Get this crazy baby off my head!


Lou Reed


Lou Reed - Growing Up In Public - 1980 - Arista

The power of the Tower card come tumbling down, Growing Up In Public is the cartoon coloring book version of one man’s descent into the hell of the past. Similar to Alice Cooper’s From The Inside (another underrated favorite of mine), this album delivers a dire message in upbeat and almost childlike arrangements. It’s a deception, of course, and one need look no deeper than the groundbreaking guitar-synth work of Chuck Hammer to hear the lightning that rumbles Reed’s childhood fantasies. The opening “How Do You Speak To An Angel” is all polite and stuttering sweetness until the shocking guitar-synth solo comes crashing in, and you hear the rage underneath the impotence. The next track, “My Old Man,” reveals the source of that rage, and so begins a series of vignettes from a troubled childhood (“Smiles,” “Standing On Ceremony”) and ineffectual adulthood (“So Alone,” “The Power of Positive Drinking”). Yet, listening to this record, you’ll think Reed has gone soft. It’s the closest he’s come to making a pop album, with pleasant piano chords and bouncy bass guitar lines. The lyrics are another story; they talk of repression, anger and futility. The breakthrough moment occurs on “Think It Over,” when all of the bitterness is set aside for a shot at real love. In the interest of fair disclosure, I did own this on a cassette and played it in my car constantly, so familiarity may have bred fidelity. That would explain Tony Banks’ The Fugitive anyway. But I owned Street Hassle on cassette and that never got under my skin like Growing Up In Public. I certainly wouldn’t put Public on the same pedestal as Berlin, but song for song it’s one of the most likeable Lou Reed records I own; arguably the best of the comedic/tragic albums that would include Mistrial and Legendary Hearts. © 2009 Connolly & Company. All rights reserved http://www.connollyco.com/discography/lou_reed/growing.html

Check out lou Reed's classic "Coney Island Baby", "Sensations", and "Transformer" albums, and The Velvet Underground's brilliant "Loaded" album


1."How Do You Speak To An Angel?" – 4:08
2."My Old Man" – 3:15
3."Keep Away" – 3:31
4."Growing Up In Public" – 3:00
5."Standing On Ceremony" – 3:32
6."So Alone" – 4:05
7."Love Is Here to Stay" – 3:10
8."The Power Of Positive Drinking" – 2:13
9."Smiles" – 2:44
10."Think It Over" – 3:25
11."Teach The Gifted Children" – 3:20

All songs composed by Michael Fonfara & Lou Reed


Lou Reed: guitar, vocals
Michael Fonfara: keyboards, guitar
Chuck Hammer: guitar, guitar synthesizer
Stuart Heinrich: guitar, background vocals
Ellard "Moose" Boles: bass, background vocals
Michael Suchorsky: drums


Aw, not too good. A lot of life philosophy, which may or may not speak to you, and a definite lack of care for the music. Best song: THE POWER OF POSITIVE DRINKING

Track listing: 1) How Do You Speak To An Angel; 2) My OId Man; 3) Keep Away; 4) Growing Up In Public; 5) Standing On Ceremony; 6) So Alone; 7) Love Is Here To Stay; 8) The Power Of Positive Drinking; 9) Smiles; 10) Think It Over; 11) Teach The Gifted Children.

Lou entered the Eighties completely 'ready to suck', as might be said. It's not that he was being misled by robotic, technophilic production, a thing all too common for elder stars in the decade; it's just that it was much and much too hard for him to remain on the leading edge of musical innovation. Just take a look at this record. You might notice these hardly impressive numbers that I put up there in the beginning and think that I completely condemn this album as a rotten one or something. Actually, not at all: I don't really mind listening to this stuff, just as I don't really mind listening to, say, Bob Dylan's contemporary stuff (although he did release his worst album ever that year). It's fairly decently produced, too - the band is stripped down once again, with the main emphasis on a couple electric guitars and the rhythm section, and only Michael Fonfara's annoying synths manage to spoil the picture from time to time. Plus, the record is not too long: eleven cuts, none of which go over four minutes, so if you don't like a song, chances are it'll go away before you even have the chance to express your disappointment. The problem is, there's hardly a good song here you'll like in all. And a major problem it is, as the tracks on this record hardly even fit the definition of 'song'. Much more often, it's just pieces of entertaining or not that enetertaining monolog set to a certain musical backing. 'So what's the deal?', you'll say. 'It's Lou's usual approach - mumbling out his life philosophy to some musical backing or other.' True, of course, but there comes a time, every now and then, when the formula begins to get on your nerves, especially when there are next to no musical ideas at all to back it. In the past, Lou used spare arrangements as well, but he always managed to make them moody and enthralling enough to fit in with the words and the overall message. On Growing Up In Public, the music seems kinda... in the way, if you know what I mean. In the way of 'poetry'. I can easily imagine this album not having any music at all - you know, just 'Lou Reed-ing Poetry'. No cool vocal harmonies here, no delicious slide guitar, no lounge trumpets, no impressive guitar solos; like I said, the only musically significant element here are Michael Fonfara's synthesizers which mostly stay in the background but sometimes get into the spotlight a bit too much and give the song an ultra-banal Eighties' feel which it really does not need at all, as in the case of the pathetic instrumental break on 'How Do You Speak To An Angel'. Growing Up In Public is basically a concept album (big surprise) about, well, growing up, whether it be in public or not. Thus, it happens to contain more than a fair share of autobiographic songs, rendering it perhaps the most important self-describing album in Lou's career. The more personal song thematics range from first youth reminiscences ('How Do You Speak To An Angel') to rough parental relations ('My Old Man') to problems with establishing social contact (title track) and, well, the themes are many and they're not all that unusual for an autobiographical cycle. The lyrics are also nothing really special: 'My Old Man' even borders on banal, if not for the somewhat unexpected ending. I mean, most of this stuff is nice, but then again, so are hamburgers. I'd come to expect something more deep and thought-provoking from Lou: this autobiographical cycle is to, say, Coney Island Baby as the Kinks' later obnoxious rock operas are to their early deeply intelligent and sharp concept albums. On this here record Lou is probably at his best when the songs are quiet and relaxed; my favourite is the pleasant little reggae-ish shuffle 'The Power Of Positive Drinking'. It might feel out of place on the album, as it's essentially a funny throwaway - come on now, how come a song with lyrics like 'Some say liquor kills the cells in your head/And for that matter so does getting out of bed' belongs on here? But I love it all the same. Then there's 'Teach The Gifted Children' which (a) closes the album (so you're particularly grateful to it), (b) clocks in at 3:20 (so you're able to breathe with relief), (c) has by far the most interesting lyrics on the album (so you say: 'He's smart! He kept the best bit for the end!'), and (d) tries to sound very emotional and climactic and maybe even cathartic, but fails, because the message is definitely unclear (what's the whole business with 'take me to the river' really about?) and the musical backing is monotonous and boring. So you say: 'Yeah, he's a genius, but he sucks!' None the more so than on the faster numbers, though - 'Smiles' and 'So Alone' just bug me, especially the latter where Lou gets extremely hoarse and implores you to 'shake your booty' in that exact intonation. Nah. The only other tracks which I can remind as possessing interesting moments are the title track, that had a strange trumpet-imitating synth riff over it, kinda reminding you of the old Transformer days, and the already mentioned 'How Do You Speak...' with its weird time changes and twisted refrains. Everything else is simply forgettable - take Coney Island Baby, substitute all the subtle instrumentation and romantic mood with emotionless, noodling generic guitars and dreary whining and you get Growing Up. Forgettable. Whew. Don't believe me? Just take a look at the album cover for CIB and this one. See the difference? Same goes for the music. © Only Solitaire - George Starostin's Music Reviews © http://starling.rinet.ru/music/reed.htm#Public

Growing Up in Public was a transitional album for Lou Reed; it was his last set with his long-running road band (dominated by keyboardist Michael Fonfara), and while the fleshed-out arrangements are of a piece with Reed's work on Rock & Roll Heart and The Bells, the lyrics of the best songs anticipate the directly personal, emotionally naked songwriting that marked the two extraordinary albums that would follow, The Blue Mask and Legendary Hearts. "How Do You Speak to an Angel," "My Old Man," and "Standing on Ceremony" deal with Reed's family issues with a direct force he hadn't summoned since "Kill Your Sons" (we'll leave it to others to debate their accuracy), and "So Alone" and "Keep Away" both offer a trenchant but heart-rending look at modern relationships. And "The Power of Positive Drinking" is amusing, but rather surprising coming from a guy who would give up alcohol and drugs a year after this was released. Growing Up in Public didn't get much notice on its initial release, but all these years later it sounds like a dry run for what was to be the most creatively fruitful period of Lou Reed's solo career. © Mark Deming © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:etanqj6bojda


The career of Lou Reed defies capsule summarization. Like David Bowie (whom Reed directly inspired in many ways), he has made over his image many times, mutating from theatrical glam rocker to scary-looking junkie to avant-garde noiseman to straight rock & roller to your average guy. A firmer grasp of rock's earthier qualities has ensured a more consistent career path than Bowie's, particularly in his latter years. Yet his catalog is extremely inconsistent, in both quality and stylistic orientation. Liking one Lou Reed LP, or several, or all of the ones he did in a particular era, is no guarantee that you'll like all of them, or even most of them. Few would deny Reed's immense importance and considerable achievements, however. As has often been written, he expanded the vocabulary of rock & roll lyrics into the previously forbidden territory of kinky sex, drug use (and abuse), decadence, transvestites, homosexuality, and suicidal depression. As has been pointed out less often, he remained (and remains) committed to using rock & roll as a forum for literary, mature expression well into middle age, without growing lyrically soft or musically complacent. By and large, he's taken on these challenging duties with uncompromising honesty and a high degree of realism. For these reasons, he's often cited as punk's most important ancestor. It's often overlooked, though, that he's equally skilled at celebrating romantic joy, and rock & roll itself, as he is at depicting harrowing urban realities. Although Reed achieved his greatest success as a solo artist, his most enduring accomplishments were as the leader of the Velvet Underground in the '60s. If Reed had never made any solo records, his work as the principal lead singer and songwriter for the Velvets would have still ensured his stature as one of the greatest rock visionaries of all time. The Velvet Underground are discussed at great length in many other sources, but it's sufficient to note that the four studio albums they recorded with Reed at the helm are essential listening, as is much of their live and extraneous material. "Heroin," "Sister Ray," "Sweet Jane," "Rock and Roll," "Venus in Furs," "All Tomorrow's Parties," "What Goes On," and "Lisa Says" are just the most famous classics that Reed wrote and sang for the group. As innovative as the Velvets were at breaking lyrical and instrumental taboos with their crunching experimental rock, they were unappreciated in their lifetime. Five years of little commercial success was undoubtedly a factor in Reed leaving the group he had founded in August 1970, just before the release of their most accessible effort, Loaded. Although Reed's songs and streetwise, sing-speak vocals dominated the Velvets, he was perhaps more reliant upon his talented collaborators than he realized, or is even willing to admit to this day. The most talented of these associates was John Cale, who was apparently fired by Reed in 1968 after the Velvets' second album (although the pair have worked together on various other projects since then). Reed has a reputation of being a difficult man to work with for an extended period, and that has made it difficult for his extensive solo oeuvre to compete with the standards of brilliance set by the Velvets. Nowhere was this more apparent than on his self-titled solo debut from 1971, recorded after he'd taken an extended hiatus from music, moving back to his parents' suburban Long Island home at one point. Lou Reed mostly consisted of flaccid versions of songs dating back to the Velvet days, and he could have really used the group to punch them up, as the many outtake versions of these tunes that he actually recorded with the Velvet Underground (some of which didn't surface until about 25 years later) prove. Reed got a shot in the arm (no distasteful pun intended) when David Bowie and Mick Ronson produced his second album, Transformer. A more energetic set that betrayed the influence of glam rock, it also included his sole Top 20 hit, "Walk on the Wild Side," and other good songs like "Vicious" and "Satellite of Love." It also made him a star in Britain, which was quick to appreciate the influence Reed had exerted on Bowie and other glam rockers. Reed went into more serious territory on Berlin (1973), its sweet orchestral production coating lyrical messages of despair and suicide. In some ways Reed's most ambitious and impressive solo effort, it was accorded a vituperative reception by critics in no mood for a nonstop bummer (however elegantly executed). Unbelievably, in retrospect, it made the Top Ten in Britain, though it flopped stateside. Having been given a cold shoulder for some of his most serious (if chilling) work, Reed apparently decided he was going to give the public what it wanted. He had guitarists Steve Hunter and Dick Wagner (who had already played on Berlin) give his music a pop-metal, more radio-friendly sheen. More disturbingly, he decided to play up to the cartoon junkie role that some in his audience seemed eager to assign to him. On-stage, that meant shocking bleached hair, painted fingernails, and simulated drug injections. On record, it led to some of his most careless performances. One of these, the 1974 album Sally Can't Dance, was also his most commercially successful, reaching the Top Ten, thus confirming both Reed's and the audience's worst instincts. As if to prove he could still be as uncompromising as anyone, he unleashed the double album Metal Machine Music, a nonstop assault of unlistenable electronic noise. Opinions remain divided as to whether it was an artistic statement, a contract quota-filler, or a slap in the face of the public. While Reed has never behaved as outrageously (in public and in the studio) as he did in the mid-'70s, there was plenty of excitement in the decades that followed. When he decided to play it relatively straight, sincere, and hard-nosed, he could produce affecting work in the spirit of his best vintage material (parts of Coney Island Baby and Street Hassle). At other points, he seemed not to be putting too much effort into any aspect of his songs ("Rock and Roll Heart"). With 1978's Take No Prisoners, he delivered one of the weirdest concert albums of all time, more of a comedy monologue (which not too many people laughed hard at) than a musical document. Reed had always been an enigma, but no one questioned the serious intent of his work with the Velvet Underground. As a soloist, it was getting impossible to tell when he was serious, or whether he even wished to be taken seriously anymore. At the end of the '70s, The Bells set the tone for most of his future work. Reed would settle down; he would play it straight; he would address serious, adult concerns, including heterosexual romance, with sincerity. Not a bad idea, but though the albums that followed were much more consistent in tone, they remained erratic in quality and, worse, could occasionally be quite boring. The recruitment of Robert Quine as lead guitarist helped, and The Blue Mask (1982) and New Sensations (1984) were fairly successful, although in retrospect they didn't deserve the raves they received from some critics at the time. Quine, however, would also find Reed too difficult to work with for an extended period. New York (1989) heralded both a commercial and critical renaissance for Reed, and in truth it was his best work in quite some time, although it didn't break any major stylistic ground. Reed works best when faced with a challenge, which arrived when he collaborated with former partner John Cale in 1990 on a song cycle for the recently deceased Andy Warhol. In both its recorded and stage incarnations, this was the most experimental work that Reed had devised in quite some time. Magic and Loss (1992) returned him to the more familiar straight rock territory of New York, again to critical raves. The re-formation of the Velvet Underground for a 1993 European live tour could not be considered an unqualified success, however. European audiences were thrilled to see the legends in person, but critical reaction to the shows was mixed, and critical reaction to the live record was tepid. More distressingly, old conflicts reared their head within the band once again, and the reunion ended before it had a chance to get to America. Cale and Reed at this point seem determined never to work with each other again (the death of Velvet Underground guitarist Sterling Morrison in 1995 seemed to permanently ice prospects of more VU projects). In 1996, the surviving Velvet Underground members were inducted into the Rock and Roll Hall of Fame, performing a newly penned song for their fallen comrade, Morrison. Reed closed the '90s with an album that saw him explore relationships, 1996's Set the Twilight Reeling (many speculated that the album was biographical and focused on his union with performance artist Laurie Anderson), which didn't turned out to be one of Reed's more critically acclaimed releases. He also found time to compose music for the Robert Wilson opera Timerocker, and in 1998, released the "unplugged" album Perfect Night: Live in London. The same year, Reed was the subject of a superb installment of the PBS American Masters series that chronicled his entire career (eventually released as a DVD, titled Rock and Roll Heart). 2000 saw Reed's first release for Reprise Records, Ecstasy, a glorious return to raw and straightforward rock, a tour de force that many agreed was his finest work since New York. Another collaboration with Robert Wilson, POE-try, followed in 2001 and continued its worldwide stage run through the year. Including new music by Reed and words adapted from the macabre texts of Edgar Allan Poe, POE-try led to Reed's highly ambitious next album, The Raven. Animal Serenade, a double-disc set recorded at the Wiltern Theater in Los Angeles during his 2003 world tour, was issued in spring 2004. The live effort is Reed's tribute of sorts to his celebrated Rock N Roll Animal concert album, which was released 30 years before. In 2007 Reed released Hudson River Wind Meditations, a four-song experimental sound collage that celebrated both the best and worst aspects of Metal Machine Music. Reed's solo work ultimately cannot stack up to his Velvet output, despite its many highlights. Still, most would have to concede that with the exception of Neil Young, no other star that rose to fame in the '60s has continued to push himself so diligently into creating work that is meaningful and contemporary. If that means he relies on stock musical and lyrical ideas at times (as Young does), it also means he's proved that rock can remain relevant to listeners other than hormone-crazed teenagers. © Richie Unterberger & Greg Prato © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:0ifrxqr5ldje~T1

Missy Burgess


Missy Burgess - Lemon Pie - 2008 - Missy Burgess

"Ottawa’s Missy Burgess is as credible a blues interpreter as she is a singer/songwriter. Here Burgess covers Robert Johnson’s suggestive “Come On In My Kitchen”, catches the moodiness of Jann Arden’s “It Looks Like Rain”, and delivers a rich, bittersweet take on her own lovelorn “Blue Sweater”. Front and centre, right where they belong, are Burgess’ direct, smoky vocals, sometimes reminiscent of her old pal Penny Lang’s. Exquisite playing. Good tunes and monstrous production from James Stephens. Willie P. Bennett can be found playing harmonica on this gem of a CD. Pick it up now!" - Pat Langston (Ottawa Citizen, Jan. 12/08)

Growing up in a large family had its benefits. You could train yourself to live in a different land even though chaos was all around you. As a young teen, Missy would climb into her brother's tree house and imagine herself singing late at night in some obscure small room in New York City and walking the streets alone as she thought all musicians did. By the time she was 15 years old she had heard all her father's jazz and big band albums over and over and had attended numerous concerts where her brother, Michael sang beautiful Gregorian chant with St. Michael's Choir School in downtown Toronto. She loved music, and belonged to many church choirs, but it took on new meaning when her father brought home a record of Fats Waller because it introduced a sound for her that made her want to sing. She bought a guitar and liked spending hours learning how to play it. But it took many years of living before Missy finally realized the need to take music seriously. Since 1996 Missy has performed on main stages from The National Arts Centre in Ottawa to Boston's Regent Theatre to The Angola Prison for Women in Louisiana.She has recorded 2 albums. Pour Me a Song features veteran folk singer Penny Lang as a guest singer. Her latest album Lemon Pie features the late Willie P. Bennett as a guest back up singer and harmonica player. As well Lemon Pie features the virtuoso guitar playing of Vince Half hide along with the wonderful sax of Petr Cancura. Website: Missyburgess.com

Great blend of roots blues with a touch of folk and jazz. Very much in the style of the early Maria Muldaur. Listen to her "Pour Me A Song" album


1. Blue Dog Man - Missy Burgess, Vince Halfhide
2. Lemon Pie - Missy Burgess, Vince Halfhide
3. Come On In My Kitchen - Robert Johnson
4. Sweet Dreams - Missy Burgess, Vince Halfhide
5. It Looks Like Rain - Jann Arden Richards, Robert Foster
6. Blue Sweater - Missy Burgess, Vince Halfhide
7. Make Me A Pallet On Your Floor - Trad.
8. Sparrows - Missy Burgess, Vince Halfhide
9. Just Like Roses Do - Missy Burgess, Vince Halfhide
10. Basket of Blues - Missy Burgess
11. Little Man - Teddy Edwards
12. When I Go - Alrick Huebener, Missy Burgess, Vince Halfhide


Missy Burgess - Vocals, Guitar
Vince Halfhide - Guitar
Alrick Huebener - Bass
Petr Cancura - Sax
Willie P. Bennett RIP - Harmonica, Backing Vocals
Penny Lang - Guest Vocals


Daevid Allen


Daevid Allen - Alien in New York [EP] - 1983 - Charly Records

Daevid Allen, born 1938 in Melbourne, Australia, was one of the founders of the British progressive rock band the Soft Machine in 1966. After recording just one album with the group, he became the founder/leader of Gong, which he left in 1973 to begin a solo career (though his first solo album, Banana Moon, was released in 1971 while he was still in the group). Allen explored his quirky, folky take on rock throughout the '70s and '80s on albums like 1976's Good Morning and 1983's Alien in New York. His solo work also included collaborations with underground rock impresario Kramer like 1993's Who's Afraid? and 1996's Hit Men, which was released on Kramer's Shimmy Disc label. Allen returned in 1999 with Money Doesn't Make It, followed a year later by Stroking the Tail of the Bird. Nectans Glen also followed in 2000. In 2003 Allen formed a new version of Gong with members of the Japanese collective known as Acid Mothers Temple, as well as playing and releasing material with his California-based band University of Errors. He continues to release numerous live sets and one-off collaborations in limited editions on various independent labels under his own and various group names. A best-of, Man From Gong, which only scratches the surface of his lengthy discography, appeared from Snapper Music in 2006. © William Ruhlmann, All Music Guide

If you like the quirky, eccentric and original jazz rock sound of Can, and Robert Wyatt/Soft Machine, you may like this EP. Although Daevid Allen's work is often intricate, complex, and very unorthodox, it is never boring and all his music is accessible and worth listening to. Daevid's "Australia Aquaria" album is @ DAEVALL/AUSAQU


1 Bananareggae - Allen 4:21
2 Are You Ready - Allen, John Hill 3:30
3 Oo la La - Allen 3:26
4 Side Windo - Allen



Daevid Allen - Guitar, Vocals
Bill Laswell - Bass
Bill Bacon, Fred Maher - Drums
Ralph Carney - Sax (Bass)
Gary Window - Sax (Tenor)
Mars Williamson - Baritone Sax
Mark Kramer - Trombone, Synth
The Bergerettes - Choir on Track 1

Bushmaster featuring Gary Brown


Bushmaster featuring Gary Brown - Live & Blue - 2008 - Bushmaster

Produced, and Performed by Gary D. Brown of the band Bushmaster: featuring Jay Turner on Bass; Mark St. Pierre and Joe Schrum on drums/percussion. Independently Released in the Spring of 2008, Bushmaster's third CD is an inspiring collection of original tunes and re-energized blues classics. Recorded live in Carlisle, PA, at two gigs, this album captures the energy and "musical conversations" that occur when Gary and Jay take the stage together. Influenced by a host of blues greats, including Alec Rice "Sonny Boy Williams II" Miller, McKinley "Muddy Waters" Morganfield, Eddie Boyd, George "Buddy" Guy, Albert Collins, Roy Alfred, Ray Charles, Elmore James, and many others, the music on this CD is sure to please a wide spectrum of blues music lovers. [http://www.youtube.com/user/trudimbrown]

Bushmaster, featuring Gary Brown on Guitar and Vocals, is a blues-rock power trio based in the Central PA/MD/DC area. Subscribe to our channel to get updates on all the latest clips as they happen. Check out more about the band at www.MySpace.com/BushmasterBlues [http://www.youtube.com/user/trudimbrown]

Gary Brown (Guitar/Vocals) is a DC area native (Palmer Park) with 30+ years playing experience. After picking up his first guitar (an old Guild acoustic) at age 14, the 45 year old Brown quickly progressed to electric and after stints with various local bands, most notably The Spoilers, and sitting in around DC area clubs he decided to take the plunge and form his own group in 1992. [http://www.youtube.com/user/trudimbrown]

Buy the band's great "Drowning on Dry Land" album, and support the blues


1. Night Shift - Gary Brown
2. Have You Ever Been Mistreated (Nine Below Zero) - Improvised lyrics based on both "Nine Below Zero" by Alec Rice "Sonny Boy Williams 11" Miller as sung by Muddy Waters, and "Five Long Years" by Eddie Boyd as sung by Buddy Guy
3. Lights On, Nobody Home - Improvised lyrics based on "Lights Are On, But Nobody's Home by Gwendolyn Collins as sung by Albert Collins
4. I Got News - Improvised lyrics based on "I've Got News For You" by Roy Alfred as sung by Ray Charles
5. Drowning On Dry Land - Gary Brown
6. Nappy's Boogie - Gary Brown
7. Thousand Miles From Nowhere - Gary Brown
8. Four Times Better - Gary Brown
9. Good Life - Gary Brown
10. The Sky Is Crying [Bonus Track] - Improvised lyrics based on "The Sky Is Crying" by Elmore James, Clarence Lewis, & Bobby Robinson as sung by Elmore James


Gary Brown - Lead Guitar/Vocals on all tracks except "I Got News"
David Ison - Rhythm Guitar, Vocals on "I Got News"
Dayne Shannon - Guitar Solo on "Good Life"
Jay Turner - Bass
Mark St. Pierre - Drums/Percussion on "Night Shift", "Have You Ever Been Mistreated (Nine Below Zero)", "I Got News", & "Good Life"
Joe Schrum - Drums/Percussion on "Lights On", "Nobody Home", "Drowning On Dry Land", "Nappy's Boogie", "Thousand Miles From Nowhere", "Four Times Better", & "The Sky Is Crying"




Katamaran - Café Florian - 1978 - pläne

Katamaran was a lively fusion combo from Heidelberg, Baden-Württemberg, Germany, and often compared to the jazzy progressive rock band of the late-70's, Guru Guru. Percussionist, Waldemar Karpenkiel's brother Jogi was in Guru Guru in 1976/77 (both being from Kollektiv) and naturally influences rub off. Katamaran were unique in many ways, not least so for a heavy reliance on percussion and two wind players, and were comparable in feel to many East Euro fusion bands of the era. "Café Florian" is a good jazz rock/fusion album in the style of artists like Chick Corea, or Weather Report . Try and listen to Katamaran's 1977 s/t album. For music in the same genre, listen to Kollektiv's "SWF-Sessions Volume 5", and Guru Guru's "Don't Call Us, We Call You" albums


A1 Café Florian 11:03
A2 Plaza De La Trinidad 3:34
A3 Das Stück Mit Der Quarte 7:40

B1 Chromadur 14:05
B2 Kurt 7:50

All tracks composed by Wolf Burbat


Franz Holtmann - Guitar
Dago Dombrowski - Bass, Percussion
Wolf Burbat - Piano, Electric Piano, Synthesizer [2 Arp Axxe, Polymoog], Flute
Rudi Marhold - Drums, Percussion
Waldemar Karpenkiel - Percussion
Roland Schmitt - Saxophone [Tenor, Soprano]



Albatross - Rockin' The Sky - 1975 - Dominion

Hard rock with progressive, and psychedelic touches. Slightly commercial Southern rock, but a well above average mid 70's rock album by good musicians. There are many bands with the sane name. This band may originally have been based in Salem, Virginia? Any information is appreciated


1-Out Of Control - Reid, Ward, George (4:00)
2-After The Fire - Reid, Weaver (4:48)
3-Spare A Dime - Reid, Weaver (3:20)
4-About Losing - Reid, Ward, George (3:27)
5-Back Street Lover - Reid, Ward (3:53)


1-Same Old Song - Reid, Ward, George (3:38)
2-No Reason To Cry - Ward, George (2:34)
3-On The Run - Reid, Weaver (2:38)
4-Yankee Jam - Ward (2:14)
5-Both Sides Now - Reid, Ward, George (2:14)
6-Other Side Of Town - Reid, Ward (2:55)
7-Mean Woman Blues - Reid, Ward (3:45)


GARY WARD - Lead Guitar/B.Vocal
RUDY WEAVER - Bass Guitar/B.Vocal
HENRY REID - Keyboards
JOE CAMPBELL - Drums/B.Vocal
MIKE GEORGE - Lead Vocal


Mary Ann Redmond


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

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


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


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


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


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

D.A. & the Hitmen


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

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

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


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

All songs composed by Lance Dieckmann, & Paul Alvarado


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


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

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

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


Michael Landau


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

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


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


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


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


Alan Price


Alan Price - Liberty - 1989 - Ariola

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


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

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


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


Chicken Shack featuring Stan Webb


Chicken Shack - Goodbye Chicken Shack - 1974 - Deram

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


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


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

BIO (Wikipedia)

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


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


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


The Barrelhouse Brothers


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

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


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


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

Atomic Rooster


Atomic Rooster - Space Cowboy - 1991 - Marble Arch

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


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


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


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


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


Jim Beard


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

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


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

All tracks composed by Jim Beard


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


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


Joe Beard


Joe Beard - Dealin' - 2000 - Audioquest Records

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

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

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


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


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


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


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

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

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

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


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

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


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


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


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