Get this crazy baby off my head!


Combination Head


Combination Head - Combination Head - 2006 - S.A.M. Records

“They just embody the essence of what progressive rock is all about ...High energy music that is infectious enough to hit the repeat button when the CD is over…..This may be the year of Combination Head.” Ron Fuchs ( San Diego) Prognaut
COMBINATION HEAD a Neo-Prog band from the UK originally formed as a trio of Paul Birchall on Keyboards, Keith Ashcroft on bass and guitar, and Paul Burgess on drums. Paul Birchall had previously worked with the likes of THE CORRS, Geri Halliwell and Cher and recorded singles with them all. Although he has previously worked with bands and performers who have nothing to do with progressive rock, he takes inspiration from keyboardists such as Emerson, Bardens and Jobson. He has also worked with jazz-fusion guitarist Gary Boyle as well as Jim Diamond. Paul Burgess may be a familiar name to Progressive Rock fans, as he has played drums with CAMEL, JETHRO TULL and 10CC. Taking inspiration from CAMEL and ELP, and augmenting the band with Gareth Moulton on guitars, Dominic Finley on bass and a couple of additional drummers, the band released its all-instrumental self-titled debut album in 2006. © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=4845
COMBINATION HEAD (Fab Instrumental Prog - Stock 984512) Well, this is truly fine piece of work that all you instrumental ELP/Camel fans out there are going to go absolutely ga ga over for sure! Combination Head are a new UK instrumental prog band fronted by Paul Birchall (keyboards) and Keith Ashcroft (basses, guitars and effects), with drum and percussion duties being shared by Paul Burgess, Carl Hutchison and Phil Knight. Birchall uses a whole gamut of keyboards, including Hammond organ (with Leslie speakers), Moog, Korg & Roland synthesizers, piano and more, and what you hear is like a cross between early ELP and classic period Peter Bardens era Camel, with touches of jazz-rock fusion here and there. The fact that the guitarist/bassist uses a Rickenbacker 4002 and fretless bass guitars gives a distinctive sound to the bottom end as well. When the Hammond or a synthesizer is not being used to take the lead, the electric guitars fire away on top of a backdrop of organ and other keyboard textures, but the keyboards tend to be the main melodic driving force for most of the album. The melodies are clean and distinct with lots of counter keyboard work adding extra dimensions to a sound that any fan of keyboard driven 70's prog-rock is going to fall head over heels for. The two 'Clover Road' tracks are sensational standout pieces, the first being more symphonic and firmly rooted in the sound of early Camel, and the second into '1st Album' and 'Tarkus' period ELP with it's raunchy driving Hammond and soaring Moog work. The title track is the most intense piece on the album with fast electric guitars sharing the leads with the keyboards over a powerful driving force rhythm section. 'Blue Waters' provides a gentle rest bite in the middle of the set, until the Hammond riffs and guitar breaks of 'The Bonk' up the anti once more.'Fourteen' is classy piece that finds the synthesizers and guitar sharing the limelight on a 'Moonmadness' Camel influenced track, then the catchy album closer: 'For What?' will quickly find a place in your heart with its ultra melodic Latimer-esq lead guitar sound taking the melody line for the most part, set over a bed of solid synth and chunky organ work. Overall, if you like either of the aforementioned bands, you should really get off on the finely crafted music of Combination Head and we sincerely expect you all to be ordering this up in droves by return. Dave Shoesmith CD SERVICES Tracklist: Clover Rd A B C (9:52), Devonshire Crescent (2:58), Combination Head (5:03), Blue Waters (2:34), The Bonk (5:03), Clover Rd D E F (4:23), Fourteen (3:52), For What? (4:18) What do M People, S Club 7, B*Witched, The Corrs, Blue, Geri Halliwell and Cher all have in common, apart from the fact you never expected to see any of their names on this site? The answer is producer and keyboardist Paul Birchall, who has recorded singles with them all. Now, before you scroll down to the next review and I lose you, I’ll quickly redress the situation with the names Keith Emerson, Jon Lord, Eddie Jobson, Gary Brooker and Vangelis. To my knowledge, Birchall has not worked with any of them, but his affinity for their style is captured on this debut album. He is one third of Combination Head, with Keith Ashcroft taking care of both guitar and bass duties, and Paul Burgess on drums and percussion. Ashcroft and Burgess have been around a bit themselves, with the drummer being best remembered for his work with 10cc, Jethro Tull and Camel. Birchall has a creditable side to his past as well, having worked extensively with jazz-fusion guitarist Gary Boyle (ex Isotope) and Jim Diamond. Combination Head are proclaimed as a prog rock fusion trio, which is a fair description I guess. Obvious comparisons would be ELP and UK, but this work has a more modern sound thanks to Birchall’s slick and glossy production. This is an all-instrumental album with Birchall responsible for all compositions, with the exception of three tracks co-written with Ashcroft. Several tracks curiously take their titles from street names, references from Birchall’s past perhaps, or did he simply flick through the A to Z for inspiration? The opener, Clover Rd A B C is as the title suggests split into three parts, each with their own distinct mood, providing a perfect start to the proceedings. A short atmospheric piano introduction blossoms into a stately symphonic sound with digital keys against a hypnotic widescreen organ backdrop. The bass and drum playing is suitably understated but at the same time clear and prominent in the mix. The music is so smooth it wouldn’t be out of place on the soundtrack of the next Bond movie. It flows seamlessly into the up-tempo middle section with sweeping guitar taking over lead duties and a strong melody. Mellotron like washes provide an atmospheric soundscape, with dynamic organ flourishes and Vangelis flavoured spacey synth sounds. Another change of pace for the final part, which features bluesy Clapton style guitar and a laidback Hammond sound that brings the work of Gary Brooker to mind. The mid tempo Devonshire Crescent lays down an incessant guitar melody doubled by organ. This develops into a jazzy Hammond solo, and features some impressive proggy keys and guitar interplay. Dramatic cascading keys introduce Combination Head, with its rich rhythmic organ sound. An aggressive Jon Lord Hammond sound dominates offset by bubbling synth atmospherics evoking Vangelis’ Spiral album. An inspired lightning fast guitar solo with bombastic metal overtones demonstrates its not all one-way traffic in favour of the keys. The only down side is the drum sound, this time courtesy of Phil Knight, which is energetic enough but lacks dynamics. In complete contrast, Blue Waters is a pastoral classical solo piano piece providing a gentle, reflective mood. Purple to Chopin in one bound! The crisp and sprightly tone of The Bonk is supplied by swirling synth sounds and a repetitive organ riff that comes close to Jethro Tull’s Living In The Past. Tranquil interruptions are provided by moody jazz like guitar and warm bass lines. The only drawback for me is the mechanical drum sound. Clover Rd D E F will strike an instant chord with ELP fans. The nimble organ and synth work brings Karn Evil 9 to mind, with Burgess playing his part laying down a rich Carl Palmer like tom-tom sound. It develops into a glorious wall of sound created by muscular keys work and guitar straight out of the same stable as Manfred Mann’s Earthband and Argent. A compelling slice of prog that ends all to quickly. Fourteen is a modern light jazz and orchestral fusion piece in the same vein as the work of Craig Armstrong. A spiralling harpsichord like synth sound and programmed drums dominate. The album closes on a high note with the majestic For What? Unselfishly, Birchall allows the lyrical guitar work of Ashcroft to take centre stage from the start. The soaring melody of this mid tempo piece put me in mind of Andy Latimer’s work with Camel. Lively drumming, this time from Carl Hutchinson, and inspired bass work feature strongly. Not to be completely out done, Birchall produces a cool Jan Hammer style keys solo to provide a fitting conclusion. A promo copy of this disc first came my way in March of this year and I’m happy to report that in the intervening months my opinion hasn’t changed. True, it may seem a little on the short side by present day standards, certainly for followers of The Flower Kings at least. However, at 38 minutes it has the same playing time as Yes’ Close To The Edge, and there can be no finer endorsement in my book! I believe Birchall has made a wise decision here, with the economical timing allowing the band to deliver a potent musical punch before you even begin to miss the vocals. Birchall, Ashcroft and Burgess play with consummate skill throughout, and the production quality blows just about everything else I’ve heard recently clean out of the water. The sound is mature and sophisticated, and given half a chance, it could even give prog a respectable name once more amongst the uninitiated! If you like prog with polish, where vocals are not a prerequisite, then this is for you. If you yearn for the days when the sound of the Hammond was keyboard king then it’s an absolute must! Conclusion: 8 out of 10 © GEOFF FEAKES © 1995 - 2010 : Dutch Progressive Rock Page http://www.dprp.net/reviews/200651.php#combination

"You've restored my faith in contemporary music - less fluff, more stuff!" is part of a message sent to Paul Birchall's Combination Head by Tony Visconti, the legendary American record producer (Moody Blues, Gentle Giant,Thin Lizzy, Stranglers, T.Rex, Iggy Pop, David Bowie). This is a short, but exceptional s/t album from the great, but obscure progressive rock band, Combination Head. The music is original and inventive, and encompasses melodic, symphonic prog. rock, fusion, jazz, Canterbury rock, and more. Musicians include Keith Ashcroft, the great keyboardist Paul Birchall, and the terrific drummer Paul Burgess who has played with 10 cc and Camel. This kind of music is rare in the 2000's. It harks back to the days of ELP, Yes, and even Jethro Tull. If you like bands like Camel, you may find this album to your liking. HR by A.O.O.F.C. Listen to the band's "Progress?" album


1.Clover Rd A B C (9:52)
2.Devonshire Crescent (2:58)
3.Combination Head (5:03)
4.Blue Waters (2:34)
5.The Bonk (5:03)
6.Clover Rd D E F (4:23)
7.Fourteen (3:52)
8.For What? (4:18)

All songs composed by Keith Ashcroft & Paul Birchall or Paul Birchall


Keith Ashcroft (guitar and bass)
Paul Birchall (keyboards)
Paul Burgess (drums and percussion)
Phil Knight, Carl Hutchingson (drums)


"'Progress?' Blows away everything I've heard recently.With a thorough soaking of Hammond organ included I thoroughly recommend it to any lover of classic rock .” Martin Hudson - Classic Rock Society

“They just embody the essence of what progressive rock is all about ...High energy music that is infectious enough to hit the repeat button when the CD is over…..This may be the year of Combination Head.” Ron Fuchs ( San Diego) Prognaut

“ The high quality musicianship of these well-talented musicians is making this CD a must-have for people who enjoy acts like IQ, CAMEL…” STRUTTER MAGAZINE

“Combination Head is quite a recommendation.” Yokes Rindfrey Babyblaue Seite
“The music just does all the talking. I did not hear a wrong word. Bravo!” **** (4 out of 5) Henri Strik BACKGROUND MUSIC

“Well, the band was able to create a strong debut album, widely recommended to the instrumental symphonic rock fans. …And they're growing up, more and more.” Luca Alberici TALES OF WONDER

“a ‘prog -supergroup’....Prog fans won’t be able to get enough of these chaps.” Martin hudson Classic rock society Combination Head , Classic Rock Society Album review Nov/Dec 2006 Given the chance by a few ears Combination Head could make a big mark in certain musical circles .It is musicianship of the highest quality. A promo copy of this album e.g. this album has already been covered by us and I gave it a big thumbs up. We did have the band marked for a gig - but as you might expect - ticket sales were slow for a band that know one knew . Here’s your chance to enjoy a band that is based around the keyboards of Paul “ Birchy “ Birchall and boasts Paul Burgess on drums and percussion amongst others and the dextrose Keith Ashcroft on bass and guitars . Instrumental prog. with a Camel edge that just has to be heard. © Martin Hudson CLASSIC ROCK SOCIETY © 2003-2010 Myspace, Inc. All Rights Reserved

This is the latest and greatest prog band out of England,an instrumental band formed by veteran musicians,of which prog fans should at least be familiar with drummer Paul Burgess for his stints with Camel and Jethro Tull . The primary composer is Paul Birchall , who a long resume in the music industry. Birchall focuses on Hammond and other vintage keys and so the style here is very 1970s prog - oriented , but done with modern production and high-energy.In fact , it may be the best instrumental prog to come out of England since the 70s .The music often has the flowing nature of Camel , and there are also aspects of Caravan,ELP,Argent,and other classic prog bands. Its no wonder reviewers are stumbling over each other to heap praise upon this band.Combination Head seems unlikley to be a one-shot wonder as they re already working on the follow-up album.The other 70s-oriented aspect of theiir debut is that it clocks in at 38-minutes,but you would nt pass on Close To The Edge for that reason,would you? If you visit the C.H website, you’ll find a video at the Audio Visual link. KINESIS CD.COM © 2003-2010 Myspace, Inc. All Rights Reserved


Dave's True Story


Dave's True Story - Unauthorized - 2000 - Chesky Records

"Jo Stafford-sings-Dorothy-Parker feel...Harry Connick, Jr. and John Pizzarelli should have new material that is as witty as what Mr. Cantor creates." Jim Fusilli - Wall Street Journal

"Kelly's gorgeous voice with its drop of irreverence was perfect for those great songs filled with wordplay and curveball ideas." Rita Houston, Music Director, WFUV)

Unauthorized features thirteen hip, witty tracks with Dave's True Story's trademark toe-tapping swing. While the style may be considered retro, the subject matter is certainly contemporary: "Dear Miss Lucy" is a wry appeal to a husband-stealing S&M mistress, and "Lilly 110-140" is a samba--tinged homage to Prozac. Songs like "Won Gon Ju" the story of a Chinese Jewish man and "Florida Time" a sultry ballad ostensibly penned in a jail cell are off-kilter and cynical treats. And, like all Dave's true stories, there are paeans to love lost ("When Kafka Was The Rage"), love gone wrong ("Misery"), and love that hurts so good ("Far Worse Off"). Dave's True Story's first album on Chesky Records, Sex Without Bodies (JD164), was received with shocked delight and inspired many a critic to new levels of creativity in capturing their sound: "like Cole Porter writing about phone sex" and "high on the dial of hang-loose cool." Kelly Flint and David Cantor, vocalist and guitarist of Dave's True Story respectively, describe their music as "beat-lounge." Since meeting more than ten years ago through New York City's network of songwriters, Flint's peaches-and-Cointreau voice and Cantor's sharp-yet-loose arrangements have proven themselves to be perfect complements to each other. Recorded in the signature 96kHz/24bit Chesky sound, Unauthorized is sure to become one of the favorites in your CD-player as you soak in the tight accompaniment and wit-doused lyrics of this duo. Dave's True Story performs frequently in and around New York City. Unauthorized was released in the U.S. on February 22, 2000. Chesky Records, the Grammy-award winning jazz, adult pop, world and classical audiophile label, is distributed nationally by Telare Corporation. © 2005 Chesky Records. All rights reserved

Terry Teachout of The New York Times said that "Kelly Flint and David Cantor's act is hard to pigeonhole; imagine a weird and wonderful cross of Steely Dan and Stephen Sondheim." Jim Allen of Muze said this about David Cantor's music, "a songwriter whose name belongs in the pantheon of greats like Randy Newman, Donald Fagen and Lyle Lovett." (David Cantor is a great Steely Dan fan). Spencer Harrington of Jazziz noted that "The edgy genius of Dave's true Story - the trio of guitarist-songwriter David Cantor, vocalist Kelly Flint, and bassist Jeff Eyrich - is in its ability to fuse the vibe of jazz from the 1940s and 50s with a modernist lyric sensibility: witty, urbane, and anxiety-ridden... jazz songwriting for a new generation." All great descriptions. How about a cross between Matt Bianco and Michael Franks, or Everything but the Girl and Cole Porter. Why not put all these sounds together? DTS's music is not easy to describe but they are very, very talented with great lyrics, often with dark concepts embedded in them, beautiful jazzy melodic hooks, and a suave, cool and urbane jazz pop sound that is timeless. The music could possibly be described as retro cocktail jazz, but with a unique modern feel. Kelly Flint is the focus with a Peggy Lee/k.d. lang-styled voice, and she is backed by a brilliant band who play with economy and amazing expertise. DTS is another band who rise head and shoulders above the controlled commercial pop and rock "X Factor/Britain's Got Talent bands" masquerading as today's music sensations. Search this blog for more DTS releases


1. Dear Miss Lucy
2. Misery
3. Lilly-110-140
4. When Kafka Was the Rage
5. Won Gon Du
6. Florida Time
7. Far Worse Off
8. Baby Who Are You?
9. Chicks
10. Voletta's
11. Still I Adore You
12. Kathmandu
13. China Tour

All songs composed by David Cantor


David Cantor (guitar)
Andy Ezrin (piano, organ, Wurlitzer organ)
Tom Beckham (vibraphone)
Michael Hess (viola)
Fred Walcott (percussion)
Greg Wall (clarinet, soprano saxophone)
Jim Jedetken (saxophone)
Steve Gluzband (trumpet)
J. Walter Hawkes (trombone)
Kelly Flint (vocals)
Darryl Tookes, Doriane Elliot, Paul Ammendola (background vocals)


The story behind the band, Dave’s True Story, is every bit as interesting as Dave Cantor’s lyrics. Dave Cantor, singer/songwriter and the Dave of Dave’s True Story, grew up in New York, (Long Island to be exact), and had a dream of wanting to become a novelist out of college. The novel didn’t work out, nor did the playwriting, so instead he turned to writing songs, where his lyrics are like mini-scripts with dramatic monologues. Kelly Flint grew up in the mid-west, (Michigan City, Indiana) came to New York with $400, a suitcase and like so many people that come to New York, with a dream of becoming an actress or a singer. It was something that she desperately wanted, but she put off going to a club called the Speakeasy for their Open Mike night for a few years, because she said that she knew once she went it would change her life, and it did. She became involved with the Fast Folk Musical Group, which is where she met Dave in 1989. Friends encouraged Kelly to sing Dave’s songs, since she needed material and was not a prolific writer herself, but Kelly didn’t really “get” Dave, and didn’t like his style of jazz. Over drinks one night, Dave taught Kelly one of his songs, and when she sang it, she “got” it, and went on to learn a few more of his songs. Fast-forward, Dave and Kelly went to a Folk Festival that Jack Hardy put on with 33 performers. Although Dave and Kelly were not on the line-up to perform, at the third from the last of the performers, they decided to sing one song, and the audience loved them. At the end of the concert, the audience cheered Dave and Kelly to come back on and sing another song. Ironically, the only other Dave’s song that Kelly knew was a Christmas song, which they performed, so what that it was July! Encouraged by their reception at the concert, they went on to do a couple of gigs. In 1994 they formed Dave’s True Story, released an album, and in 1995 they won the prestigious Kerrville New Music Award. The story gets even better; in 1994 Kelly met Southern California Surfer/bassist, Jeff Eyrich, who was living in Malibu, in an Internet chat session called the Surf Lounge Tijuana Brass Cocktail. Encouraged by their chats, Kelly sent Jeff their album so that he could try to generate some interest for it on the West Coast. When he heard the album, coupled with his growing online relationship with Kelly, he moved to New York and joined Dave’s True Story in 1998. Their first release together was Dave’s True Story (1994, re-released in 2002), Sex without Bodies (1998), followed by Unauthorized (2000), which is when I first became a fan of Dave’s True Story. Their latest release, Nature, from BePop Records was just released on April 19, 2005. The story gets even better! Their song, Crazy Eyes, was featured in the film Kissing Jessica Stein, and the second track, Dog’s Life, from the Nature release is in the documentary, Dog’s Life: A Dogmentary, from Emmy award winning television producer Gayle Kirschenbaum. On June 3, 2005 Edward F. Nesta and I, along with our friend, Tim Garrabrandt, had the opportunity to listen to Dave’s True Story perform at the club, Satalla, in New York, and to interview them to get their “story”. When I asked what inspired Dave, Kelly quickly responded, “he gets his inspiration from Kelly”, to which Dave added, “or else.” Actually, he grew up liking (surprise!) music, which was definitely off the beaten track, which included The Mothers (Frank Zappa) and Captain Beefheart. He also admitted that he was a Steely Dan fan. Jeff was inspired by the Southern California surfer instrumental pipeline music. He said that sometimes people say that he plays “surf guitar.” Hearing Dave’s True Story perform live is about as good as it gets. Joined by drummer, Richard Zukor, the band clearly was in their element. Although Dave may not have written a bestselling novel, his lyrics are clearly bestselling stories; and it appears that Kelly didn’t have to choose between acting or singing, as she captures the audience with her mesmerizing voice and sassy attitude; and as for Jeff, this cool California surfer plays his bass with the ease of a champion surfer coming out of a long pipeline. I can’t wait to hear the next story from Dave’s True Story, as the stories just keep getting better and better. Written & © by Debra C. Argen © August 2005. Luxury Experience. www.luxuryexperience.com All rights reserved. http://luxuryexperience.com/music_scene/interviews/daves_true_story_interview.html


The duo Dave's True Story formed in Manhattan, when songwriter/guitarist David Cantor and singer Kelly Flint met through connections in the New York music scene; Flint showed an affinity for singing Cantor's witty, often risqué songs written in the style of Porter and Gershwin. The duo released their self-titled debut on their own BePop label in 1996 and built a following by performing frequently at New York clubs and touring the Northeast. Their second album, Sex Without Bodies, appeared in 1998, followed in early 2000 by Unauthorized. © Steve Huey © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:k9fwxqlhldfe

Prefab Sprout


Prefab Sprout - Let's Change The World With Music - 2009 - Kitchenware Records

The new Prefab Sprout album sounds stubbornly, gloriously out of step with the times, because it’s not “new” at all. After recording the classic Jordan: The Comeback in 1990, Prefab Sprout frontman Paddy McAloon demoed an ambitious concept album linking the history of the world, divine providence, and the healing power of music. The project went uncompleted—largely because the band’s label wasn’t interested—but with McAloon suffering some recent health woes, a concerned friend urged him to start emptying his vaults. And so: Let’s Change The World With Music, a record produced and performed in McAloon’s home studio almost 20 years ago (given a new mix by Calum Malcolm). Newcomers to Prefab Sprout may find it overwhelming; McAloon expresses fealty to music both as an abstract concept and as a specific transformative force in people’s lives, hailing gospel, Nile Rodgers, and “the unnerving, unswerving Irving Berlin.” The songs are more synth-heavy and beat-driven than usual, but still graced with McAloon’s angelic voice, puckish wit, and constantly evolving arrangements. Is the lush sound and painfully sincere sentiment a little over the top? Yes, of course—it’s Prefab Sprout. But when McAloon sings about how to lead a virtuous life on the thumping, joyous “Ride,” or sums up our existence on the lithe, jazzy “Earth, The Story So Far,” it’s easy to believe what he says of himself in “The Last Of The Great Romantics.” Out of touch? No, in command. © Noel Murray October 26, 2010 © 2010 Onion Inc. All Rights Reserved http://www.avclub.com/articles/prefab-sprout-lets-change-the-world-with-music,46790/

It is an extraordinary album, a rich, glorious, melodic, poetic, wry and romantic pop hymn to the power of music. Although recorded as demos over the course of a year by the perfectionist McAloon completely on his own, it has everything you could want from a Prefab Sprout album, marrying the aesthetic of arty, left-field singer-songwriting with the super polish of pop and jazz. But it was shelved after an A&R meeting when doubts were expressed about whether the world was ready for a concept album with references to God. He was encouraged to go away and work on something else but although Prefab Sprout released two more studio albums, the seeds of McAloon’s withdrawl had been sown. “It was a fraught area for me,” he admits. “I couldn’t help being wounded. My ego was saying I entrusted my best material to people who didn’t get it.” What seems utterly ridiculous from the remove of two decades is that the album is actually so sleek, smart and beautifully distilled, you wonder how anyone could have doubted its worth. It is not even, as he points out himself, particularly religious. © Copyright of Telegraph Media Group Limited http://www.telegraph.co.uk/culture/music/rockandpopfeatures/6163329/Paddy-McAloon-of-Prefab-Sprout-interview.html2010

Prefab Sprout with it's main man, the incredibly talented songwriter Paddy McAloon never bowed to commercialism and although they were relatively successful, they probably should be huge due to some classic songs released during the eighties. "Cars And Girls", and "King of Rock 'n' Roll" are just two of Paddy McAloon's sensational compositions. A bit like Steely Dan, they were not a great touring group, but their studio work was brilliant. "Let's Change The World With Music" was composed and recorded as a demo in 1992, but rejected by the record label. This 2009 release is composed of eleven Paddy McAloon original demos, performed entirely by him in '92, but slightly remastered by Calum Malcolm in 2009. The album is an amazing eclectic mix of wonderful Paddy McAloon compositions. The guy's creativity and imagination knows no bounds. He is one of Britain's greatest songwriters who has never broken into mainstream commercialism. Like all musical geniuses, he composes songs that please him, and if you "get" the music you will be richly rewarded. "LCTWWM" is VHR by A.O.O.F.C. If you are listening to the Prefab Sprout albums in chronological order, this album should come directly after the "Jordan: The Comeback" album. Buy PS's brilliant "From Langley Park to Memphis" album, and also check out the original "Steve Mcqueen" album. Try and listen to Paddy McAloon's "I Trawl the Megahertz" album. Check out Prefab Sprout's unofficial homepage @ http://www.prefabsprout.net/


1. Let There Be Music
2. Ride
3. I Love Music
4. God Watch Over You
5. Music Is A Princess
6. Earth: The Story So Far
7. Last Of The Great Romantics
8. Falling In Love
9. Sweet Gospel Music
10. Meet The New Mozart
11. Angel Of Love

All instrumentation by Paddy McAloon. All songs written, performed and produced by Paddy McAloon


Let's Change the World with Music is the eighth album from UK band Prefab Sprout. It was released in the UK on 7 September 2009. It is the band's first album of new material since 2001's The Gunman and Other Stories and marks a return to their former label Sony Music. The album reached #39 in the UK Albums Chart at the end of the week of its release. Although no singles were technically released "Let There Be Music" was sent to radio stations and "Sweet Gospel Music" was due to be a one track digital release, only to highlight the album, but received no airplay therefore was pulled. The album title was known among the band's fans as being one of the 'lost' albums recorded in demo form by the band's lead singer Paddy McAloon in 1993. The album was originally intended to be the successor to 1990's Jordan: The Comeback, and was to have been produced by Thomas Dolby. In an interview with Craig McLean of The Independent, McAloon observed that the prime mover behind the album was his long-term manager, Keith Armstrong. McAloon stated that "Keith was trying to help me, to make some money. When I finish something I listen to it intensively for a short period, then never look at it again. And I'm not really that interested. But when I heard this I thought, 'Oh boy, this is good.'" During an interview on The Radcliffe and Maconie Show on BBC Radio 2 (3 September 2009) McAloon explained that in 1993 at a meeting with Sony he presented a tape of about fourteen songs as the follow-up to the lengthy Jordan: The Comeback. Apparently there were too many people in the room and the meeting did not go well. Although Sony's A&R man, Muff Winwood wanted him to trim the record down to a more manageable length, for whatever reason there was a misunderstanding and McAloon understood that they wanted him to expand on just one or two of the ideas (rather than just trim 1 or 2 of the songs from the album). He then went away for a year and a half and developed one of the 3 minute songs into a 30 song piece of music. After a period he realised that was not what they wanted, but by this point it was too late. The album was written, performed and produced by Paddy McAloon at his own Andromeda Heights studio in County Durham around 1993. It was then mixed in Scotland by long-time engineer Calum Malcolm. None of the other bandmembers appear although McAloon dedicates the album to them. McAloon actually wrote two versions of the title track. One was based around the idea of a duet with Barbra Streisand. The phrase "Let's Change the World with Music" is the first line of the chorus. However, neither version of the track included on the album. Several titles have been recorded previously by other artists, namely Australian singer Wendy Matthews on her album The Witness Tree ("Ride", "God Watch Over You"). "God Watch Over You" was also recorded by British theatrical star Frances Ruffelle on her debut album Fragile. The release was also accompanied by a few interviews, for example in The Sunday Times and Mojo. The album reached #39 in the UK Albums Chart at the end of the week of its release. It was released on the same day as a number of The Beatles' re-issues which occupied eleven of the chart places above it. Initial reviews in the press were very favourable. In The Times Dan Cairns described it as a 'heartbreakingly good record' and gave it 5/5. Dave Simpson of The Guardian gave it 4/5 and called it an "aural treat" which showed at McAloon "at the top of his game". The review in The Independent was positive, describing the album as "lyrical and lush". It was also given 4/5 in Record Collector and in The Observer's Music Monthly magazine. The latter describes the album as 'fantastically dated' because of the 17 year delay in release. However it also describes it as "fantastically glorious" and an 'enchanting return'.


From Prefab Sprout's early-'80s singles up through their often brilliant but much maligned album The Gunman and Other Stories in 2001, Paddy McAloon has written some of the finest pop tunes you're likely to hear in your lifetime. Comparisons have been made with Cole Porter, Lennon/McCartney, Brian Wilson, Stephen Sondheim, Jimmy Webb, Elvis Costello, and many others, but he remains a truly original and gifted singer and songwriter. While Prefab Sprout could never be called prolific in terms of physical album releases, McAloon has continued to write and demo material throughout the band's 20-plus-year career. In recent years McAloon has dealt with a series of health issues that have left hiim virtually unable to carry on as a recording artist. Thankfully, he continues to write songs that can be sung by other vocalists, and perhaps one day he will be able to grace listeners with his own voice again. Until then, listeners will fortunately be graced with previously unreleased Prefab Sprout music, such as Let's Change the World with Music, the often rumored 1992 follow-up to the Sprouts' Jordan: The Comeback album. While the album was never actually completed by the band, McAloon's full-formed demo is not just a hint of "what might have been": it's one of the most consistent albums of the band's career. Let's Change the World with Music is a loose concept album that is based around the intense, oftentimes religious, joy of music and the gift it brings to those who allow it to overcome and overwhelm them. While McAloon is not a Bible-thumping evangelist, he uses religious imagery to describe the magical power of music and how it can literally change the world. Those who choose to push music to the background in their lives may not understand where McAloon is coming from, but for those who have lived and breathed music since their early days, Let's Change the World with Music is a revelation (pun intended). From the intro of the leadoff track, "Let There Be Music," it is immediately obvious that this will be a different Prefab experience to what most fans are used to. In the past (especially on Jordan: The Comeback), the band used keyboards to add depth and atmosphere to its tracks, but Let's Change the World is a different ball of wax: it is all keyboards. As stated previously, this is McAloon's demo version of his musical vision and does not feature backing vocalist Wendy Smith or brother Martin...or anyone else for that matter. And to be honest, even without the other bandmembers, it's an absolute joy to listen to. Would it have sounded better with real strings, real drums, guitars, and proper production from someone like Thomas Dolby? It's really hard to tell, since the album is a nearly perfect collection of songs celebrating the glory of music, becoming a glorious piece of music in the process. Some of the lyrics on the album may seem a bit twee and trite on the surface (particularly on "Music Is a Princess"), but in the context of the album, they become touching and heartwarming. Like all Prefab albums, there are moments of absolute joy on display mixed with an equal amount of bittersweet and touching songs that reach right down and stir your soul. Highlights include "Ride," "Earth, the Story So Far," "Last of the Great Romantics," "Angel of Love," and the title track. For the uninitiated, the Prefab Sprout albums to investigate first would certainly be Steve McQueen and Jordan: The Comeback, but Let's Change the World with Music isn't far behind. It is a beautiful, joyful, and unpretentious musical love letter written to and about this life-changing force called music. © Steve "Spaz" Schnee © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/lets-change-the-world-with-music-r2021183/review

Prefab Sprout's new record, their first since 2001, was discovered trapped in a bend in the time-space continuum. Themed around music's regal, spiritually transformative power, it was recorded by Paddy McAloon in demo form in 1992, intended as a blueprint for the follow-up to Jordan: The Comeback. Never released, 17 years later the tapes have been disinterred, spruced up by engineer Calum Malcolm, and voilà. As a result, much of the album sounds fantastically dated, harking back to a time when Prince still mattered, hip-hop smelt fresh, and pounding house piano was de rigueur. This sense of musical displacement throws up several jarring moments, but generally it's rather apt. McAloon has always floated eccentrically out of time; what's a two-decade delay to a man who modelled himself on Stephen Sondheim? Against all odds, Let's Change the World… is frequently glorious. Earth: the Story So Far is the highlight, a wondrous collision of voice, melody and concept, but several others run it close. Though the ghost of another, more fully realised version of this album lurks beneath the surface, it's an enchanting return. Hopefully, more samples from McAloon's vast treasure trove of unheard music will be forthcoming soon. **** © Graeme Thomson The Observer, Sunday 6 September 2009 © Guardian News and Media Limited 2010 http://www.guardian.co.uk/music/2009/sep/06/prefab-sprout-change-world-music

Prefab Sprout were formed in 1978 as a four-piece band based in Co. Durham and went on to be arguably one of the most beloved British pop bands of the 80s and 90s. Their biggest top ten album, From Langley Park To Memphis featured Pete Townsend and Stevie Wonder and included their biggest hit, "The King of Rock’n’ Roll". They followed this album with Jordan, The Comeback which was hugely acclaimed and Brit-nominated. After various line up changes, the rest of the band released one album in 2001 and Paddy released a solo album, Trawl The Megahertz in 2003. Singer-songwriter Paddy McAloon is regularly hailed one of the greatest songwriters of his era. Let's Change the World with Music sees the first Prefab Sprout album in 8 years and contains twelve unique tracks. © 1996-2010, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/Change-World-Music-Prefab-Sprout/dp/B002KWLUU0

Let's Change was originally due in 1992 before Paddy McAloon (below) got cold feet and retreated into the illness-fuelled reclusiveness that has only been broken with 2001's The Gunman and Other Stories and 2003's solo I Trawl the Megahertz. Hearing the overhauled demos for the singer-songwriter's great "lost album", you can almost hear why doubt set in. This is a quasi-concept offering about the redemptive power of music, complete with songs addressing God, Jesus and the little people. It could have easily been embarrassing, but McAloon's humbled wonderment at music (which he calls "a princess, I'm just a boy in rags") makes for an aural treat. With songs ranging from more sumptuous Pet Shop Boys house to what almost sound like Broadway epics crammed into four-minute pop songs, McAloon is at the top of his game. One only hopes that this won't be the last we hear from "the last of the great romantics". **** © Dave Simpson The Guardian, Friday 4 September 2009 © Guardian News and Media Limited 2010 http://www.guardian.co.uk/music/2009/sep/04/prefab-sprout-cd-review

Finally, it's here. Sure, we waited 17 years to hear the album that was insanely rejected by a record company back in 1992. But the last few days have been the worst. Long, long days where, at times, we questioned whether we ever even liked pop music at all. But now it's here. And we're listening to it. And we’re about to make big, gushing fools of ourselves with some useless words. On first listen, Prefab Sprout’s ‘Let’s Change The World With Music’ is already better than almost anything we can think of. Which isn’t to say we recommend it to everyone. Like Kevin Rowland’s wrongly maligned covers album, this is a record for people who completely ‘get’ what’s unique, amazing, gifted and a little bit unhinged about Paddy McAloon. Out of context we imagine it might be a little too heart-on-sleeve, raw and unabashed for comfort. The overt early 90s sound is jarring at first. These are the demos of a work that was probably intended to be lush, orchestral and expansive. Yet here its synthesized and contained (though as gorgeous as you’d hope). But despite the obvious date stamp, Paddy’s voice is still one of the most luxurious sounds that’s ever come from a throat. The unfashionably God-centric and lofty nature of the lyrics (that got the album rejected in the first place) are entirely suited to a writer who’s never sounded like they had their feet on the ground. And they’re as welcome as a cold cathedral on a sweaty day, amidst the banalities and mundanities of modern pop’s concerns. You want an example? “I don’t have the slipper she’s waiting to wear… Music is a princess, I’m just a boy in rags.” If there weren’t people watching we’d allow ourselves a good cry over that one. Straight to the heart there, Paddy. Gosh. That anyone, in any age, would write a song called ‘Earth: The Story So Far’ is remarkable. That it’s as successful as any song about everything ever could hope to be leaves us speechless. We hope this isn’t the last we hear from what must be one of the most extraordinary archives of lost music in existence. But if it is, Paddy McAloon can be sure that ‘Let’s Change The World With Music’ is the love letter to art he intended it to be. And we’d just be greedy to ask for more. P.S. To give you an idea of the kind of record this is, the sleevenotes feature an essay from Paddy about the Beach Boys 'Smile' album. Exactly. [from The World Is Changed Fri, 28/08/2009 - 11:28 By & © TimC © HOLY MOLY ENTERTAINMENT 2010 http://www.holymoly.com/reviews/music/prefab-sprout-lets-change-world-music28027]

Just like Brian Wilson's long-lost 'Smile' album, 'Let's Change the World with Music' has been in the vaults for 17 years, so has it been worth the wait, or will it feel dated to everyone, including Paddy McAloon? So much over the years has been written and said about this long-lost album, the fact that it was recorded and rejected by the record company back in 1993, and chronologically belongs between 'Jordan The Comeback' and 'Andromeda Heights'. It may be nearly 20 years old but music does not always grow old. On the opening number 'Let There Be Music' it begins with a robotic voice quoting words from the first book of genesis, “in the beginning was a mighty bang” but within 15 seconds you hear the beautiful tones of Paddy's vocals that we all fell in love with all those years ago and immediately you're hooked. A radio friendly song that shows its age, courtesy of a typically 90s backing track. 'Ride' (previously recorded by Australian singer Wendy Matthews) is a foot-tapper and continues the religious theme (“...walking in the footsteps of our lord...”). But before you begin to think this is a concept album, Paddy sings “I've no time for religion” at the beginning of the beautiful piano ballad 'God Watch Over You', a song some may be familiar with from the 90s when Frances Ruffelle (ex-UK Eurovision entrant) covered it admirably. 'I Love Music' tells us what we've known about Paddy all along. “Love is the reason I'm playing this game” and he goes on to tell us his heroes are Irving Berlin while also name-checking Chic's Nile Rodgers and Bernard Edwards. There's a full sounding orchestra on this one, kind of Sinatra swing. 'Earth - The Story So Far' is one of the masterpieces on the album, while 'Last of the Great Romantics' will put you to sleep for all the right reasons. A lullaby sang so sweetly, with, again some fantastic piano throughout, while Paddy sings “come on Gatsby stand aside”. These two are already Sprouts classics. It's ballads all the way including 'Music is a Princess' and the tale of Romeo and Juliet in 'Angel of Love', but 'Meet the New Mozart' is excellent also. “I'll form a band and play some dates” he sings, but sadly for us, those words were written long ago, but there is optimism when he continues “all I write may not last, it may be manure / but I'll endure, not burn out fast”. On the sleeve notes Paddy writes a lovely piece about his fascination with Brian Wilson's long-lost 'Smile' album and apologises for there being no 'Good Vibrations' on this record. He goes on to admit that “one day in May '93 we made a poor move”, but heartwarmingly he dedicates this album to the ex-Sprouts members and producer Thomas Dolby. Whether the album is a concept one of Music, Love or Religion, it still sounds fantastic. Long before the release of this album Paddy McAloon had, for many of us, already changed the world with music. This album should bring many more to the same realisation. Meet The New Mozart? We already have. The Cluas Verdict? 8 out of 10. © Mick Lynch © 1999-2010 www.CLUAS.com & individual writers as indicated per by-line http://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/1171/Prefab-Sprout-Lets-Change-the-World-with-Music.aspx


Prefab Sprout are an English pop band from Witton Gilbert, County Durham, who rose to moderate fame during the 1980s. Critically acclaimed and considered by many to have released some of the best pop albums of the decade, the band never became part of the mainstream, but saw moderate commercial success. They debuted in 1982 with their self-released single "Lions In My Own Garden: Exit Someone" - songwriter Paddy McAloon wanted a song title where the first letters of the words spelled out "LIMOGES" (where his former girlfriend was staying at the time). Their debut album Swoon was released on the Kitchenware record label in early 1984. The following album, the Thomas Dolby-produced Steve McQueen, (released in America as Two Wheels Good when McQueen's estate expressed their displeasure with the title). It was highly-praised by critics, prompting McAloon to remark: "I'm probably the greatest songwriter in the world, you know." Subsequently, they recorded Protest Songs which found only limited release, but yielded the song "Life of Surprises", which later became the title track for their greatest hits compilation.
Their biggest commercial success in the U.K. came with the 1988 single "The King of Rock 'n' Roll", taken from the album From Langley Park to Memphis. In 1990, Jordan: The Comeback, was nominated for a BRIT Award. Though the music was more accessible than their earlier material, the lyrics and subject matter remained characteristically oblique and suggestive (McAloon has often cited Stephen Sondheim as an influence). In addition to its religious overtones, perhaps reflecting McAloon's education in a Catholic seminary, there were several allegorical songs about a character who embodied a mix of Howard Hughes, Jesse James, and Elvis Presley. McAloon has alluded in interviews to several albums-worth of songs that he has written but are unreleased/unrecorded including amongst others, concept albums based on the life of Michael Jackson (Behind the Veil), the history of the world (Earth: The Story So Far) and Zorro the Fox about a fictional superhero. Their greatest hits, Life of Surprises: The Best of Prefab Sprout yielded their biggest U.S. hit, "If You Don't Love Me", which spent several weeks in the Top 10 on the dance charts. McAloon joked in the album linernotes about the band's lack of touring over the past decade. Prefab Sprout released Andromeda Heights in the UK in 1997, while a short, UK tour followed in 2000. This tour, and the subsequent album, did not feature Wendy Smith, who by this time had reportedly left the band. In 2001 the band released The Gunman and Other Stories a concept album themed on the American West. The opening track "Cowboy Dreams" was a hit for the British actor, Jimmy Nail. These albums while critically acclaimed in places, have not been as commercially successful. After being diagnosed with a medical disorder which impaired his vision Paddy McAloon released the album I Trawl The Megahertz under his own name in 2003 on the EMI Liberty label. As of 2006, McAloon had suffered another setback: his hearing had deteriorated, reportedly due to Ménière's disease. Prefabs Sprout's core members are Paddy McAloon (born Patrick Joseph McAloon, 7 June 1957, Durham); vocals / guitars / keyboards, Wendy Smith (born 31 May 1963, Middlesbrough); vocals / guitars / keyboards, Martin McAloon (born 4 January 1962, Durham); bass guitar, Neil Conti (born 12 February 1959, Luton); drums / percussion,Fiona Attwood (Chester-le-Street); backing vocals.


America could never decipher the lyrical genius of Paddy McAloon. Although his band Prefab Sprout was able to venture several times onto the U.K. charts, McAloon's whispery voice and smart, sometimes vague lyrics often bewildered American radio programmers. Born on June 7, 1957 in Newcastle, England, McAloon formed Prefab Sprout in 1982; the group also included his brother Martin McAloon (bass), Neil Conti (drums), and Wendy Smith (guitar, vocals). Compared by some critics to Morrissey, McAloon has a calm, breathy voice that can register deep sorrow or profound joy whether he is talking or singing in his songs. McAloon's heartbreaking vocals on Prefab Sprout's "When Love Breaks Down" wooed listeners of new wave radio stations in 1985. Taken from the LP Steve McQueen (called Two Wheels Good in America), "When Love Breaks Down," along with "Appetite," introduced McAloon's distinctive croon and mature, insightful songwriting to an American audience. However, the love affair was brief; the eclectic, eccentric pop of Prefab Sprout's next album, From Langley Park to Memphis, left music fans outside of Europe confused. Even McAloon's sly jab at Bruce Springsteen, "Cars and Girls," was too subtle to generate much laughter in the United States. One of the most underrated lyricists of the '80s, McAloon continues to lead Prefab Sprout, not allowing any lack of commercial success or shifting musical trends to steer his artistic vision. McAloon's first solo album, I Trawl the Megahertz, was released in 2003, nearly five years after its songs had been written. © Michael Sutton © 2010 Rovi Corporation. All Rights Reserved http://allmusic.com/artist/paddy-mcaloon-p157313/biography


Dave's True Story


Dave's True Story - Dave's True Story - 1994 - Bepop

"You can call it hip, call it clever, or even call it 'jazz noire.' The music of Dave's True Story both challenges and defies categorization. It swings with a refreshing literate charm of its own." Ken Franckling/UPI Arts & Entertainment - The Jazz Condition

"New York hipsters DAVE'S TRUE STORY mix it up with smoldering grooves and cheeky beatnik lyrics..." Billboard

"Jo Stafford-sings-Dorothy-Parker feel...Harry Connick, Jr. and John Pizzarelli should have new material that is as witty as what Mr. Cantor creates." Jim Fusilli - Wall Street Journal

"beatnik wit and chic" Thomas Standler - NY Times

"Dave has all the wit, sophistication, even romance of Cole Porter, and yet he remains a maverick with a cutting-edge sensibility" Mary Foster Conklin, performer

"Cole Porter meets Seinfeld." CNNfn

"This is the stuff of pure hipster cool, fleshed out by David Cantor's sense for gentle dynamics and Flint's winking delivery." Colin Helms - CMJ Magazine

"DTS offers art songs for a new century, spiced with jazz and neon details, and I can't wait for more" Neil Tesser - Playboy Magazine

The eponymous debut album by Dave's True Story won substantial acclaim upon its initial release in 1994. Following its release, the New York Times devoted a Sunday-edition article to the group, who went on to win the 1995 Kerrville New Music Award because of this debut effort. The album showcased for the first time the eerie vocals of Kelly Flint and the songwriting of David Cantor, the man who gave the group their name. Together, they create relaxed lounge music with both jazz and pop overtones, though more the former than the latter. In particular, "Crazy Eyes" stands out because of its appearance in the film Kissing Jessica Stein. Originally self-released, this eponymous debut remained long out of print until 2002, when Flint and Cantor remastered and re-released it with four bonus tracks, one of them being a remix of "Crazy Eyes." © Jason Birchmeier, Rovi © 2010 Answers Corporation http://www.answers.com/topic/dave-s-true-story-1994

"Dave's True Story" is a sensational s/t jazz pop album from the truly original Dave's True Story, and VHR by A.O.O.F.C. Kelly Flint's vocals can't be faulted, and David Cantor has got to be one of the greatest songwriters and lyricists in the jazz pop genre today. Listen to DTS "Unauthorized" album. The band's "Sex Without Bodies" album is on this blog.


01 Sequined Mermaid Dress
02 Can't Get You Out Of My System
03 Another Hit
04 Flexible Man
05 Crazy Eyes
06 Last Go 'Round
07 Sommes Blues
08 Marisa
09 Nadine
10 Like a Rock
11 Mad About You
12 Joey (Bonus)
13 Fever (Bonus) - John Davenport, Eddie Cooley
14 Blue Moon (Bonus) - Richard Rodgers, Lorenz Hart
15 Crazy Eyes Remix 2002 (Bonus)

All songs composed by David Cantor except where stated


David Cantor (Guitar), (Vocals), (Finger Snaps)
Michael Visceglia (Bass Electric), (Finger Snaps)
Dave Richards, Earl May (Bass Upright)
Steve Gaboury (Piano)
Oliver Jackson (Drums)
Dave Lebolt (Sample Percussion)
Andy Snitzer (Soprano & Tenor Sax)
Chris Botti (Trumpet)
Michael Davis (Trombone)
Kelly Flint (Vocals), (Finger Snaps)


Dave's True Story is a jazzy pop combo featuring Dave Cantor's intelligent, sometimes quirky lyrics, Kelly Flint's smooth-as-silk vocals and Jeff Eyrich's acoustic upright bass laying a solid rhythm track beneath it all. They have built an impressive body of accomplishments since their formation in 1994. Winners of the 1995 Kerrville New Music Award as well as numerous and various other surprising accomplishments, they have performed nationally and internationally to wide critical and commercial acclaim. Dave and Kelly met in 1989 through the Fast Folk group of songwriters. Chanteuse, Kelly Flint, a teenage Joni Mitchell freak turned twenty-something fan of Keely Smith and Lulu, had been singing backup around town and feeding her dreams as a waitress at the Cookery, an old cabaret where she befriended blues legend Alberta Hunter. David Cantor, a one-time student of the Berklee College of Music and an avid songwriter, started performing his offbeat jazzy songs at open-mics at places like the Speakeasy. Kelly and Dave passed each other like two ships in the night until a snowy evening in 1992 when they cemented their friendship over shots of Jack Daniels at the old Village Corner. Kelly proposed that Dave teach her a song and the rest, as they say, is history. Well, not quite. Jeff Eyrich signed on in 1998, bringing his upright bass and considerable production experience into the picture. Dave's True Story is an independent band whose notoriety has been built mainly by word of mouth and hundreds of live shows. http://www.davestruestory.com/press/about.html


The duo Dave's True Story formed in Manhattan, when songwriter/guitarist David Cantor and singer Kelly Flint met through connections in the New York music scene; Flint showed an affinity for singing Cantor's witty, often risqué songs written in the style of Porter and Gershwin. The duo released their self-titled debut on their own BePop label in 1996 and built a following by performing frequently at New York clubs and touring the Northeast. Their second album, Sex Without Bodies, appeared in 1998, followed in early 2000 by Unauthorized. © Steve Huey © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:k9fwxqlhldfe

The Blue Method


The Blue Method - Kill The Music, Vol. 1- 2004 - Blue Method

Somebody called The Blue Method's music a cross between the "Brand New Heavies" and "Jamiroquai". This is not too far off the mark. It could also be a cross between Stevie Wonder, and the Average White Band. Many people believe that this kind of music was at it's best in the '70's. The Blue Method have shown that great funk music is alive and well in the 2000's. If you like Grade A funk, soulful R&B, with a touch of Gospel and Motown and a flavour of Delta blues and New Orleans jazz, this album is for you. The Blue Method are a hugely talented outfit. Their playing is tight. Brian William’s soulful voice is exceptional. Tom Long's sax work is truly great. The music is full of complex riffs masterfully executed. All in all, an outstanding album and VHR by A.O.O.F.C. Try and listen to the band's "Kill The Music, Vol. 2", and buy TBM's "Volume: LIVE!" album


1. Jingle (For a Commercial)
2. Haitian Sensation
3. Don't They
4. Sad Thing
5. Backporch
6. Kill the Music
7. Thing's I'll Do
8. First Plan of Redemption
9. Pulpit Fiction
10. Something DeVine
11. Getonoutro

All songs composed by The Blue Method except "First Plan of Redemption" by The Blue Method (Music), and Brian Williams & Lakecia Davis (Lyrics)


Mike Patriarca - Electric & Acoustic Guitar, Dobro
Dan Schram - Bass, Backing Vocals
Scott Stalone - Keyboards, Organ
Luke O'Riley - Hammond Organ
David Duffin - Drums
Luis DiCupe - Percussion
Brian Williams - Lead Vocals, Backing Vocals, Trumpet, Valve Trombone
Tom Long - Alto, Tenor & Baritone Sax, Clarinet, Accordion, Mandolin, Percussion, Beat Machine, Backing Vocals
Shakira Jones, Alicia Dessau - Backing Vocals


The story of The Blue Method is a story defined by two words; perseverance and determination. The band was formed in 2001 by founding members Michael Patriarca (guitar) and Tom Long (saxophone). Both were left picking up the pieces from the sudden and tragic death of their long time friend and former lead singer, Sean Gatson. With one album and a slew of gigs under their belt, the two men began to assemble the cast of musicians for their new musical venture, "The Blue Method". They were introduced to singer Brian Williams through a mutual friend. Brian was a larger than life man with the voice to match. His singing and lyrics are a throwback to a time when soul singers sang like men, and had a clear and concise message to deliver. Together with their new rhythm section, this quintet began writing immediately and building a legion of friends and followers throughout the region. In 2003 The Blue Method entered the studio to begin recording their debut album "Kill the Music, Vol.1" Things seemed to be running pretty smooth. Midway through the recording of their first record, the rhythm section decided it was time to call it quits. This left the three original members with a decision to make: press on with the album and re group, or fold. The three decided that they had invested far too much to turn back now, so they opted to replace the rhythm section and continue on. Long time friend Theron Shelton was the called to handle the drumming duties. From the first "jam session" everyone knew that Theron was the perfect fit. His drumming and personality added new life and energy to band. The next two years were spent touring the east coast and mid western region, building an extremely loyal following of friends and fans alike. Along the way The Blue Method has shared the stage with the likes of Soulive, Chick Corea, Bela Fleck and the Flecktones, The Benevento Russo Duo, Ozomatli, John Legend, Little Feat, Oteil Burbridge (Allman Brothers Band), Leela James, The Disco Biscuits, and Ween. They have also managed to sell over 7000 copies of their album "Kill the Music, Vol 1", which is no small task for a completely independent act. In 2005 The Blue Method was named "Best New Act" by the Home Grown Music Network. Their song "Don't They" holds the record as the all time #1 funk song at Garageband.com. In 2005 they also won the annual Relix Magazine Jam-off award. The Blue Method now averages over 150 shows a year. The band has improved their sound even further by adding Philadelphia bassist Rah Sungee to the lineup. The Blue Method will release their much anticipated sophomore album in April of 2007. © JamBase Inc. 1998 - 2010 All Rights Reserved http://www.jambase.com/Artists/13294/The-Blue-Method/Bio

Bernie Marsden


Bernie Marsden - At The BBC The Pauls Jones Show Sessions 2002-2010 - 2010 - Auntie-BeeB

Former member of Juicy Lucy, UFO, Wild Turkey, Babe Ruth, Whitesnake and more, Bernie Marsden has been at the forefront of great British rock music for many years. A huge devotee of the late Rory Gallagher, and influenced by Peter Green of whom he said "Peter was the guitar player that I always wanted to hear, never to emulate, I loved Eric Clapton and Jeff Beck, Hendrix of course, but Peter Green just hit the parts that the others didn’t, and I always thought his song writing was special, listen to "The Same Way" on Mayall’s "Hard Road" The signs of what was coming are there". This BBC sessions is composed of tracks taken from different sessions for the Paul Jones show on BBC Radio 2 between 2002 and 2010. Bernie plays the music of Rory Gallagher, plus new releases and classic tracks. Bernie is a superb guitarist, and may not always get his due credit. A.O.O.F.C would be grateful for a complete musicians/composers list for this album. Buy the great "Bernie Plays Rory" album @ http://www.berniemarsden.co.uk/shop/index.php?act=viewProd&productId=15 and listen to his "Stacks" album. His "Green And Blues" tribute to Peter Green album is another great recording

TRACKS from 16/12/2002

01 - Working For The CSA - B.Marsden
02 - Funny People - B.Marsden
03 - Downhome Blues - George Jackson

TRACKS from 19.08.2004

04 - Pick It Up - B.Marsden
05 - Funny People - B.Marsden
06 - Rollin'

TRACKS from 10.02.2005

07 - Boss Of The Blues
08 - Pebble Mill
09 - Place In My Heart - B.Marsden

TRACKS Recorded for the Paul Jones BBC Radio 2 programme, broadcast on Feb 8th 2010

10 - Hands Off - Rory Gallagher
11 - Continental Op - Rory Gallagher
12 - I Wonder Who - McKinley Morganfield
13 - Bad Blood
14 - Blister On The Moon - Rory Gallagher
15 - Whats Going On

N.B: Composers listed where known


Blues rock guitarist Bernie Marsden's hot licks helped launch the career of Whitesnake, as he played on the group's first eight releases, and lent a major hand in composing some of the band's most renowned songs. Initially inspired to play the guitar as a teenager due to such authentic blues players as Howling Wolf and Sonny Boy Williamson, Marsden later picked up on such '60s white blues players as Peter Green, Eric Clapton, and Jeff Beck. The early '70s saw Marsden briefly join several renowned groups - Juicy Lucy and UFO - but each time, the guitarist exited before a full-length album could be completed (Marsden was also a member of a group that drummer Cozy Powell attempted to put together, Hammer, before quickly disbanding). The mid '70s saw Marsden join British prog rockers Babe Ruth for a pair of releases, 1975's Stealin' Home and 1976's Kid's Stuff, before the group broke up, as well. Marsden then supposedly turned down an offer to play with Paul McCartney, and eventually joined up with former Deep Purple vocalist David Coverdale in Whitesnake. Early on, Whitesnake pursued a much more bluesy and hard rock-based sound than their latter-day (and much more successful) pop-metal direction, as Marsden played on such albums as 1978's Snakebite and Trouble, 1979's Love Hunter and Live at Hammersmith, 1980's Ready An' Willing, 1981's Live in the Heart of the City, 1982's Come and Get It, and 1983's Saints and Sinners. Although the group achieved substantial success throughout Europe, Coverdale wanted to pursue a more mainstream sound to crack the lucrative U.S. market, which led to Marsden's exit soonafter. Subsequently, a pair of Marsden-Coverdale compositions would be dusted off and re-recorded by Whitesnake in the late '80s ("Here I Go Again" and "Fool for Your Loving"), both of which became sizeable worldwide hits. It was during his tenure with Whitesnake that Marsden also managed to find the time to issue a pair of solo albums, 1979's And about Time, Too and 1981's Look at Me Now. But instead of pursuing a solo career full-time after his dismissal from Whitesnake, Marsden opted to form a new band, Alaska, who only managed two releases, 1984's Heart of the Storm and 1985's The Pack, before breaking up. After laying low for the remainder of the '80s, Marsden resurfaced in the '90s, guesting on recordings by such artists as Forcefield and Walter Trout, and forming a new group along with his ex-Whitesnake bandmate, guitarist Mick Moody, called the Moody Marsden Band. The band usually relied on playing classic Whitesnake tunes live, and issued such recordings as 1992's Never turn your Back on the Blues, 1994's Live in Hell: Unplugged and Real Faith, plus 2000's The Nights the Guitars Came to Play and Ozone Friendly (the latter of which was a reissue of Real Faith, albeit with a slightly different tracklisting). The early 21st century saw the duo joined by another former Whitesnake bandmate, bassist Neil Murray, which resulted in the formation of a new group, Company of Snakes (with a pair of releases soon following - 2001's Here They Go Again: Live and 2002's Burst the Bubble). Marsden has also sporadically issued further solo recordings, including 1992's The Friday Rock Show Sessions and the 1995 Peter Green tribute, Green and Blues. In addition to his music career, Marsden has also tried his hand at acting (the German TV movie, Frankie), and has provided soundtracks for several movie projects in both Germany and the U.S., plus serving as the art director, producer, and author of the three part TV series, The Delta Blues 1926 - Urban Blues 1960. © Greg Prato, All Music Guide


Eddie Kirkland


Eddie Kirkland - Booty Blues - 2005 - Hedda Records

Kirkland's newest album has it all! He speaks, he croons, he wails! His guitar grooves are tight, funky, and soulful! Bluesy, edgy songs as only Kirkland can master. Includes an acoustic tribute to longtime Detroit Blues Brother, John Lee Hooker. Cutting edge material from a powerful musician! Be it your first Kirkland CD or the newest in your Kirkland collection, it is a must have! George P. Seedorff of Detroit writes, To really understand this artist is to see him in actiion. Short of that this CD is recommended. Kirkland is still producing significant new, cutting-edge material that is often great, as evidenced by Booty Blues. "Beautiful Song" (track 4), "Small Town Girl" (track 6) and "I Cried" (track 9) are among this CD's highlights. What you get here are 12 new Kirkland originals that ought to supply top blues artists with excellent new cover tunes for years to come. [from Album notes]

Great primal soul blues/R&B by the relatively unknown Eddie Kirkland. This is a blend of vintage blues and primitive funk. Uncomplicated music, but 12 good songs. Eddie has been called "The Energy Man" and "Gypsy Of The Blues". He has a sound all his own. Listen to Eddie's "All Around The World" and "Democrat Blues" albums


Good, Good Day
How Sweet It Is
Miss You
Beautiful Song
Make Love to Your Brain
Small Town Girl
Big T.V. Screen
Meet Me On The Boardwalk
I Cried
No Insurance
Johnny's Gone
I Got A Problem With The Devil

All songs penned by Eddie Kirkland


Eddie Kirkland - Guitar, Vocals
Alby Balgochian - Electric Guitar, Bass
Chris McDermott - Bass (Electric, Acoustic, Baritone), Organ, Trumpet, Percussion, Backing Vocals, Samples
George Donchev - Upright Bass, Drums, Percussion
Mark Greenberg, Andy Plaisted - Drums


How many Jamaican-born bluesmen have recorded with John Lee Hooker and toured with Otis Redding? It's a safe bet there's only one: Eddie Kirkland, who's engaged in some astonishing onstage acrobatics over the decades (like standing on his head while playing guitar on TV's Don Kirshner's Rock Concert). But you won't find any ersatz reggae grooves cluttering Kirkland's work. He was brought up around Dothan, AL, before heading north to Detroit in 1943. There he hooked up with Hooker five years later, recording with him for several firms as well as under his own name for RPM in 1952, King in 1953, and Fortune in 1959. Tru-Sound Records, a Prestige subsidiary, invited Kirkland to Englewood Cliffs, NJ, in 1961-62 to wax his first album, It's the Blues Man! The polished R&B band of saxist King Curtis crashed head on into Kirkland's intense vocals, raucous guitar and harmonica throughout the exciting set. Exiting the Motor City for Macon, GA, in 1962, Kirkland signed on with Otis Redding as a sideman and show opener not long thereafter. Redding introduced Kirkland to Stax/Volt co-owner Jim Stewart, who flipped over Eddie's primal dance workout "The Hawg." It was issued on Volt in 1963, billed to Eddie Kirk. By the dawn of the 1970s, Kirkland was recording for Pete Lowry's Trix label; he also waxed several CDs for Deluge in the '90s. © Bill Dahl © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/eddie-kirkland-p410/biography


Kirkland was raised in Dothan, Alabama in the United States until 1935, when he stowed away in the Sugar Girls Medicine Show tent truck and left town. Blind Blake was the one who influenced him the most in those early days. He was placed on the chorus line with Diamond Tooth Mary. When the show closed a year later, he was in Dunkirk, Indiana where he briefly returned to school. He joined the United States Army during World War II. It was racism in the military, he said, that led him to seek out the devil. After his discharge Kirkland traveled to Detroit where his mother had relocated. After a days work at the Ford Rouge Plant, Kirkland played his guitar at house parties, and there he met John Lee Hooker. Kirkland, a frequent second guitarist in recordings from 1949-1962. "It was difficult playin' behind Hooker but I had a good ear and was able to move in behind him on anything he did." Kirkland fashioned his own style of playing open chords, and transformed the rough, porch style delta blues into the electric age by using his thumb, rather than a guitar pick. Kirkland secured his own series of recordings with Sid Nathan of King Records in 1953, at Fortune Records in 1958 and, by 1961, on his own album It's the Blues Man, with the King Curtis Band. Kirkland became Hooker's road manager and the two traveled from Detroit to the Deep South on many tours, the last being in 1962 when Hooker abandoned Kirkland to go overseas. Kirkland found his way to Macon, Georgia and began performing with Otis Redding. As Eddie Kirk, he released "The Hawg" as a single on Stax Records in 1963. The record was overshadowed by Rufus Thomas's recordings, and Kirkland, discouraged by the music industry and his own lack of education to change the situation, turned to his other skill and sought work as an auto mechanic to earn a living for his growing family. In 1970, a revival of the blues was taking place. Peter B. Lowry found Kirkland in Macon, GA and convinced him to record again. His first sessions were done in a motel room, resulting in the acoustic, solo LP Front and Center; his second was a studio-recorded band album, the funky The Devil... and other blues demons. Both were released on Lowry's Trix Records label. It was during the mid 1970s that Kirkland befriended the British blues-rock band, Foghat. Kirkland remained with Lowry, Trix, and in the Hudson Valley for twelve years. It was during this period that Kirkland appeared on Don Kirshner's Rock Concert with Muddy Waters, Honeyboy Edwards, and Foghat. These were also the years that Kirkland again energized his sound. "Eddie's thumb pick and fingers style give him freedom to play powerful chord riffs rich in rhythms and harmonic tension. He plays like a funky pianist, simultaneously covering bass lines, chord kick, and counterpoint." The 1990s brought Randy Labbe as manager, booking agent and on his own record label, Deluge, recorded Kirkland. Three albums were produced during this Maine period, one live, one with a guest appearance from Hooker and one containing a duet with Christine Ohlman. By 2000, Kirkland was on his own again, always doing his own driving to concerts in his Ford County Squires, crossing the country several times a year. Labeled now as the Road Warrior, "A thickset, powerful man in the waistcoat and pants of a pin strip suit; red shirt, medallion, shades and a black leather cap over a bandanna, his heavy leather overcoat slung over his arm,.... he's already a Road Warrior par excellence." Kirkland, now well into his eighties, is still driving himself to gigs along the coast and in Europe, frequently playing with the Wentus Blues Band from Finland.


Sean Webster


Sean Webster - If Only - 2006 - Blues Matters

Sean Webster is the frontman guitar vocalist for the 4 piece Sean Webster Band with a fast-growing reputation on the British Blues and rock scene. Founded in June of 2003, their sound comprises a sharp sense of song writing and a strong feel for contemporary blues rock in the vein of Clapton, SRV and Gary Moore. Sean began performing at the age of fourteen in Nottingham, England. As part of his school band, he played many functions and charity gigs in Nottingham. Later, Sean was part of the blues rock band, “Journeymen” for four years, and played covers of blues standards, including "Unchain My Heart", and "Mustang Sally". He formed the band “Stateside” at the end of the nineties gigging constantly. Eventually, Sean started writing his own original material, and is now an acclaimed if relatively unknown guitarist on the British blues rock circuit. "If Only" is not an outstanding album, but the potential is there, and the album is HR by A.O.O.F.C. The guy is to be complimented on penning all the 10 tracks on the album. His back up band is terrific, and Sean himself is a top class guitarist and vocalist. These are the artists who need promotion. There is so much dross out there that albums like this need to be heard by a wider audience. Buy Sean's "Long Time Coming" album, and give this guy a deserved break.


1. Hero
2. Mama
3. Hurting So Bad
4. Been Lonely Too Long
5. Missing You
6. One
7. So Rare
8. Since We've Been Over
9. Music
10. Lie To Me

All songs composed by Sean Webster


Sean Webster - Guitar, Vocals
Tom Latham - Bass
Mark Evans - Guitars
K.J Rollins - Drums


Sean was introduced to music at a very early age when his parents would sit up listening to old Soul and Motown records. He received his first record player at the age of 6. From that moment Sean has tried to listen to as much varied music as possible. At the age of 14, as a Christmas present Sean was bought his first electric guitar, an Arctic white Korean Squire Stratocaster. It was not long before Sean had mastered a few chords and with some friends at school, put a band together. This band had a quite a few line up changes but within 18 months of starting to play, Sean performed his first show in a local pub. About 6 months after this gig, when Sean was around 16 he joined the “Journeymen” as the lead singer. It was with this band that Sean had the chance to find his vocal identity covering the likes of Eric Clapton, Joe Cocker and Bryan Adams. All of whom Sean has been compared to in recent years.In 2000 feeling the call of the blues Sean formed, a 4 piece blues outfit “Stateside” that featured himself on guitar and vocals, Tristen Poole on drums, Mick Frogson and second guitar and Nigel Roberts on Bass. 2003 saw a change of line up as well as the band name, Stateside was dropped in favour of The Sean Webster Band and new players were brought in as the band went full time. Billy Flemming (ex Hawkwind, Paul Samson, Egypt) Replaced Tristan Poole, Mark “the Saint” Evans (Amor) took on second guitar duties and finally Tom Latham formally of “The Melt” assumed the role of bass player. The band has gone though various line-up changes since 2003 and has, since late 2005 become a 3 piece band. Sean has also renamed the act after himself. As the band has been prone to line up changes in the past Sean felt this was the best way to The line up still consists of Sean on guitar and vocals. Tom Latham on Bass, and now features Dave Raeburn (Ex Hoax, Nimmo Bros, Gwyn Ashton) on drums. Sean Says “I am pleased with the growth and progress the band has made over the years including, European and USA tours. Headline slots at some of the most prestigious UK Blues Festivals, Live recording sessions on Radio 2 and three albums to date. The current line up is the best its ever been and I look forward to whatever the future holds.” © Sean Webster 2008 http://www.seanwebster.co.uk/biog/sean.php


Sean Webster is the inspiring guitar vocalist for the 3 piece band with a great reputation on the British Blues and rock scene. The band formed in 2003 as a natural progression from Sean's previous band Stateside. Stateside had spent a few years treading the pub paths and building a reputation, but as the end of 2002 neared, Sean felt it was time for a change. He renamed the band under his own name and drafted in new players. They then spent 2003 adding to the success of Stateside. 2004 was a big year for Sean, as he released the debut album “Long Time Coming”. This put the band in the public eye for the first time, and showcased Sean's fine guitar playing, which combines a great number of influences including Albert Collins, Eric Clapton, Mark Knopfler, Gary Moore and SRV to name a few. His vocal style is of a rich, sexy tone with a low end rumble drawing comparisons with Joe Cocker, Bryan Adams and Jonny Lang. Britain’s leading blues magazine “Blues Matters!” has described the debut album as “A real gem”, concluding that Sean was:“…. set for big stages with superb guitar work…. They'll soon be bursting out of the Nottingham area now Sean has got his writing shoes on.”2005 saw the band perform many live dates around the U.K. including main stage performances at, Burnley Festival, Maryport Festival the prestigious Great British R&B Festival in Colne in August with organisers quoting, “Sean is a new legend in the making. He has rich powerful vocals and searing guitar licks. Like so many, he has been working hard for years but these are Sean Webster’s years, and he is in his ascendancy.”Sean's second cd release entitled, “If Only” pushed the boundaries of the blues music, with Sean reaching out to a wider and (often) younger audience. “If Only” came to the attention of Tony Edser, editor of “Where's Eric!” the official Eric Clapton magazine who decided to feature Sean as The “One to watch”. Having personally placed a copy of the cd in Eric's hands, it is hoped been that Sean may be inline for supporting Eric in his next major tour. An extract reads, “This is an original collection of blues based songs, skilfully played, nicely produced and with some beautifully melodic guitar work. If Eric is stuck for a decent support act for his forth coming Euro tour, he need look no more.” Sean has recently recorded a live session for the Paul Jones show on radio 2 which was aired in September 2006, enabling some 500,000 people to hear Sean’s music. He regularly has his music played on radio stations around the world, including Bosnia, Canada, Spain, France, Germany and the USA.As well as performing various dates throughout the U.K. he has successfully completed a small 5 week USA tour in June 2007 where he performed a string of dates in Chicago, Hibbing, Chisholm, Minnesota, Houston, Galveston, and Austin Texas. He also performed live on National Tv network FoxTv for the early morning show.In 2007 Sean also released his third album, a double epic entitled “Live and in Session” which showcase' the band recorded live at the Robin 2 in Wolverhampton with a contrasting second cd containing acoustic tracks. Sean hopes to continue his growth in the music industry and bring his music to new ears, both young and old. Sean has something for everyone, make sure you catch him at the earliest opportunity. © Sean Webster 2008 http://www.seanwebster.co.uk/biog/


Ozone Quartet


Ozone Quartet - Cloud Nineology - 2005 - Flat Five Records

After three demo recordings and many live shows, Ozone Quartet gained recognition as a band that was paving new ground and reintroducing the best influences in rock-fusion. Ozone Quartet's first CD, Fresh Blood, drew the attention and support of progressive rock and jazz-fusion music aficionados from around the world. The band's other releases include Nocturne, Live at Local 506, and Cloud Nineology. Ozone Quartet's CD releases have received critical acclaim and international radio airplay. Ozone Quartet's sound has been compared by critics and fans to progressive rock-fusion pioneers like King Crimson, Dixie Dregs, and Mahavishnu Orchestra. © 2004-2008 Ozone Quartet. All rights reserved http://www.ozonequartet.com/about.html

Ozone Quartet was originally called Cloud Nine, and had to change their name due to trademark laws. So was born Ozone Quartet, and Cloud Nineology represents the period of 1992 to 1998 in the history of the band. If you are not familiar with the music of Ozone Quartet, these guys play a very majestic instrumental medley of progressive rock and jazz-fusion stylings, sort of like a marriage of Mahavishnu Orchestra, King Crimson, and the Dixie Dregs. The first four tunes on the CD were recorded in 1992, and see the early sound of the band as it was starting to take shape. As always, the band is led by the soaring violin work of Hollis Brown, and she is all over songs like "Fresh Blood" and "Flying in Circles" alongside the crunchy guitar work of Graham Fry, the nimble Chapman Stick grooves from Wayne Leechford, and the acrobatic drum work of Steve Smith. The guitar tone of Fry is thick and heavy on the songs from 1994 like "Surge" and "Stash", as he adds an almost metal edge to the decidely fusion feel that is given by Brown's violin flights. The band goes for a more rootsy jazz touch on "Lift", a real beautiful piece, and weave intricate guitar & violin lines on the slightly heavy and complex prog number "Freak of Nature". Cut to 1995 for the songs "Thief" , "Hypnosis", and "Grasshopper", three more songs later featured on the bands Fresh Blood album. Here, Ozone Quartet were really hitting their stride compositionally speaking as well as musically, as the songs are extremely melodic and full of many twists and turns. The addition of new drummer Fran Dyer also helped quite a bit, as his intricate style on "Thief" adds an almost ethnic feel to the music. "The Barbarian" of course is an ELP cover song that was to be featured on a tribute album that was never released. Here is where we see the appearance of new guitarist Kenny Thompson, who joined for the Nocturne album in 1999, and was later replaced by Jeremy Shaw. "The Barbarian" is an interesting tune for Ozone Quartet to record, as since they do not have a keyboard player, Brown, Leechford, and Thompson fill in the gaps where Keith Emerson added his arsenal. Cloud Nineology is a nice retrospective of the early years of Ozone Quartet, and would be a great place for those new to the band to start. Fans of the group will of couse need to add this to their collection while they wait patiently for a new recording from the band. © - PP © Sea of Tranquility http://www.seaoftranquility.org/reviews.php?op=showcontent&id=2649

A good collection of the Raleigh, NC instrumental prog-fusion band's early work. Ozone Quartet was originally called Cloud Nine, and all the music on this album was originally released under that name. This CD includes the first ever recorded cover song by Ozone Quartet, "The Barbarian" by Bartok, Emerson, Lake, and Palmer. The album contains some first class heavy progressive jazz fusion with great virtuosic playing. If you are into artists like John McLaughlin, Steve Morse, or early King Crimson you may enjoy this album. ["these guys play a very majestic instrumental medley of progressive rock and jazz-fusion stylings, sort of like a marriage of Mahavishnu Orchestra, King Crimson, and the Dixie Dregs": My thanks to Mike for that apt description of OQ's music] "Listen to the band's brilliant "Fresh Blood" album


1. Cottonhead 2:45
2. Flying in Circles 2:43
3. Room #7 3:33
4. Fresh Blood 3:53
5. Surge 2:59
6. Stash 4:12
7. Lift 4:27
8. Freak of Nature 3:49
9. Thief 6:15
10. Grasshopper 4:50
11. Hypnosis 5:14
12. The Barbarian 4:48

All music compozed by The Ozone Quartet except Track 12 by Bartok, Emerson, Lake, Palmer


Jeremy Shaw - Guitar
Hollis Brown - Electric Violin
Fran Dyer - Drums
Wayne Leechford - Chapman Stick


In 1992 the grouping of Wayne Leechford, Hollis Brown, Graham Fry, and Steve Smith formed Cloud Nine. Under this name, they released two albums and started to make a name for themselves. By 1995, the group had a new drummer in Francis Dyer and was working on a new album. When that album (called Fresh Blood) was released in 1997, it was under the name Ozone Quartet for legal reasons. That CD also saw Kenny Thompson take over as guitarist for the band. In 1999, the group released a second CD, Nocturne. That release again found them in need of a guitarist, and Jeremy Shaw stepped in to fill that position. However, his tenure would not be long lasting, as at the end of the tour to support the disc, they broke up. © Gary Hill © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/the-ozone-quartet-p355288/biography

Carmine Appice's Guitar Zeus


Carmine Appice's Guitar Zeus, Vol. 2: Channel Mind Radio - 1998 - Locomotive

Since the late '60s, Carmine Appice has been one of the most respected drummers on the rock scene. He is still a very underrated musician. His influence on rock music is enormous. He has played and recorded with many of the best artists over the years. Carmine released a great solo album, "Rockers" in 1981, but it took another 15 years before "Guitar Zeus" was released. The "Guitar Zeus" album was a dream for fans of great guitar playing, and included artists like Slash, Yngwie Malmsteen, Brian May, Ted Nugent, and Elliot Easton. "Carmine Appice's Guitar Zeus, Vol. 2: Channel Mind Radio" continues in the same hard rock tradition of "Guitar Zeus" and includes some of the world's greatest axemen including Steven Seagal, Neal Schon, Richie Sambora, Stevie Salas,Ted Nugent, and Denny Laine. Check out Carmine Appice's "Guitar Zeus: Conquering Heroes" album, and the great "Beck, Bogert & Appice" album


1 Stash - Appice, Franklin, Keeling - Stevie Salas, (Addition fills by John McEnroe) 6:30
2 Code 19 - Appice, Keeling - Zakk Wylde 6:20
3 Perfect Day - Appice, Franklin, Keeling - Warren DeMartini 5:06
4 Gonna Rain - Appice, Keeling - Richie Sambora 4:18
5 Cruisin' - Appice, Keeling, Laine - Denny Laine 1:12
6 Even Up the Score - Appice, Keeling -Ted Nugent 4:42
7 Out of Mind/(interlude) Guitar Zoo - Appice, Keeling - Neal Schon, C.C Deville 7:07
8 Snake - Appice, Keeling - Bruce Kulick 6:08
9 Trippin' Again - Appice, Keeling - Ty Tabor 6:05
10 Dead Wrong - Appice, Keeling - Dweezil Zappa 5:43
11 I'm Doin' Fine - Appice, Keeling - Vivian Campbell 5:34
12 My Own Advice/(interlude) Channel Mind Radio - Appice, Keeling - Kenji Kitajima 5:01
13 Where You Belong [Re-Mix & Re-Arranged] - Appice, Franklin, Keeling - Paul Gilbert 5:48
14 GZ Blues - Appice, Duncan, Franklin, Keeling - Seymour Duncan, Steven Seagal 3:14


Guitar Zeus is - Kelly Keeling - Guitar, Keyboards, Vocals, Vocals (Background) : Carmine Appice - Drums, Percussion, Vocals (Background) : Tony Franklin - Fretless Bass


John McEnroe, Seymour Duncan, Steven Seagal, C.C Deville, Dweezil Zappa, Zakk Wylde, Ty Tabor, Neal Schon, Richie Sambora, Stevie Salas,Ted Nugent, Denny Laine, Bruce Kulick, Kenji Kitajima, Paul Gilbert, Warren DeMartini,Vivian Campbell - Guitars, Soloists
Joey Mellotti - Keyboards
Mike Carabello - Conga


Rock drummer Carmine Appice has appeared in a variety of groups over the years, starting with Vanilla Fudge in 1966. That band made five charting albums between 1967 and 1969, the most successful of which was the gold-selling debut Vanilla Fudge. Appice and Vanilla Fudge bassist Tim Bogert then formed Cactus with guitarist Jim McCarty (not the Jim McCarty from the Yardbirds) and singer Rusty Day. While Appice and Bogert were in the lineup, Cactus charted with four albums between 1970 and 1972, most successfully the debut, Cactus. In 1973, Appice and Bogert teamed up with guitarist Jeff Beck to form Beck, Bogert & Appice, who scored a gold-selling album, Beck Bogert & Appice. Appice was a member of the supergroup KGB, who featured Ray Kennedy, Rick Grech, Mike Bloomfield, and Barry Goldberg, and made one charting album in 1976. He worked as Rod Stewart's drummer in the '70s and '80s and co-wrote Stewart's hits "Do Ya Think I'm Sexy?" (number one, 1978) and "Young Turks" (number five, 1981). In 1989, he was part of the trio Blue Murder with John Sykes and Tony Franklin, who made one charting album. Always busy, Appice worked on albums with King Cobra, Travers & Appice, Cactus (Cactus V appeared in 2006) and with a reunited version of Vanilla Fudge, who re-formed in 2000. He also began his Guitar Zeus project, pairing a core band with many of the most dynamic guitarists in rock and metal. Guitar Zeus appeared in 1996, followed by Guitar Zeus, Vol. 2: Channel Mind Radio a year later in 1997. The best of these two releases were combined for 2009's Carmine Appice's Guitar Zeus: Conquering Heroes. © William Ruhlmann © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/carmine-appice-p15448/biography