smokey Robinson and the Miracles while traveling to Chicago to record as a session man for the Chess Records label. During his Detroit days, he also accompanied John Lee Hooker, Eddie Burns, Alberta Adams, Lowell Fulson and the T.J. Fowler Band at their live shows, as well as Dinah Washington. In the 1960s, Bassett moved to Seattle, where he backed up Tina Turner, Little Willie John and others. Jimi Hendrix was a frequent guest at the bluesman's club gigs around Seattle. Before the decade ended, he moved back to Detroit, where he's been based ever since. In 1994, Bassett received a lifetime achievement award from the Detroit Blues Society. He later recorded an album for the Dutch Black Magic label, I Gave My Life to the Blues (1996). Bassett and his band, the Blues Insurgents — which he's been fronting since the early 1990s — have made several U.S., Canadian and European tours in support of LPs including 1997's Bassett Hound and 1998's Cadillac Blues. © Richard Skelly © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:w9foxqlhld6e~T1