Get this crazy baby off my head!


Crack The Sky

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Crack The Sky - Rare! - 1994 - Yodelin' Pig

This release doesn't make a whole lot of sense. Although the truly rare CtS (at least for me) is the first four albums, this is a compilation of a couple of John Palumbo solo albums and "Dog City", "Raw" and "From the Greenhouse", the last three CtS CDs. The rest are live tracks (from 1988), outtakes from Palumbo solo and three demo tracks from "Safety in Numbers". These 7 tracks are indeed rare, while the rest could be scared up without too much trouble. The "Safety in Numbers" songs are okay, but not up to the par of the original album, and the live version of "Let It Be" pales in comparison to the rollicking version of "I Am the Walrus", which can be found on "Live Sky". Chalk this up as a disappointing purchase from a pretty talented band. Review by & © A. D. Jensen © http://www.newsandentertainment.com/zArare.html

"Rare!" is a great compilation album of singles and tracks from earlier Crack The Sky and John Palumbo solo albums. The album also contains live tracks, including two recorded at Hammerjacks nightclub between 1986 and 1988 as well as previously unreleased outtakes and alternate versions of songs. Most critics slagged off this release as old material repackaged. It is true that eight of the fifteen tracks were previously released - six from CTS studio albums, and two from John Palumbo solo albums. However, not everybody has heard all these tracks. Some of these albums are not easy to obtain and many CTS fans will not have heard the live tracks and outtakes on the album. If you are a CTS/John Palumbo fan you will probably enjoy hearing this album. Sound quality is ok but could be better. Many compilation CD albums are produced without using available remastered versions of tracks. This often means that some tracks sound better than others. If you are not familiar with the band's music listen to "Crack Attic (The Best of Crack the Sky)" and search this blog for other CTS releases. N.B: Link 1 of this post contains all the previously released material. The second link of this post contains the live, alt.versions, and outtakes, which you may prefer


1. "Mr. President" - Palumbo - From Crack The Sky's "Dog City" (5:34)
2. "Love Me Like a Terrorist" - Palumbo - From Crack The Sky's "Dog City" (4:39)
3. "From the Greenhouse" - Palumbo - From Crack The Sky's "From the Greenhouse" (5:49)
4. "Lost in America" - Palumbo - From Crack The Sky's "From the Greenhouse"(4:12)
5. "Boilermaker" - Palumbo - From Crack The Sky's "Raw" (4:26)
6. "Mr. DJ" - Palumbo - From Crack The Sky's "World in Motion 1" (3:17)
7. "Drifting Back to Motown" - Palumbo - From John Palumbo's "Blowing Up Detroit" (4:21)
8. "Dancing With the Fuhrer" - Palumbo - From John Palumbo's "Victim of the Nightlife" (4:29)
9. "Monkey Time" (live or demo version) - Palumbo (3:07)
10. "Last Time" (live or demo version) - Palumbo (3:17)
11. "Crying Father from Idaho" (live or demo version) - Palumbo 4:23
12. "Jungle Man" (live or demo version) - Palumbo (4:49)
13. "Atlantic City" (live or demo version) - Palumbo (4:35)
14. "Blowing up Detroit" (live or demo version) - Palumbo (6:28)
15. "Let It Be" (live) - John Lennon, Paul McCartney (4:20)


John Palumbo - guitar, keyboards, vocals
Jamie La Ritz - lead guitar
Michael Taylor, Rick Witkowski, Bobby Hird - guitar
Jim Griffiths - guitar, vocals
Joe MacRe - bass, vocals
Cary Ziegler - bass
Rob Stevens, Vince DePaul - keyboards
John Tracey, Joey d'Amico - drums, vocals
Gary Lee Chappell - vocals


Progressive rock group Crack the Sky was formed in the Ohio River Valley region in 1975 by frontman John Palumbo, guitarists Jim Griffiths and Rick Witkowski, bassist Joe Macre, and drummer Joey D'Amico. According to the website at www.crackthesky.com, the band was originally dubbed ArcAngel, building a loyal following on the Cleveland and Baltimore club circuits before signing to the Lifesong label to issue their self-titled debut LP, which earned critical acclaim for Palumbo's acerbic lyrics and the songs' complex structures and time changes. Commercial reward was minimal, however, and after completing Crack the Sky's second LP, 1976's Animal Notes, Palumbo exited to pursue a solo career. D'Amico assumed lead vocal duties on 1978's Safety in Numbers, with singer Gary Lee Chappell featured on the Live Sky release. Crack the Sky then disbanded, but in 1980 Palumbo, Witkowski, and keyboardist Vince DePaul briefly reformed the group to record the White Music album before again dissolving. Palumbo then formed another new lineup for a series of albums including Photoflamingo, World in Motion I, and Raw before reuniting with Witkowski, D'Amico, and DePaul for a series of 1986 live dates at the Baltimore club Hammerjacks and eventually a new 1989 studio LP, From the Greenhouse. Dog City followed in 1990, and Crack the Sky infrequently reunited throughout the decade to come. Jason Ankeny © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/crack-the-sky-p3977/biography


The band CRACK THE SKY started in the Ohio River valley (the members are originally from the Pittsburgh, PA area; John came from West Virginia to Pittsburgh). Originally named ARCANGEL, they became Crack the Sky when they signed with Lifesong records. They broke first in Pittsburgh, and eventually "emigrated" to and were "adopted" by the Baltimore, MD area. They recorded albums and played live shows with various personnel changes from the mid '70's until the late '80's. They played an original mix of quirky rock and roll with many time changes and switch-ups mixed in with a few Beatles-esque touches. Originally fronted by John Palumbo, the group's initial lineup also included Jim Griffiths (guitar), Rick Witkowski (guitar), Joe Macre (bass) and Joey D'Amico (drums). They were quasi-adopted by the Baltimore radio station, WIYY (98 Rock); this station above all others continued to play the classic hits from the band, and ended up sponsoring their reunion shows at Hammerjacks nightclub in 1986-1988. Their first album "Crack The Sky", released in 1975, was declared album of the year by Rolling Stone magazine, and contained such "cult" hits as Ice, Hold On/Surf City and She's A Dancer. Unfortunately, it never got promoted very well, and failed to catch on with the public. This was followed by their second in 1976, "Animal Notes", which contained such songs as Rangers At Midnight and Maybe I Can Fool Everybody (Tonight), was more quirky and less accessible than the first album, but good, nonetheless. Unfortunately it fared as well or worse than thier first album. John Palumbo left the band in 1978 during the writing of their third album, "Safety In Numbers", which resulted in songs on the first half of the album having words & lyrics by John, but the second half having words & lyrics by assorted (remaining) band members. John's leaving was "due clearly to a divergence in artistic direction." While many thought that losing John would damage the band, they were able to put together a good third album, followed by a tour which received rave reviews and produced their fourth, live album in 1978, "Live Sky". ("This band has come all the way down from an acid trip just to play for you...") This is an excellent example of the band live, with replacement vocalist Gary Lee Chappell, and credits (for the first time) Vince DePaul on keyboards, although he had played keyboards for the band on previous live outings. (I can't count the number of people I've talked to who saw Crack The Sky open for some band or other, and said that Crack basically blew the other band off the stage - that the headliner was a let-down after Crack played!) After Live Sky the band put out a greatest hits collection in 1980 titled Classic Crack. After leaving the band, John P. pursued a solo career, putting out the album Innocent Bystander in 1978. You can see the pain he was going through at the time, as many of the songs revolve around living through relationships dying (Dear, Dear), related change-of-life issues (It's Okay To Die, The Crying Father From Idaho) and also a song addressing how/why he left the band (Madness On Comet Way). After "Live Sky" the band broke up, but soon came back together in 1980 in their third incarnation of John Palumbo, Rick Witkowski and Vince DePaul to create the album "White Music", rumored to be a contractual obligation album. This album spawned such radio hits as All American Boy and Hot Razors In My Heart, and helped fans discover or renew their interest in the band. Unfortunately, soon after the album was released, the band broke up again, ostensibly for good. After that, in 1981, John once again re-formed the band in its fourth incarnation, with Vince DePaul (keyboards), Carey Ziegler (bass), Michael Taylor (guitar) and John Tracey (drums), and put out the album "Photoflamingo". This album received less-than-rave reviews from the critics and public, and today is one of the bands least well- known albums. As John wrote all the music and lyrics for the album, CRACK THE SKY began to become thought of as "his band", which caused him both joy and suffering for many years afterwards. The next offering from the band came in 1983 with "World In Motion I", yet another disappointment for the band. It never got much airplay other than Mr DJ, and the album itself was very hard to find in stores, eventually virtually totally disappearing from the record bins. The lack of acceptance of this album probably contributed to John again calling an end to the band, and the same year put out "The End", the bands supposed swan song. The album contained a collection of live songs from some previous albums as well as a couple of new (or previously unreleased) offerings. At this point, it seemed that CRACK THE SKY was finally gone forever, as John P. had grown to feel it like an albatross around his neck. He continued to pursue his solo career and released "Blowing Up Detroit" in 1984, which contained which contained such songs as Blowing Up Detroit and Drifting Back To Motown. Band members Carey Zeigler, John Tracey, Bobby Hird and Vince DePaul went on to form the local Baltimore band No Heroes, which played some Crack tunes as well as original tunes. Eventually, in 1986 John decided to make another CRACK THE SKY album, "Raw". He once again wrote all the words & lyrics, as well as produced the album. There were no previous band members on this album; the only other artist listed in the credits is Jamie LaRitz (guitar). Many fans did not deem this a "real" CRACK THE SKY album, as John was the only previous band member on the album. He apparently felt the tug of the CRACK THE SKY legend, or the laments of the fans, as he decided to resurrect the band for a series of live shows in 1986 at the Baltimore, MD club Hammerjacks. The band, consisting of mostly-original members John (guitar/vocals), Rick Witkowski (lead guitar), Joey D'Amico (drums/vocals), Vince DePaul (keyboards) and Carey Ziegler (bass/vocals) played three nights in March 1986 to an enthusiastic, sold-out audience. While they didn't play anything from "Raw" at these shows, there were two songs from the "Blowing Up Detroit" album, as well as most of the bands classic songs. They came back again in the Christmas Week in 1986 with a few more shows, this time incorporating the title track from "Raw" into the show. Possibly spurred on by the overwhelming reception the band received at the Hammerjacks shows, he continued to work with the other band members, and eventually did other live shows at Hammerjacks as well as another local Baltimore club, Painters Mill (before it burned down) in 1986 and 1988. Eventually, in 1989 there was a new CRACK THE SKY album named From The Greenhouse, featuring all of the members from the Hammerjacks shows except for Carey Zeigler, who was otherwise engaged during the recording sessions. (Carey did play with the band when they played more Hammerjacks shows after the release of Greenhouse.) This album featured the title track, as well as a critique of the American "yuppie" lifestyle in Lost In America. The band played more shows at Hammerjacks in support of this album. The same year John released his third solo album, "Victim Of The Nightlife". It contained a re-release of Drifting Back To Motown, as well as Dancing With The Fuhrer and a cover of Lou Reed's Walk On The Wild Side. (This is not surprising, as it's reminiscent of a song from CRACK THE SKY'S first album, She's A Dancer, which also talks about transsexuality issues. The next year, 1990, saw the release of the last (to date) studio album from the band, titled "Dog City", which didn't receive very much airplay, even from the local Baltimore radio stations. After this album, John once again dissolved the band to pursue his own projects. John went on to form a band named CRUEL SHOES and released a single album in 1993(?). This appears to have been a one-shot deal; I cannot find any curent information on this band. Finally, in late 1994 a new disc was released, titled "Rare!", containing a collection of singles from previous albums (both CTS albums and Palumbo solo efforts), live versions and previously unreleased alternate versions of songs -- outtakes from previous albums. This disc includes two songs recorded at two of the Hammerjacks shows. It was not received well by critics (panned as a rehashing of old material), but is a must-have for completists and true CRACK THE SKY/John Palumbo fans. In May and August 1996 the band played sets of shows at a small club in the Baltimore, MD area A.L. Gators. The band lineup is the same as on the album "The End"; John Palumbo, Rick Witkowski, Carey Zeigler, John Tracey, Bobby Hird, with the addition of Nat Kerr on keyboards. They also played the 2nd Annual COLT FESTat Merriweather Post Pavilion on Sunday, August 11th, 1996. CRACK THE SKY got back together again on May 31st, 1997 at Bohagers nightclub in the Fells Point area of Baltimore, MD. They played two shows, with the opening band being the Patty Reese Band, whom John Tracey also played with. (The Patty Reese Band played a drummer-less show.) Once again CTS wowed the standing room only crowd with two hours of their hits, including bringing back an old chestnut, Robots For Ronnie and a punked-up version of We Want Mine [ from & © http://www.crackthesky.com/library/ ]

Demian Band

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Demian Band - Devil By My Side - 2008 - Demain Band Music

Demian Dominguez is the most promising Blues guitarist/singer to ever emerge from the Latin American, and Spanish cultures. Demian s musicianship sounds so authentically Blues that you would think Demian to be a native of the Southern United States, rather than his native Argentina and current home in Barcelona, Spain. Currently, Demian is releasing in the United States and in Europe, his second CD entitled Devil By My Side featuring world renowned Bernard Allison along with Demianband. Devil By My Side will be promoted on radio and press internationally with a major impetus in the United States. A native of Buenos Aires, Argentina, Demian Dominguez has been devoted to his music and his musical career since the age of 12. In his early teens, he had the life forming experience of being around and involved in the music of Jimmie Vaughan, Los Lobos and Roy Rogers in Huracan Stadium in Buenos Aires at an homage to Stevie Ray Vaughan when he worked at the stadium. Demian cultivated his artistry while covering the Buenos Aires scene with his trio, and he shared the stage with well-known Argentine musicians, such as, Alejandro Lerner, Ricardo Mollo (Divididos), Pappo, Jorge Pinchevsky, Emphis la blusera, Willi Quiroga (Vox Dei), Alejandro Medina (Manal), Hector Starc, Walter Sidotti drums of de "Patricio Rey y los Redonditos de Ricotta"), and others. In 1996 the Teatro General San Martin de Buenos Aires awarded Demian a certificate for the Promotion of and Continuation of the Blues. In 1997, MTV aired a 60 minute special entitled MTV Outside, in which Demian was involved. He was then invited to the Argentine Exposicion Nacional Rock 30 Years where he was part of a band promoting on television the "Toyota Hilux". He was invited to participate in the festivities of the 6th anniversary of the famed radio program of "Rock & Pop" "Buenos Aires Blues", playing along with well-known Argentine musicians such as, Pappo, Ricardo Mollo (Divididos), Juanse (Ratones Paranoicos), Maximo Pera Renauld, Rafael Nasta, Miguel Botafogo y Black Amaya. Demian recorded his first CD entitled Furia in 1998 in Buenos Aires. Furia was aired on "Radio Nacional" of Argentina in a live broadcast throughout the entire country. In 2000 he recorded his second CD, "Heavy Blues" which was promoted throughout Argentina. In 2002, Demian moved to Barcelona, Spain where he re-formed Demianband. The band plays the circuit of clubs and bars and was invited to play in the "Festa de la Merce", "S.O.S Racisme" and blues festivals such as Reus, "Black Music" (Girona), Barcelona, Manresa, Cerdanyola and others while being a member of the Blues Society of Barcelona. One of the most special times in Demian s career was when Bernard Allison one of the most brilliant guitar players in the world blues music scene -- invited him to Karlsruhe, Germany, to perform with him. During the performance Bernard Allison pointed out to the audience how beautifully Demian had interpreted the music. Now the tables have turned, and Bernard Allison appears on Demian s new CD, Devil Bu My Side which also features Demian Dominguez along with Tito Bonacera on bass, Roger Serrahima on drums and Fernando Tejero on Hammond B3 and piano. The CD is schedule for international release in the Fall of 2008. © 1996-2011, Amazon.com, Inc. or its affiliates

Demian Dominguez from Buenos Aires, Argentina began to play professionally when he was 13. By the time he was 15 he had opened for artists like Jimmie Vaughan, Roy Rogers & Los Lobos. Demian's biggest influences are among 60′ and 70′ musicians of whom he said "Those guys were inventing new stuff and they played with such energy and passion by contributing a piece of themselves to every song and every musical note that they played and this is something that I never forget". Demian, a great fan of the late SRV also said "I give thanks to Stevie Ray Vaughn for being a major influence in my musical career. For me, what was so profound about Stevie Ray Vaughn is that you can hear that he took many influences of the old timers and he created his own style with those influences that evolved beyond and expressed his own individuality. It’s like when you are young and your family offers you advice. You must listen to them and then you take their suggestions and your own way of doing things grows out of that so you build your own thoughts and opinions. To me it is the most important thing to have my own musical “voice” and for that to keep on developing". Speaking about "Devil By My Side", Demian stated that "Truly, Devil By My Side is the CD that I’ve enjoyed working on more than any of the others. I was able to put into use much of what I had learned in the past. I also took the opportunity to focus on the vocals on the album. For me, singing is just as important as playing the guitar, although I have to work much harder on the vocals. I’m really satisfied with the final product. Being able to collaborate with Bernard Allison was an incredible experience. We met each other years ago in Germany when he invited me to perform with him. in Germany and when I had the idea to record my new album instantly I thought about him to be involved. What an amazing person he is. When I asked him to record a song with me he was delighted to do so. We worked together in the studio with my good friend Raul Arias and we used a 60s microphone, my old Fender amps, Marshalls, electric and acoustic Dobro guitars and we did it all in one or two takes. It was a great experience. I recorded my CD with my good friends Tito Bonacera on Bass, Roger Serrahima on Drums and Fernando Tejero on Hammond and everyone did a great job. Thanks to this CD, I have had the opportunity to travel to and play in many countries including the United States and Canada". "Devil By My Side" is a great album and HR by A.O.O.F.C. Buy the band's "Bull Blues" album and promote real music


1 Mystery Train - Parker, Philips 2:48
2 If You Say You Love Me - Dominguez, Pessatti 3:19
3 Drown in My Own Tears - Glover 3:46
4 Where You Are? - Dominguez, Pessatti 2:51
5 Kill the Matador - Dominguez 2:29
6 Karlsruhe - Bonacera, Dominguez 5:08
7 Baby, Please Don't Go - Williams 3:34
8 The Sky Is Crying - James, Levy, Lewis 3:33
9 Don't Be with My Money - Bonacera, Dominguez 3:12
10 Devil by My Side - Dominguez 3:16
11 Check out How We Sound! - Bonacera, Dominguez, Serrahima, Tejero 4:02
12 Demian, Con E! - Dominguez 2:48
13 Rude Mood - Vaughan


Demian Dominguez - guitar, vocals
Bernard Allison - slide guitar, vocals [guest]
Tito Bonacera - bass
Fernando Tejero - Hammond B3, piano
Roger Serrahima - drums


Demian Dominguez the blues and rock guitar player and singer was born on march 18th 1979 in Buenos Aires, Argentina. He is professionally dedicated to music since he was 12. At age of 15 he had been the supporting artist for Jimmie Vaughan, along with Los Lobos and Roy Rogers at Huracán Stadium at Buenos Aires, in a tribute to Stevie Ray Vaughan, receiving excellent reviews. With his band in Buenos Aires he has shared the stage with renowned musicians. In 1996, the General San Martin Theatre of Buenos Aires Argentina gave him an important award for his “contribution to blues”. In 1997 MTV produced an hour-long special program about him as part of the “MTV Afuera” series. He was also hired by Toyota to create a jingle for a TV advert. Demian has played in one of the shows in the “Rock Nacional 30 años”, in Argentina. He has lived in Barcelona, Spain, since 2002. He recorded his album “Bull Blues” in Barcelona with Tito Bonacera: on bass and harp, Dannyman Navarro on drums and guests Luciano Matias on piano and Xavi Reija on Drums. In 2005/2006 he was the support artist for Elliot Murphy and Bernard Allison .Demian had one of the most special moments in his career when he was invited to Karlsruhe, Germany, by Bernard Allison, one of the most brilliant guitarists in the worldwide blues scene, to play with him, getting the acknowledgement and astonishment of Allison, who praised Demian's excellent playing in front of the crowd. Demian Dominguez with Tito Bonacera: bass, Roger Serrahima: drums and Fernando Tejero: keyboards & piano, finished recording "Devil By My Side", his last study work and the most special in his career, as the great bluesman Bernard Allison, one of his great guitar heroes, is a special guest on the album, on vocals and slide guitar. In 2008 the Demian Band toured with Lucia del Campo: hammond & bass and Gustavo Segura: drums playing songs from “Devil By My Side” and got a great reaction from audiences around the world and the band was Nº 126 "Album Of The Year" category in the "52nd Annual GRAMMY Awards. This album received great acclaim and reached No.1 in some Americans Blues Charts. [from & © http://www.demianband.net/bio.html]


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Camel - The Opening Farewell - 2010 - Camel Productions

Camel seem to be the kind of band that everybody has heard of, but not listened to. Camel were one of the the greatest archetypal progressive rock bands ever to emerge from England. The late Peter Bardens' brilliant keyboard-playing was a major force in Camel's success. Peter played with Peter Green, Mick Fleetwood, and had played keyboards with the legendary Van Morrison's "Them." Despite many album releases from 1972 onwards, Camel have never reached megastardom. But again, like so many other great bands, Camel have never bowed to commercialism, and for the last 40 years or so, through many different line-ups, Camel continue to produce their own unique brand of wonderful music. This album was recorded at The Catalyst, Santa Cruz, California on 26 June 2003 with a line-up of Andrew Latimer (the only original band member) on guitar and vocals, Colin Bass on bass and vocals, Tom Brislin on keys and vocals, and Denis Clement on drums. The band play 15 tracks from a good cross section of the band's career and demonstrate just why they have been around so long. This is Grade A progressive rock from a band who deserve more accolades. N.B: The album is composed of three large files, and sound quality although very listenable is only fair to good. So think about DLing it ! The official DVD issue is of far superior sound quality. The album is VHR by A.O.O.F.C. "Rainbow's End: An Anthology 1973-1985" was released in 2010 and there were rumours of a new Camel album in the works. Hope springs eternal in the human breast ! Buy the band's brilliant "Nod & A Wink" album, and listen to their "Rain Dances" and "I Can See Your House From Here" albums. Check this blog for other releases


1 Lady Fantasy - Peter Bardens, Doug Ferguson, Andy Latimer, Andy Ward
2 Unevensong - Peter Bardens, Andy Latimer, Andy Ward
3 Hymn to her - Andy Latimer, Jan Schelhaas
4 Echoes - Peter Bardens, Andy Latimer, Andy Ward
5 Stationary traveller - Susan Hoover, Andy Latimer
6 Drafted - Susan Hoover, Andy Latimer
7 Rhayader - Peter Bardens, Andy Latimer
8 Rhayader goes to town - Peter Bardens, Andy Latimer
9 Lunar Sea - Peter Bardens, Andy Latimer
10 Another night - Peter Bardens, Doug Ferguson, Andy Latimer, Andy Ward
11 Ice - Andy Latimer
12 Spirit of the water - Peter Bardens
13 Slow yourself down - Andy Latimer, Andy Ward
14 Mother road - Susan Hoover, Andy Latimer
15 For today - Susan Hoover, Andy Latimer, Guy LeBlanc


Andrew Latimer - Guitar, Flute, Recorder, Vocals
Colin Bass - Bass, Bass Pedals, Vocals
Tom Brislin - Keyboards, Vocals
Denis Clement - Drums, Percussion, Recorder


Camel never achieved the mass popularity of fellow British progressive rock bands like the Alan Parsons Project, but they cultivated a dedicated cult following. Over the course of their career, Camel experienced numerous changes, but throughout the years, Andrew Latimer remained the leader of the band. Formed in 1972 in Surrey, Camel originally consisted of Latimer (guitar, flute, vocals), Andy Ward (drums), Doug Ferguson (bass), and keyboardist Peter Bardens, previously of Them. By the end of 1973, the group signed with MCA and released their eponymous debut. In 1974, the band switched record labels, signing with Decca's Gama subsidiary, and released Mirage. In 1975, Camel released their breakthrough album The Snow Goose, which climbed into the British Top 30. The band's English audience declined with 1976's Moonmadness, but the album was more successful in America, reaching number 118 -- the highest chart position the band ever attained in the U.S. Following the release of Moonmadness, Ferguson left the band and was replaced by Richard Sinclair (ex-Caravan); at the same time, the group added saxophonist Mel Collins. Latimer and Bardens conflicted during the recording of 1977's Rain Dances and those tensions would come to a head during the making of 1978's Breathless. After Breathless was completed, Bardens left the band. Before recording their next album, Camel replaced Bardens with two keyboardists -- Kit Watkins (Happy the Man) and Jim Schelhaas (Caravan) -- and replaced Sinclair with Colin Bass. By the time Camel released their 1979 album, I Can See Your House From Here, rock & roll had been changed by the emergence of punk rock, which resulted in less press coverage for progressive rock, as well as decreased record sales. Camel suffered from this shift in popular taste -- I Can See Your House from Here received less attention than any of the band's releases since their debut. Latimer returned to writing concept albums with 1981's Nude. In 1982, drummer Andy Ward was forced to leave the band after suffering a severe hand injury. Camel's 1982 album, The Single Factor, was a slicker, more accessible affair than previous Camel records, but it failed to chart. Stationary Traveller (1984) was another concept album. After the release of the 1984 live album, Pressure Points, Camel entered a long period of hibernation that lasted until the early '90s. In 1985, Decca dropped Camel from its roster. Latimer wasn't able to find a new label because he was embroiled in a difficult legal battle with Camel's former manager Geoff Jukes; Camel eventually won the lawsuit in the late '80s. Throughout this period, Camel produced no new music. In 1988, Latimer sold his home in England and moved to California, where he founded the independent label Camel Productions. By the time Camel recorded their follow-up to Stationary Traveller in the early '90s, the band was, for most intents and purposes, simply Andrew Latimer and a handful of session musicians. Dust and Dreams (1991) was the first release on Camel Productions. In 1993, PolyGram released a double-disc Camel retrospective, Echoes. In early 1996, Camel released Harbour of Tears. © Stephen Thomas Erlewine © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/camel-p3821/biography

Warren Haynes - Studio Demos (aka Some Ordinary Madness Studio Outtakes)

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Warren Haynes - Studio Demos (aka Some Ordinary Madness Studio Outtakes) - 1991 - Unknown

Hard to find detailed info on these tracks. Supposedly the tracks were laid down during the making of Warren's debut solo album, "Tales Of Ordinary Madness" released in 1993. Of the 11 tracks on this album, only the tracks "Power And The Glory", "Tattoos And Cigarettes", and "Blue Radio" appeared on the final "Tales Of Ordinary Madness" issue. These demos/outtakes are most likely from around the late 80's to early 90's period, and the material is good. There are dozens of these tracks floating around on various unofficial recordings. Definite info on dates, track composers and musicians would be very welcome. Listen to Warren Haynes' "Tales Of Ordinary Madness" and "Live at Bonnaroo" albums


01. She's A Pro
02. Power And The Glory - Haynes
03. She Knows Secrets
04. Sammy
05. Tattoos And Cigarettes - Jeff Anders / Keith Flynn / Warren Haynes
06. Uptown
07. Blue Radio - Haynes
08. The Final Act
09. Lonely Night
10. One Way Ticket
11. Angel City - Haynes


Warren Haynes: guitar & vocals
Lincoln Schleifer: bass
Jeff Young: keyboards
Steve Holly: drums


You wouldn't know it from listening to Warren Haynes' work with Gov't Mule or the Allman Brothers Band, but there was a time when he didn't play guitar. He says, "I didn't get my first guitar until I was 12. My oldest brother had an acoustic guitar and I would bang around on it and try to play." But guitar wasn't even his first love -- it was singing. Around the time he was eight or nine, Haynes' two older brothers began turning him on to soul music. He would sit in his room, singing Smokey Robinson, Diana Ross, Otis Redding, and Wilson Pickett. He became fascinated with sounds of Motown and Memphis. "All I cared about was the singer. The really strong singers really knocked me out. Levi Stubbs of the Four Tops still is one of my favorite voices of all time. And I always liked B.B. King even before I liked the blues. His voice was the main thing." Guitar didn't escape Haynes' attention for long, however: he would soon turn on to rock & roll. "I really liked Eric Clapton. He was the first guitar hero I had. I liked really heavy Cream stuff. I liked all the Derek & the Dominos stuff." Haynes' brothers used his admiration of Clapton to expand his musical horizons to take in the blues masters. They would tell him to check out Howlin' Wolf because Clapton played on it. Interviews with Haynes' favorite guitarists led him to other blues players, and the scope of his guitar playing grew accordingly. Soon, Haynes found himself performing at private gigs and pool parties. When he was about 14, he started hanging around a local pizza parlor that had been converted into a nightclub. About six months later, word got out that Haynes played guitar. The regulars wondered what this kid could do, so they offered to let him on stage. It wasn't long before Haynes was playing in a band called Ricochet that developed a good regional following. One day, Haynes got a call from David Allan Coe, and it was a major break for the 20-year-old Haynes. He played with Coe from 1980 to 1984 (traveling all over the States and Europe) and played on nine of Coe's albums. Haynes also met Dickey Betts and Gregg Allman through Coe, and when Coe's band opened for the Allman Brothers at the Fox Theater in Atlanta, Betts sat in. Four years later, Haynes moved to Nashville to do session work, but the Allman connection was still there. Betts was doing some demos in Nashville and called someone to put together a group of background singers. As fate would have it, Haynes was one of them. Later, he called Haynes and invited him down to work on some songs. Those songs turned into Betts' solo album, Pattern Disruptive. At the same time, Allman decided to record "Just Before the Bullets Fly," which Haynes co-wrote, as the title track to his 1988 album. It's no wonder that when the Allman Brothers re-formed for their Reunion Tour in 1989, Haynes got a call to join. That tour turned into two studio albums and two Grammy nominations for Best Instrumental Rock Performance (in 1990 for "True Gravity," and in 1991 for "Kind of Bird," both of which were co-written by Haynes and Betts), and then a live album in 1992 An Evening with the Allman Brothers Band. Haynes' songwriting, singing, and playing helped make Seven Turns, Shades of Two Worlds and An Evening with the Allman Brothers Band, the Brothers' most critically acclaimed albums in years. Many critics give Haynes credit for putting the fire back in the Allman Brothers Band. Haynes also took time out to release his first solo album, Tales of Ordinary Madness. The album featured the piano work of Chuck Leavell. Leavell also played on the album, joining another former Allman Brother, Johnny Neel, and Funkadelic's Bernie Worrell on keyboards. Marc Quinones, percussionist in the current Brothers lineup, also helped out. After dropping out of the Allman Brothers Band in 1997 to pursue his side project (Gov't Mule) on a full-time basis, Haynes, along with bassist Allen Woody and drummer Matt Abts, released their third album in 1998, Dose, as a follow-up to their highly successful 1996 debut album and the 1996 recording Live at Roseland Ballroom. © Michael B. Smith © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/warren-haynes-p39324/biography


Billy Price & Fred Chapellier

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Billy Price & Fred Chapellier - Night Work - 2009 - DixieFrog

The partnership of veteran U.S. soul singer Billy Price and French blues guitarist Fred Chapellier might seem like an unlikely pairing, but the results -- chronicled in the song "Champagne Blues and Pittsburgh Soul" -- are an impressive, occasionally explosive meeting of the minds. Price with his strong tenor voice, similar to Robert Cray's at times, first found popular acclaim as Roy Buchanan's singer for a short while back in the mid-‘70s. While guitarist Chapellier isn't in Buchanan's league, his deft touch and alternately snaking/scorching leads fit well with this set of predominantly original R&B. The guitarist gets his own showcase on the closing jam of "Skunk Shuffle" but it's on the rest of the album, dominated by tight arrangements, terrific soul-blues songs, and crisp but never forced production, that his playing makes the most impact. A three-piece horn section is along for additional punch, bringing an old-school yet never musty vibe to the peppy proceedings. The Nighthawks' frontman Mark Wenner brings his always incisive harp playing to three tracks, and Otis Clay swings by to sing lead on a spirited but somewhat unnecessary cover of Al Green's "Love and Happiness" that sticks pretty close to the original. Price and Chapellier hit their stride on the swampy grind of "Night Work," an autobiographical tune about the life of a working blues musician that manages to avoid the clichés of that shopworn topic. The midtempo "When the Lights Come On" sizzles with a memorable melody, committed singing, snappy horns, and piercing guitar work that displays Chapellier's tough chops while still servicing the song. Like Cray, Price and Chapellier are clearly inspired by the great, rather unsung soul-bluesman O.V. Wright, as they make clear on the song that bears his name and the following "All the Love in the World," which borrows from Wright's gospel influences. Price and Chapellier feed off each other's strengths throughout, yielding one of the finest -- and unfortunately most overlooked -- contemporary roots R&B albums of 2009. Hopefully they will continue their collaboration, because this is a mighty impressive start. © Hal Horowitz © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/night-work-r2049264/review

Night Work, by Pittsburgh-based blue-eyed soul singer Billy Price and French blues guitarist Fred Chapellier, was released in Europe in March 2009 on DixieFrog Records. Fans of Price's work in the 1970s with guitarist Roy Buchanan are going to love Night Work. Roy is one of Fred's biggest influences as a guitarist; in fact, Fred's last CD for DixieFrog was titled A Tribute to Roy Buchanan, and Billy Price appeared on that CD as a guest vocalist. Mark Wenner, harmonica player of the Nighthawks, plays on three songs--the title song, written by our friend Mike Sweeney from Pittsburgh; a new version of "Who You're Working For," which Price recorded with Billy Price and the Keystone Rhythm Band on the Free at Last CD in 1988; and a new song written by Price, Sweeney, Sally Tiven, and Jon Tiven titled "The Wrong Woman." Also making a guest appearance on the new CD, singing Al Green's "Love and Happiness," is Otis Clay. Price and Chapellier wrote six songs for the new CD, BP Band keyboard player Jimmy Britton and Price wrote one, and Sweeney contributed a great tribute to O.V. Wright. Speaking of O.V. Wright, no Billy Price CD would be complete without at least one O.V. Wright cover. This time, it's "Don't Let My Baby Ride." The CD is a true international collaboration. The Billy Price Band play on most of the tracks, but Fred's great band--Abder Benachour on bass, Pat Machenaud on drums, and Damien Cornelis on keyboards--play on three songs, with horns overdubbed by the Billy Price Band horn section. © 2011 Woodstock.com. All Rights Reserved http://www.woodstock.com/music-item/B001Q4N7Q8/billy-price-and-fred-chapellier-night-work/

A terrific Soul and R&B album by U.S. soul singer Billy Price and French blues guitarist Fred Chapellier. This album's got everything: Great songs, great musicianship, wonderful guitar by Fred Chapellier, and tremendous vocals by Billy Price. The album is HR by A.O.O.F.C. Buy Billy Price and Fred Chapellier's "Live On Stage" album. Listen to Billy Price's "East End Avenue" album. Fred Chapellier & Friends' "A Tribute To Roy Buchanan" album can be found @ FCHPELL&FS/ATRIB2ROYBUCH


Smart Money - Price &/or Chapellier
My Love Comes Tumbling Down - Price &/or Chapellier
Night Work - Mike Sweeney
Don't Let My Baby Ride - O.V. Wright
When the Lights Came On - Price &/or Chapellier
Love and Happiness - Al Green
Who You're Working For - Price &/or Chapellier
Under the Influence - Price &/or Chapellier
The Wrong Woman - Price, Sweeney, Sally Tiven, Jon Tiven
O.V. Wright - Price &/or Chapellier
All the Love in the World - Price &/or Chapellier
Champagne Blues and Pittsburgh Soul - Price &/or Chapellier
Skunk Shuffle - Price &/or Chapellier


Billy Price - vocals
Fred Chapellier - guitar
Steve Delach - guitar
Abder Benachour - bass
Paul Thompson - bass
Jimmy Britton - keyboards
Damien Cornelis - keyboards
Dave Dodd - drums
Pat Machenaud - drums
Rick Matt - baritone and tenor sax
Eric DeFade - tenor sax
Joe Herndon - trumpet
Mark Wenner - harmonica
Otis Clay - vocals


Billy Price is the stage name of soul singer William Pollak. Born in Fair Lawn, New Jersey in 1949, he has lived in Pittsburgh, Pennsylvania, USA since the mid 1970s. Price attracted national attention in the mid-1970s during his three-year collaboration with blues guitarist Roy Buchanan. The pair toured the U.S. and Canada, playing Carnegie Hall in New York, the Newport Jazz Festival, the Roxy and Troubadour in Los Angeles, and the Spectrum in Philadelphia. After leaving Buchanan, Price formed the Keystone Rhythm Band, which toured the Eastern US on a circuit that stretched from Boston to Atlanta with large followings in Boston, Philadelphia, Washington, DC and North Carolina. Sustaining several personnel changes, the band performed until 1990. He then formed The Billy Price Band, which currently consists of Steve Delach (guitar), Paul Thompson (bass), Dave Dodd (drums), Jimmy Britton (keyboards), Joe Herndon (trumpet), Eric DeFade (tenor sax) and Rick Matt (baritone and tenor sax). Though he works full-time in corporate communications at the Software Engineering Institute at Carnegie Mellon University, he continues to perform regularly in Pittsburgh, the eastern United States, and occasionally in Europe.


Fred was born in 1966 in Metz, France . He started playing drums he was 12 years old until 1981... Then, at the tender age of 15, he started playing guitar. "EUREKA" - the revelation! Immediately, he felt the call of the blues and along the years, found himself accompanying the likes of: Don Ray Johnson, Boney Fields, Audrey Madison, Tom Principato, Neal Black and many other "blues" giants (in Fred's eyes). In his search for more creative freedom, he formed his own band, "The Fred Chapellier Blues Band" with Pat Machenaud on drums, Abder Benachour on bass & Damien Cornelis on keyboards, and they recorded two albums for MOSAIC RECORDS - "Blues Devil" (2003) and "l'Oeil du Blues" (2005) ! In 2004, Fred was acclaimed "Best New Blues Artist of The Year" and "Best Guitar Player of The Year" by "Les Trophées France Blues" ... In January 2007 Fred called upon his friend - producer, arranger, composer & keyboard Maestro Jean Alain Roussel, with whom he had struck up a solid friendship while playing on different albums to produce his "tribute to Roy Buchanan" album. Jean had produced Buchanan's "you're not alone" album in 1976- Fred's main "guitar hero/reference"...Terms agreed, and songs chosen, Fred proceeded to record & engineer the basic tracks at his "Blue house Studio" in Châlons en Champagne, calling upon several long-time friends & guests, including Tom Principato, Billy Price, Neal Black, Miguel M, as well as members of Fred's own "Blues Band", to perform, with Jean assuming the "Producer" role (Jean had produced & composed for Roy Buchanan, & recorded with Cat Stevens, Bob Marley, The Police, 10cc & Thin Lizzy etc)... Then, off Fred went to Jean's "Shakti Studios" near Paris to complete the production under the guidance of Jean behind the recording console. ... The finished product was immediately picked up for France, by "DIXIEFROG RECORDS"... The album, "Fred Chapellier & friends - A Tribute to Roy Buchanan" is available now everywhere in Europe and also on I Tunes. Fred and Billy Price who sang with Roy Buchanan from 1972 to 1975 (www.billyprice.com) became good friends and, after two years of hard work, Fred's new album with his friend Billy Price "Night Work" will be out in march 2009 on DIXIEFROG RECORDS again. You wanna know what the blues is all about? Then - go to see Fred on stage! You WILL be AMAZED ! ! !..... © http://www.cdbaby.com/Artist/FREDCHAPELLIER


Nazca Line

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Nazca Line - Outer Space Connection - 1979 - Nazca Productions

Nazca Line was a late '70's progressive hard rock band from Lima, Ohio who released only one album (posted here). The liner notes say the album was recorded at St. John, Ohio's Emersonhill Studios, Emersonhill. Allegedly these "studios" comprised a barn with some basic recording equipment crammed into it. "Outer Space Connection", "M.I.B. (Men In Black)" and "Stranger" are based on space and alien topics but this is not a space rock album. Vocals are often weak. There are no outstanding tracks and very few hooks but musicianship is quite good, especially Dave Emerson and Don Smithey's twin lead guitar work. It has been said that “Stranger" copies the main guitar riff from Greg Kihn’s “Breakup Song” and Television’s “Elevation”, but not having heard these tracks, it is hard to comment. This band definitely could have done a lot better with some decent financial backing. The album was self-produced, and given the reputed recording venue and studio equipment the album is an above average progressive/psychedelic hard rock album. The volume on this disc needs to be cranked up a bit. Has anybody any info on this band?



1. Outer Space Connection (Dennis Backus - Dave Emerson) - 5:03
2. M.I.B. (Men In Black) (Dennis Backus - Dave Emerson) - 4:32
3. Take Your Share (Settlage - Dave Emerson) - 4:20
4. Rock & Roll Machine (Dennis Backus - Dave Emerson) - 4:25


1. Running Thru the City (Dennis Backus - Dave Emerson) - 3:34
2. Bluesy Music (Gary Oswalt) - 3:01
3. Stranger (Peltier - Dennis Backus - Dave Emerson) - ) 9:21
4. Red Line 7000 (Dennis Backus - Dave Emerson) - 3:28


Don Smithey, Dave Emerson - lead guitar, vocals
Gary Oswalt - bass, vocals
Steve Detrick - drums,vocals
Dave Backus - vocals

Albert Lee & Hogan's Heroes

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Albert Lee & Hogan's Heroes - Like This - 2008 - Heroic Records

Eric Clapton once called Albert Lee the best guitar player he had ever heard. That's a big statement to make from Eric who has proved himself as one of the greatest blues and rock guitarists of all time. “Like This” is a strong Albert Lee album. It is mainly a "Country Blues" album, and many people don't like "Country" music for obvious reasons. However, this album is not composed of songs like "All My Exes Live in Texas", "If the Phone Don't Ring, It's Me Not Calling You Up", or "I Went Back to My Fourth Wife for the Third Time and Gave Her a Second Chance to Make a First Class Fool Out of Me"!! (LOL). "Like This" was released in spring 2008 to coincide with Albert Lee and Hogan's Heroes European tour. The album is "Country Blues" with real merit. Huey Lewis guests on harmonica, and other musicians include bassist, Brian Hodgson, the great keyboardist Elio Pace, and The E.P Horns. Some of the songs include covers of songs by Jesse Winchester, Ray Charles, John Hiatt, Delbert McClinton, Carole King, Otis Blackwell, Little Feat, and a very rare cover of Walter Becker & Donald Fagen's beautiful "Pearl Of The Quarter". The "country" music on this album encompasses blues, folk, Americana, rock, soul, and even a New Orleans flavour with tracks like “Two Step Too”, and “Rad Gumbo.” No musical genre is excluded from this blog. If an album has real merit, it will be posted. Listen to Albert Lee's "Heartbreak Hill" and "Road Runner" albums and Steve Trovato's "About Time" album which has many similarities with "Like This". It is also worth reading about the many different sub-genres of this style of music @ http://en.wikipedia.org/wiki/Country_mu MY thanks to WOLF for bringing this album to my attention and for pointing out the Steely Dan cover to me. Call me crazy, but I bought this album for "Pearl Of The Quarter" and was surprised at just how good the other tracks were! (A.O.O.F.C).


1. Skin Rope Song - Jesse Winchester
2. Can Your Grandpa Rock And Roll Like This - Elio Pace, Matthew Baker
3. Leave My Woman - Ray Charles
4. On The Verge - Hugh Prestwood
5. I'm Comin' Home - Charlie Rich
6. Runaway Train - John Stewart
7. I'll Never Get Over You - John Hiatt
8. Barnyard Boogie - Gray,Wilhelmina, Jordan
9. Two Step Too - Delbert McClinton
10. Why Me? - McClinton, Knobloch
11. Pearl Of The Quarter - Walter Becker & Donald Fagen
12. Breathless - Otis Blackwell
13. Crying In The Rain - Carole King, Howard Greenfield
14. Rad Gumbo - Barrere, Clayton, Gradney, Kibbee, Park, Payne


Albert Lee (Guitar), (Mandolin), (Piano), (Vocals)
Gerry Hogan (Dobro), (Pedal Steel), (Guitar (Electric), (E-Bow)
Brian Hodgson (Bass), (Vocals Background)
Elio Pace (Piano), (Electric Piano), (Accordion), (Vocals Background)
Peter Baron (Drums), (Vocals),(Vocals Background), (Vocal Harmony)
Ray Cooper (Percussion)
Nick Cooper (Cello)
Peter Effamy - Tenor Sax, Clarinet [ The E.P Horns ]
Paul Newton (Trumpet) [ The E.P Horns ]
Adrian Fry - Trombone [ The E.P Horns ]
Philippa Ibbotson (Violin)
William Hawkes (Viola)
Huey Lewis (Harmonica)
Richard Pite - Sousaphone
Susan Acteson, Helen McNee, Chloe Buswell, Helen York, Kirstie Roberts (Background Vocals)


Albert Lee occupies an odd niche in music -- British by birth and upbringing, he spent the mid-'60s as a top R&B guitarist, but in the 1970s became one of the top rockabilly guitarists in the world, and no slouch in country music either. In England he's a been household name, and in Nashville and Los Angeles he's been one of the most in-demand session guitarists there is; but outside of professional music circles in America, he's one of those vaguely recognizable names, and occasionally misidentified with his similar-sounding contemporary, ex-Ten Years After guitarist Alvin Lee (with whom he did share a berth once, in Jerry Lee Lewis's band on the latter's London Sessions album) -- but where Alvin was a hero of Woodstock and a flashy guitarist, in the manner of British blues extroverts Jimmy Page and Jeff Beck, Albert is much more likely to be found playing in the background, behind the Everly Brothers or alongside Eric Clapton. Lee was born in Leominster, England, in 1943. His introduction to music came from his father, who played piano and accordion. His first instrument was the piano, which he took up at age seven -- he was lucky enough to be more than five years into his keyboard study when rock & roll came along, and his first idol was Jerry Lee Lewis, which also marked his introduction to rockabilly music. Within a couple of years, however, Lee had switched to guitar, and also discovered the music of Buddy Holly & the Crickets. He started learning the guitar in earnest and studying their records very closely, and not long after graduated from an acoustic to an electric instrument, and was learning the lead guitar parts on records by Holly, Gene Vincent, Ricky Nelson, the Louvin Brothers, and the Everly Brothers -- except that to him they were just as much records by Tommy Alsup, Jimmy Bryant, Cliff Gallup, James Burton, Chet Atkins, and Hank "Sugarfoot" Garland, among other guitarists. At 16, he turned professional and joined the stable of musicians working for manager Larry Parnes, playing behind Dickie Pride, among other stars on Parnes' roster. He later joined the backing band of R&B singer Bob Xavier, and later played behind Jackie Lynton, through whom he appeared on his first recording. Lee twice succeeded Jimmy Page as a lead guitarist, first in Mike Hurst's band and then in Neil Christian's backing group. And Lee, in turn, was succeeded in the latter band by Ritchie Blackmore when he jumped to Chris Farlowe's backing group the Thunderbirds. He spent four years with the Thunderbirds, who became known in British musical circles as one of the best R&B bands in England, and all gained fame as Farlowe charted singles (including a number one hit) in 1966 and early 1967. He finally left Farlowe in 1968, feeling bored after four years, and over next two years passed through several bands playing behind various visiting American country stars, including George Hamilton IV, Skeeter Davis, and Bobby Bare. Lee passed through several groups, including Country Fever and Poet & the One Man Band, before finally reaching a semipermanent berth with Heads, Hands & Feet, a progressive country outfit who were sort of England's answer to the Flying Burrito Brothers or the Nitty Gritty Dirt Band. He first achieved public notice as a member of this group, which achieved some positive critical notice -- and allowed Lee to expand his playing beyond the guitar -- but saw little commercial success. They split up after two years, and Lee made his living as a session guitarist for the next couple of years, and was also able to latch on to a piece of new recording action going on in England. In 1970, Chess Records had scored an unexpected chart success with The London Howlin' Wolf Sessions, which had led to a spate of "London Sessions" albums by Muddy Waters and Chuck Berry, among others at Chess, and even a B.B. King album on ABC Records built along the same lines. He got in on Jerry Lee Lewis' London Sessions album, and that seemed to reopen Lee's relationship of the early '60s with American acts -- except that this time one circle of his life seemed to close when he was chosen to replace Glen D. Hardin in the Crickets. He toured with them and also cut sides with them in Nashville for a Mercury Records release, Long Way From Lubbock. When the smoke cleared from his two years with the band, Lee had moved to Los Angeles, where he made contact with Phil Everly and Don Everly, who were working separately at the time. Lee joined Don's band and even got his Heads, Hands & Feet bandmates to work on his Sunset Towers LP. From there, Lee became a member of Joe Cocker's band, which, in turn, led to the offer of a contract in 1975 to do a solo album with A&M Records, which was Cocker's label at the time. A gig playing (and recording) with Emmylou Harris delayed the completion of his own record for a couple of years, until the end of 1978, though when Home, as it was titled, finally appeared, it was not only a guitar virtuoso showcase but included Harris on it as a guest performer. He was signed to Polydor as a solo artist, but by that time the session work and offers were coming in fast and furious, and Lee was seemingly everywhere, playing with everyone from Jackson Browne to Bo Diddley to Herbie Mann. His most visible gig, however, was playing with Eric Clapton, first on Just One Night and then on the tour that followed. And when the Everly Brothers reunited for a concert, a live album, and a concert video, Lee was there in the band. Lee's own solo career continued into the late '80s with Speechless (1987) and Gagged but Not Bound (1988), both issued by MCA and both critical successes. He was also later a member of Gerry Hogan's bluegrass group Hogan's Heroes, and toured and recorded with Bill Wyman's band, the Rhythm Kings. He has also played with Eddie Van Halen and Steve Morse in a supergroup called the Biff Baby All-Stars. In his fifth decade as a professional musician, Lee was part of a rarefied fraternity as a virtuoso's virtuoso, respected on three continents and pretty much living out a professional life that most of his colleagues, when he started out, could only dream of. He continued to record in the 21st century, cutting the country/rockabilly album Heartbreak Hotel for Sugar Hill in 2003. That same year, Castle Records issued a Lee retrospective compilation, That's All Right, Mama. A second Sugar Hill release, Road Runner, appeared in 2006. © Bruce Eder, Rovi © 2011 Answers Corporation http://www.answers.com/topic/albert-lee


Rick Holmstrom

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Rick Holmstrom - Gonna Get Wild - 2000 - Tone-Cool

Los Angeles axeman Rick Holstrom, best known for his work with Rod Piazza and the Mighty Flyers, delivers an album full of diversity on this, his first Tone-Cool release. The 13 songs included on Gonna Get Wild play out like a catalog of guitar stylings, running from the uptempo blues of "I'd Hate to See You Cry" to the sounds of swing and early rock & roll. Holstrom is able to pull off the different styles with ease and finesse, playing in rich, clean tones without overdoing it on the distortion. That's one reason why his songs have the uncanny ability to sound both retro and modern simultaneously. On "Phlazzbo," Holstrom turns up the Latin rhythm, while "Have You Seen My Girl" delves into the New Orleans flavorings of zydeco. On "Lovin' Ways," a variation on the theme delivered by Jay McShann's "Hootie Blues," Holstrom swings to beat the band. "Lost in the Shuffle" is a fine swing-shuffle, with some excellent sax and a foot tapping beat. Rick brings in some top of the line guests on the album, including the aforementioned Rod and Honey Piazza, and the Mighty Flyers rhythm section including Bill Stuve (bass) and Steve Mugalian (drums), Jeff Turmes (ex-James Hartman Band), Andy Kaulkin (piano), Junior Watson, Johnny Dyer, Juke Logan (organ), Kad Kadison (tenor sax), Chris Hunter, Bobby Horton, Teddy Morgan, Henry Carvajal, Curtis Cunningham, and Steve Marsh (tenor sax). In an interesting new move, Holstrom steps up to the mike to sing lead vocals on eight of the tracks for the first time, and he sounds great. It kind of makes you wonder why he hasn't taken to the mike before. The most refreshing quality about Rick Holstrom is the fact that he delivers music with technical savvy and traditional stylings, without sacrificing originality and pure adventure. And his knack for creating a melody line is unparalleled, and his open attitude toward varied musical genres paint a clear image of greatness in Holstom's immediate future. © Michael B. Smith © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/gonna-get-wild-r468256/review

One has to presume Rick "L.A. Holmes" Holmstrom had his tongue planted firmly in cheek when he titled his new solo release "Gonna Get Wild." Even though the lead guitarist of Rod Piazza & the Mighty Flyers does let loose on occasion, he more typically is a model of restraint, choosing to communicate with a minimum of flash. In other words, just because Holmstrom can, doesn't mean he will crank up the wattage and unleash Stevie Ray Vaughan-like solo after solo. By & © JOHN ROOS, SPECIAL TO THE TIMES, April 19, 2000 2011 © Los Angeles Times http://articles.latimes.com/keyword/rick-holmstrom

A good blues album from the Alaskan born bluesman, Rick Holmstrom. Influenced by greats like Muddy Waters, and Johnny Dyer, "Gonna Get Wild" is a combination of all these artists' blues styles and more. The album is not as guitar orientated as some of Rick's other albums and the album could have done with a few more guitar solos from a man who was the lead guitarist of Rod Piazza & the Mighty Flyers. Rick has played with greats like R.L. Burnside, Jimmy Rogers, Smokey Wilson, and Billy Boy Arnold. Buy his brilliant 2002 album, "Hydraulic Groove," which was a superb blend of jazz, funk, and blues. Billboard described "Hydraulic Groove" as "blues for the avant mind", and Amazon voted it one of the best releases of 2002. "Hydraulic Groove" has also been cited as one of the most original, and innovative blues/roots albums of the decade. Check out Rick's "Late In The Night" album @ RICKHOLM/LITN


1 Gonna Get Wild 3:53
2 Have You Seen My Girl 2:44
3 Wiggle Stick 3:55
4 I'd Hate to See You Cry 3:30
5 Lucky Day 4:04
6 Lovin Ways 3:04
7 Phlazzbo 3:59
8 You Missed Your Chance 4:08
9 Just Right 3:20
10 Uno Mas 2:20
11 What's Ailing You 3:43
12 Lost in the Shuffle 4:08
13 [Untitled] 4:52

All songs composed by Rick Holmstrom except "Phlazzbo" by Rick Holmstrom & Steve Mugalian, "Just Right" by Rick Holmstrom & Jeff Big Dad Turmes, and "Uno Mas" by Rick Holmstrom & Marco Fiume


Rick Holmstrom - Guitar, Baritone Guitar, Vocals
Henry Carvajal - Guitar, Harmony Guitar
Marco Fiume - Guitar, Wiggle Stick
Bill Stuve - Bass
Jeff Turmes - Bass, Breakdown Vocals
Junior Watson - Bass Guitar, "Bassy" Guitar, Organ
Honey Piazza, Andy Kaulkin - Piano
Juke Logan - Organ
Johnny Dyer - Organ, Harp, Vocals, Breakdown Vocals, "Why?" Chorus
Steve Mugalian - Drums, Snare Drums, Rubboard, Harmony Vocals
Red Naugahyde, Kad Kadison, Henry Carajal, Steve Marsh - Tenor Sax
Teddy Morgan - Tenor Sax, Vocals, Handclaps, Backing Vocals
Bobby Horton - Tenor Sax, Vocals, Handclaps, Backing Vocals
Chris Hunter - Tenor Sax, Tambourine, Vocals, Handclaps, Backing Vocals
Big Dad - Baritone Sax
Rod Piazza - Harp
Curtis Cunningham - Harmony Vocals
Poppy Atkins - "Why?" Chorus


Rick Holmstrom was born on May 30, 1965 in, of all places, Fairbanks, Alaska. His father was a disc jockey and Rick was brought up listening to the likes of Muddy Waters, Chuck Berry, Buddy Holly, and the Ventures. In 1985 his family moved to Southern California. There, in Los Angeles, he started a garage type blues band covering Jimmy Reed and Chuck Berry songs. He began going to blues clubs like the Pioneer Club, Babe & Ricky's, and the Pure Pleasure Club and began hanging out with such greats as Smokey Wilson and Junior Watson, one of Rod Piazza's original Mighty Flyers. From 1985 to 1988 Holmstrom toured with harmonica player William Clark, spending one year of this time as rhythm guitarist only. During that period he also backed up Jimmy Rogers, Smokey Wilson, Billy Boy Arnold, and Finis Tusby. Later he was befriended by another great harpist, delta bluesman Johnny Dyer who he started playing with in 1989. And in 1994 he was featured on Dyer's "Listen Up". This was followed by Shake It! (again with Dyer) in 1995. Both were released on Black Top Records. Through Black Top, Holmstrom had worked with Rod Piazza on numerous occassions. So when Rod's guitar player, Alex Schultz, gave his notice in 1995, Holmstrom was the obvious choice. In 1996 he recorded the all instrumental "Lookout!" for Rounder Records. This was followed by his Tone-Cool debut "Gonna Get Wild" in 2000. On that disc Holmstrom not only plays guitar but takes over lead vocals, and has written all thirteen songs. There is no doubt about it. Rick "L.A. Holmes" Holmstrom has come a long way from his Alaskan roots and garage band guitar licks. Says Blues Revue Magazine "...Holmstrom is destined for greatness." Having seen him many times live, I can not be in more agreement. Holmstrom brought a much needed blaze of fire to the Flyers, whose 1997 Tone Cool album, Tough and Tender, proved Rod and his group were the hottest band on the circuit. The Holmstrom solo effort Gonna Get Wild followed in the spring of 2000. Holmstrom played another year with the Might Flyers, leaving after 2001's Beyond the Source. Holmstrom turned some heads with his 2002 release, Hydraulic Groove, where he brought a bit of jazz and funk to his blues, also utilizing loops and samples and guests like John Medeski and DJ Logic. Holmstrom stayed busy producing other acts and playing guitar before releasing Live at the Cafe Boogaloo in 2006. © R.J. Bianchino, Blues Internet, www.jazzinternet.com/boulderblues/holmstrom/index.html


Take a clean-cut boy-next-door type, stick a guitar in his hands, and place him in an environment of smoky, dimly lit bars surrounded by a bunch of blues sages. If you think it's fiction, you don't know Rick Holmstrom, who has been working with some of the best of the Los Angeles blues scene. His father was a disc jockey in Alaska and baptized Holmstrom with music by bringing home records of Chuck Berry, Muddy Waters, the Ventures, and Buddy Holly. After moving to Southern California to attend school in 1985, he joined a garage-type blues band that rekindled his musical flame. Holmstrom began seeking live blues at places like the Pioneer Club, Babe & Ricky's, and the Pure Pleasure Club, which became his training ground through hanging out with greats such as Smokey Wilson and Junior Watson. From 1985 to 1988, Holmstrom played and toured with harmonica guru William Clarke. During part of this period, Holmstrom spent a year as a rhythm guitarist only. Befriended by a former Delta bluesman, harpist Johnny Dyer, the duo recorded two earth-shaking albums for Black Top, 1994's Listen Up, followed by Shake It! in 1995. When Alex Schultz gave his notice to Rod Piazza & the Mighty Flyers, Holmstrom was the obvious choice, as he worked with Rod on numerous occasions. Urged by Hammond Scott of Black Top Records, Holmstrom recorded Lookout! in 1996, an all-instrumental album that garnered airplay on blues and rock radio, sounding like hard-boiled blues instead of a clichéd blues-rock conglomeration. Holmstrom brought a much needed blaze of fire to the Flyers, whose 1997 Tone Cool album, Tough and Tender, proved Rod and his group were the hottest band on the circuit. The Holmstrom solo effort Gonna Get Wild followed in the spring of 2000. Holmstrom played another year with the Might Flyers, leaving after 2001's Beyond the Source. Holmstrom turned some heads with his 2002 release, Hydraulic Groove, where he brought a bit of jazz and funk to his blues, also utilizing loops and samples and guests like John Medeski and DJ Logic. Holmstrom stayed busy producing other acts and playing guitar before releasing Live at the Cafe Boogaloo in 2006. © Char Ham © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/rick-holmstrom-p87585/biography


Walter Robinson


Walter Robinson - Haze Of Purple - 2004 - Brameldon Productions

Walter Robinson fashion an approach to Power blues after the great musicians of today and yesterday. Walter Robinson, the front man of the group, has a natural tendency to interpret music with the rhythm and blues feeling that lends the same soul to his singing, rhythm and lead guitar playing, that was the life bloody of Jimi Hendrix, Muddy Waters, B.B. King, and many other greats. 1996 - 2011 CD Universe http://www.cduniverse.com/productinfo.asp?pid=7161818&desc=1

A good album of Jimi Hendrix style blues and jams from the Goldsboro, N.C. born Walter Robinson. A Jimi Hendrix devotee, Walter plays guitar left handed, and uses a right handed guitar so his guitar is upside down. At the time of this release Walter was an owner of Pharaoh's Rock N' Blues Bar & Grill on Columbia Rd NW, Washington, DC. He also led the house band at this establishment. The guy can really play. Walter has said "Jimi Hendrix, B.B. King, Carlos Santana, Eric Clapton -- I love 'em all, but Hendrix just seems to come out. People see you pick [a guitar] up left-handed and they yell, 'Hendrix!' " But, he says, he also likes sticking more obscure tunes on his trio's set lists. "Gary Moore, Herbie Hancock's 'Chameleon' . . . there's a lot of young ones who've never heard [Freddie King's] 'I'm Tore Down' or [Santana's] 'Evil Ways.' This may be the only release by Walter but it's a great demonstration of his talents and well worth hearing


1 Stay Alive
2 Way Cross Egypt
3 Mr. Lucky
4 Hold On
5 Syphax Groove
6 Sleepless Blues
7 Must Be From Heaven
8 Raining In Chicago
9 Valley Of The Kings


Walter Robinson - Guitar, Vocals
Phil Williams - Bass
George Belton - Drums


"SIR" WALTER Robinson plays his right-handed guitar upside down -- just like his idol, Jimi Hendrix. A Native American dream catcher hangs from his Stratocaster's neck. He sings in the same husky tenor and wears a black bolero hat pulled low over his eyes. It's no surprise that every time I've visited Pharaoh's Rock N' Blues Bar & Grill (1817 Columbia Rd. NW; 202-232-6009), where Robinson is an owner and leader of the house band, I've heard the Walter Robinson Band roar through a few Hendrix tunes, vamping on "Changes" or stretching out the epic "All Along the Watchtower." Not that I'm complaining: Robinson is an excellent guitar player, who moves seamlessly from wailing psychedelic jams to nimble, soulful blues riffs and plays with passion, whether he's doing justice to Cream's "Crossroads," a funky version of Wilson Pickett's "In the Midnight Hour" or B.B. King-style standards such as "Goin' to Chicago." Robinson has brought his blues-drenched classic rock and R&B to a number of local venues over the years: a regular gig at Chick Hall's Surf Club in Bladensburg, the D.C. Blues Festival, a spot hosting the open mike at the 94th Aerosquadron in College Park. Robinson and his band even recorded an album called "Haze of Purple" (no points for subtlety there), but he wasn't playing out as often as he liked. "We were trying to get him gigs, and it was really difficult," says his partner, Pam Kinser. "So we just said, 'Let's open our own place.' " Pharaoh's, which the couple took over just before Christmas and opened in February, is basically everything they dreamed of: a stage where Robinson and his band can perform on Fridays and Saturdays, a bar with a comfortable, unpretentious vibe where the ghosts of classic rock hang heavy in the air. Large tapestries depicting Jim Morrison and Jerry Garcia hang alongside posters of Hendrix, Eric Clapton, Delta blues guitarist Robert Johnson and Texas legend Stevie Ray Vaughan. One wall contains reproductions of classic albums by Grand Funk Railroad, Jeff Beck and Ten Years After, as well as Egyptian-style art, which reflects Robinson's 15-year study of Egyptology. Some of the photos have come straight from the centerfold of Guitar World magazine and are just nailed to the wall. It's all reminiscent of a college dorm, which is fine with Robinson. "I had a lot of fun in my college dorm!" he laughs. It's yet another reason why I've enjoyed spending time at Pharaoh's: Robinson and Kinser are friendly folks who didn't try to create yet another stylish lounge or scope out the latest trends before unveiling the club. They simply created a bar where, if they weren't running it, they'd like to hang out. Some nights, college students wander in, make requests for Grateful Dead songs and boogie on the small dance floor. Other weekends find Pharaoh's is packed with music lovers a generation older, who jitterbug when the mood strikes. Pharaoh's doesn't feel like Adams Morgan at all, though you're just steps from the buzzing, rowdy strip. "People of all ages love all types of music," Robinson says simply, adding that the neighborhood's foot traffic has drawn in visitors from as far afield as Milwaukee and the Netherlands. "We get lots of out-of-towners," Kinser says, "so we send them back home with CDs." A native of Goldsboro, N.C., Robinson credits his musical development to his childhood as an Air Force brat. "We lived in Turkey, Spain -- all over," he says. "We didn't have TV in those countries, so we listened to the radio. Blues, rock, jazz -- we got exposed to a lot of music, a lot of rock." When the family returned from Europe in the mid '60s, settling in Syracuse, N.Y., Robinson developed a love of R&B. "James Brown, Sly & the Family Stone -- and we got into that really heavily." Eventually, he discovered Jimi Hendrix, Cream and the Allman Brothers. Robinson says he came from a musical family, but he didn't get serious about the guitar until his early twenties. ("That was about 25 years ago," Kinser helpfully adds.) The highlight of his career, Robinson says, came in the early '80s, when he was invited to jam and rehearse with legendary guitarist Gregg Allman and his band. Over time, though, Robinson kept coming back to one particular influence. "Jimi Hendrix, B.B. King, Carlos Santana, Eric Clapton -- I love 'em all, but Hendrix just seems to come out. People see you pick [a guitar] up left-handed and they yell, 'Hendrix!' " But, he says, he also likes sticking more obscure tunes on his trio's set lists. "Gary Moore, Herbie Hancock's 'Chameleon' . . . there's a lot of young ones who've never heard [Freddie King's] 'I'm Tore Down' or [Santana's] 'Evil Ways.' " Pharaoh's offers a jam session on Thursdays, but the pace is slower on Tuesdays and Wednesdays, when there's no live music. Up a half-flight of stairs is a small, low-ceiling lounge with more seats and tables littered with checkers, Connect Four, Trivial Pursuit and other board games. (If Robinson isn't on stage, you may find him playing backgammon with Kinser.) If it's not too crowded, the staff may put a classic James Brown or Allman Brothers DVD on the flat-screen televisions around the bar and turn up the sound. Drinks are reasonably priced, and the specials are as good as you'll find in the neighborhood: Saturday night, for example, includes $2 domestic beers for women and $2.50 Pabst Blue Ribbons for men all night. In coming months, Robinson says, he'd like to start booking more bands and maybe take the occasional weekend off -- not because he's tired, but because he remembers what it was like before he had a guaranteed gig. "It's hard if you don't have connections or you're not in the inner circle," he says. "If you're practicing and you don't have anywhere to go and show your talent, it's frustrating. I was one of those guys sitting at home on a Friday night, going, 'Why didn't they call me?' I guess you got to do it yourself in the world today." By & © Fritz Hahn Special to The Washington Post from the article "On the Town Pharoah's, Treating Hendrix Royally Friday, September 23, 2005 © 1996-2011 The Washington Post http://www.washingtonpost.com/wp-dyn/content/article/2005/09/22/AR2005092200603.html

Teresa Russell and Cocobilli


Teresa Russell and Cocobilli - Bustin' Loose - 1999 - Mojo Loon Records

Russell's guitar style unleashes heated torrents a la Robin Trower and Rory Gallagher, with touches of the more nuanced licks of Beck and Larry Carlton's hotter playing. - Josef Woodard, Santa Barbara News Press

Teresa Russell is a legitimate blues/rock triple threat in that she is an excellent vocalist, intensely personal songwriter, and an emotionally charged and powerful electric guitarist. Without a doubt, the finest female blues/rocker that I have heard.- Tom Branson, Bluesrockers Magazine

DON’T MOCK THE WOMAN OF ROCK! I used to work at a music store and among the host of aweful characters who frequented the small town shop was the "chicks can't playguitar" guy.This no brainer insisted - citing causes ranging from God to Darwin - that it was not a females place to rock. How I wish he could have met Teresa Russell. With one show she could have smashed his Neanderthal theories back to what ever cave he crawled out of. She is one of the best guitarists in the county, regardless of gender, and by far the most active. - Chris Jay, Ventura County Reporter

"If you took some Stevie Ray Vaughn, added a good measure of Bonnie Raitt, then stirred with a Jeff Beck swizzle stick, you’d be getting close to the incredible music of Teresa Russell & Cocobilli. This band absolutely re-defines “power trio”. And Russell represents a unique talent, combining song-writing, strong vocal expression and guitar virtuosity in a single package. Arranged with co-songwriter/bassist Billi Breland, their musical structures range from lyrical to slam rock, and everything in between. One of my personal favorites is “Just Outside”, a heart-wrenching, love-wreck, set to honey melodies. And on the other end, I’d have to pick “Show You What Love Can Do”, title track of their most recent CD. The range is impressive. Teresa Russell & Cocobilli are artists that one day will be “instantly” famous, after years of incomprehensible anonymity. That day may be coming soon, so come see her while you can still afford the tickets". - San Diego Review

I have had the pleasure of listening to a great many exceptional guitarists and Ms. Russell would play circles around many of them and be in comfortable company with the best of them. Quite simply a Blues & Rock & Roll treat that must be experienced to be appreciated" - Bobby Deal, Riff Magazine

Teresa Russell is a raging Southern California guitar phenomenon. Described as "the most awesome Female rock guitarist ...ever!" this is simply an understatement - Teresa Russell is one of the best guitarists out there: male or female. - John Kearney, Record Reviewer

A powerful blues statement laden with rock-star level guitar solos. - Bill Locey, LA Times

I've just had my mind blown away by listening to Teresa’s version of 'Still Got The Blues', and most especially 'Guitarmageddon' from the BluePower website. Absolutely Outstanding says it all! She has a talent to make the guitar sing in a way that I've only ever heard before in the likes of Yngwie Malmsteen and Walter Trout. Cheers! - Ralph Cowle, BluePower.com

As a pro guitarist for some 40 years I want to say that Teresa Russell has no trouble hanging with the big boys like Robben Ford, Garth Webber, Steve Morse, Larry Carlton and Bill Frisell! Continued success! - Lloyd Barre, blueoasis.4t.com
“Teresa Russell....That woman can rock!" Good Morning LA, Fox TV

Teresa Russell is an exceptional guitarist and vocalist, and deserves more media attention. Buy Teresa Russell & Cocobilli's "Show You What Love Can Do" album available through http://www.cdbaby.com/cd/teresarussell3


1 Bustin' Loose 4:27
2 Need Your Love 5:49
3 Just Outside 6:35
4 Up Against the Wall 6:17
5 Why Baby Why 4:52
6 Out of Nowhere 6:43
7 Let's Make It Last All Night 3:56
8 Gotta Get It (The Na Na Song) 5:39
9 Left Me With The Blues 7:12
10 Burnin' Up The Edge 5:09
11 I'm Leavin' You 12:45
12 He's So Cool 6:23

All songs composed by Teresa Russell & Billi Breland


Teresa Russell - Guitar, Vocals
Billi Breland - Bass, Vocals
Coco Roussel - Drums


A raging Southern California guitar phenomenon...Described as "the most awesome Female rock guitarist...ever!" this is simply an understatement - Teresa Russell is one of the best guitarists out there: male or female. She has performed all over the world and has shared the stage with guitar rockers such as Johnny Winter, Walter Trout, Carl Verheyen, Corby Yates and others. Teresa, is the only female to ever qualify" in the top eight" for the national finals in the Rock & Roll Hall of Fame/Guitar Center’s lead guitar competition, Guitarmageddon. Competing with over 2000 guitarists across the country, she accomplished this by winning the West regional in Los Angeles where she received "out-of-seat-thumbs-up" kudos from such Grammy award, celebrity judges/guitarists as Steve Lukather (Toto) and Steve Stevens (Billy Idol). Teresa started guitar lessons at age 7. She was playing teen halls, high schools and navy bases by age 9. At age 12, she was playing on the Sunset Strip in Hollywood. With guitar influences such as Hendrix and Clapton, she rocked regularly at Gazzari's and the Whiskey A-Go-Go. Numerous TV appearances followed as well as writing songs for a movie called The Young Graduates. At age 14, Teresa and her band were contracted to do a six-month engagement in Mexico City, performing at the El Camino Real and El Senior Real Hotels and night clubs. After attending Northridge University on a guitar scholarship, she hit the road to continue seasoning her rock chops in countless roadhouse bars throughout the western U.S. She later formed an all-female rock band and performed for several years on the Las Vegas, Reno and Lake Tahoe circuits. After touring all over the world with Helen Reddy throughout the late 80's, playing live TV and major concert venues, Teresa decided to pursue projects of her own. She focused on her blues-rock roots with an aggressive style establishing a wide-spread fan base throughout southern California. As a song writer, arranger, programmer and producer, Teresa is working on a new CD with Cocobilli which continues to deliver electrifying performances featuring raging guitar solos. Her vocal style has been compared to such divas as Janis Joplin, Melissa Etheridge, and Bonnie Raitt, combining a rock-hard edge with a supple warmth that quickly distinguishes her voice as uniquely that of Teresa Russell. Joined in her virtuosity by bassist Billi Breland and drummer Coco Roussel, this popular trio can be seen performing regularly throughout Southern California. Teresa also leads a popular festive cajun/zydeco band called Acadiana, influenced by the Creole music of Southwestern Louisiana combined with rock, R&B, bluegrass and original music. Check out their latest CD, “Fiddle Around At The Mardi Gras”. A life time of cultivating and playing music would not be complete with out an occasional jazz performance with her mom Pat Russell, a well seasoned torch singer who influenced and guided Teresa throughout her young musical career. Teresa honored her mom by teaming up and producing their first jazz CD together in 2006, appropriately called “Russell”. © 2009 Teresa Russell All rights reserved http://www.teresarussell.com/bios.php

Genya Ravan


Genya Ravan - And I Mean It! - 1979 - 20th Century Records

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover. ...And I Mean It is the work of a gifted woman making a rock & roll statement on her terms. The world has yet to realize what a truly polished diamond this album is. © Joe Viglione © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/and-i-mean-it-r47617/review

"And I Mean It" is the work of a gifted woman making a rock and roll statement on her terms. The world has yet to realize what a truly polished diamond this album is. It is an amalgam of girl group, new wave, blues, pop and folk/rock by Genya Ravan. To hear her exquisite voice on Night Owl soaring above her own backing vocals is intense, imagine Etta James backed by The Sex Pistols doing a rock version of Earth Angel. Of all Genya Ravan's work, "And I Mean It" is possibly the most concise and picture perfect statement of what the woman is musically about. © http://www.itsaboutmusic.com/genyaravan.html

It's hard to believe that Genya Ravan is now over seventy years of age. She has sang with everyone from Buddy Guy to Ronnie Spector to Dusty Springfield and jazzman Buzzy Linhart. Despite making some great solo albums, albums with Ten Wheel Drive and so many other appearances, she is still an unfamiliar name to far too many people. "And I Mean It" is a terrific Rock'N'Roll album. Joe Droukas' "Junkman" is one of the greatest Rock'N'Roll songs ever written. It may be known by Mott The Hoople fans as Ian Hunter and the late, great Mick Ronson appear on it, but it may be less familiar to other people. Other songs on this album are just as good. The album is VHR by A.O.O.F.C. Try and listen to Genya's "Goldie Zelkowitz" album and search this blog for other Genya Ravan/Ten Wheel Drive related releases


A1 Pedal To The Metal - Diamond, Ravan 4:01
A2 I Won't Sleep On The Wet Spot No More - Ravan 4:18
A3 Steve - Ravan, Taylor 3:30
A4 Stubborn Kinda Girl - Gaye, Gordy, Stevenson 3:58
A5 It's Me 3:35

B1 Junkman - Droukas 5:51
B2 Love Isn't Love - Ravan 3:41
B3 I'm Wired Wired Wired - Ravan, Taylor 5:57
B4 Roto Root Her - Ravan, Taylor 3:22
B5 Night Owl - Allen 2:20


Genya Ravan - Lead Vocals, Harmonica, Percussion, Background Vocals
Conrad Taylor - Guitar, Guitar (Acoustic), Guitar (Electric), Guitar (Rhythm), Lead, Mandolin, Rhythm, Vocals, Background Vocals
Lars Hanson - Guitar (Acoustic), Guitar (Electric), Lead, Mandolin, Rhythm, Background Vocals
Mick Ronson - Guitar on "Junkman"
Mike Lombardi - Bass
Charlie Giordano - Keyboards, Vocals, Background Vocals
Bobby Chen - Drums, Syndrum
Ian Hunter - Vocals on "Junkman"


Genya Ravan is an important rock & roll personality and influential vocalist and record producer, born Genya Zelkowitz on April 19, 1945, in Lodz, Poland. Her mom later changed her name to Goldie Zelkowitz, Ravan taking her birth name back when she formed the band Ten Wheel Drive. When her parents left Poland, they went into a Russian camp. The singer kindly gave personal details of her youth to AMG on April 4, 2002: "We lost everyone. I never had an aunt or an uncle, I had two brothers, they died. I never met my grandparents, it was me and my sister and my mom and dad. They came from big families and saw all of them die. We escaped to the U.S. via a ship. We were DPs and went straight to Ellis Island." Young Goldie Zelkowitz never knew she could sing until in her late teens "then I picked up alto sax, drums, and harmonica." In the summer of 1962, she asked to sing with the Escorts (not Felix Cavaliere's band from Syracuse University nor the '50s group or U.K. band of the same name) who were performing at the Lollipop Lounge in Brooklyn, NY. She remembers it was the summer because: "I had pants that showed my belly button, they could not get their eyes off it." Soon, she was rehearsing with the band and became the first girlfriend of Richard Perry, bass vocalist in the group and the man who would go on to produce Ringo Starr, Carly Simon, Leo Sayer, the Pointer Sisters, and so many others. The band recorded and released a few singles on Coral Records in 1962 and 1963: "Somewhere" b/w "Submarine Race Watching," "I Can't Be Free" b/w "One Hand, One Heart," and "Something Has Changed Him" b/w "Back Home Again." After she left the Escorts, Zelkowitz formed Goldie & the Gingerbreads, an original all-female band that was only the first of many firsts for Zelkowitz. All girls in a man's music world was as daunting a task as a woman trying to become president of the United States. Petula Clark, Lulu, Cilla Black, Skeeter Davis, and Kitty Wells simply did not have a crew of women backing them up. Where the Go-Go's became a bit of a novelty years later, the people who came before that hit '80s band, Goldie & the Gingerbreads, Fanny, and later, Isis, all had a harder edge and would have done more for the cause's credibility had they had the hit singles to go along with their critical acclaim. In the new millennium "women's music" is a huge industry with Dar Williams, Phranc, Ferron, and others making waves around the world, but they all owe a debt to the work of Zelkowitz and her original international pop group. The gals released singles on Decca and Immediate in the U.K., with "Can't You Hear My Heart Beat," produced by Alan Price of the Animals, hitting on the British charts. Their manager was Michael Jeffries who split from producer Mickie Most and kept Goldie & the Gingerbreads and the Animals under his wing (and, of course, Jimi Hendrix later through the Animals' Chas Chandler). Most took Herman's Hermits with him and that band had a hit with "Can't You Hear My Heart Beat" in America. Atlantic Records founder Ahmet Ertegun signed Goldie & the Gingerbreads to his Atco imprint and released their singles in the U.S. After the Gingerbreads, Zelkowitz former the electric and brass rock group Ten Wheel Drive and Genya Ravan was born. A drummer named Les Demerle told Ravan she should use her real name instead of Goldie and that she sounded so black she should call herself "raven," as in blackbird, but she wanted it spelled different, thus Ravan. This is the fellow who turned Ravan onto Bill Takas and the Breckers and how she knew enough jazz musicians to put together Ten Wheel Drive. She met Aram Schefrin and Mike Zager through her manager, Billy Fields. "He had a friend in New Jersey that said he had two incredible writers looking for someone to start a band with. Billy Fields was close to Sid Bernstein and they went on to manage all of us," she said. The band recorded three albums for Polydor with the rhythm and horn sections changing constantly. Judy Collins' bassistBill Takas and Buzzy Linhart/Bette Midler drummer Luther "Leon" Rix were members of the original Ten Wheel Drive on their Construction #1 album. Ravan was and is friends with Linhart, and it is interesting how Rix would play with Midler, and Midler would make a grand statement in her film The Rose with Ravan's signature tune from Ten Wheel Drive days, Jerry Ragovoy's "Stay With Me." Midler may have used it as the show-stopper in her motion picture, which was loosely based on the life of Ravan's contemporary, Janis Joplin (the two women played on the same bills at times), but it is the Ten Wheel Drive/Genya Ravan version which is definitive and timeless, the prototype never surpassed when Kiki Dee, John Verity, and even Midler took it on. After leaving Ten Wheel Drive for a solo career, she had philosophical disagreements with Clive Davis at Columbia Records and her self-titled album debut had, like Ten Wheel Drive, too many directions. Not content to be the new Janis Joplin for CBS, the singer instinctively knew her value as an extraordinary vocalist and music pioneer. The album features the band Baby backing Ravan up, and myriad producers, though she felt more comfortable with Zager and Schefrin handling that chore. The 1972 single, not on the album, "Morning Glory," is a fine example of what could have been. It is important to note, though, that this was not Ravan's solo debut -- there was an Island Records 45 rpm released in 1966 under the name Patsy Cole. "This is a whole other story," she said. "I walked in on a session in London to do background with Dusty Springfield. When she left, the session was over. I started to play piano and sing an old song that Baby Washington & the Hearts did and Chris Blackwell loved it, so he said 'Let's roll tape' and he had to give me another name, I was under contract, and that single went on to be a hit in Jamaica and I believe it got to number one. I had Spencer Davis, Georgie Fame horns, and Stevie Winwood playing on that single under the name Patsy Cole." Zager & Schefrin re-formed yet another Ten Wheel Drive and released an album in 1974 on EMI with latter-day Rascals vocalist Annie Sutton performing one Ravan co-write, "Why Am I So Easy to Leave." Meanwhile, Ravan went on to cut more solo records, a brilliant Goldie Zelkowitz with the underrated Gabriel Mekler producing for Janus Records, They Love Me, They Love Me Not with the late Rolling Stones producer Jimmy Miller and Stones' engineer Joe Zagarino producing, and the incredible body of work kept building, with no noticeable Top 40 chart recognition that songs on the albums warranted. She reunited with Miller in 1986 for the unreleased Buddy Guy tapes that also feature Nils Lofgren, Aerosmith's Joe Perry, singer Jo Jo Laine, and others. During the sessions in Warren, RI, both she and Miller got on-stage to jam with Buddy Guy while he performed an evening show at one of the city's nighclubs. It was absolutely magical. Ravan took things into her own hands and the "significant projects (are) Urban Desire and ...And I Mean It! (both on 20th Century)...because I wrote most of it and I got to produce it. (They were) also the best sellers for me." Indeed, Ravan began producing for other acts, most notably the groundbreaking punk band the Dead Boys for Sire Records, and then Ronnie Spector's Siren album for Ravan's own imprint, Polish Records, with the handle "Who Do I F*** to Get Off This Label?" Outside of women producing themselves, Genya Ravan was the very first woman to produce significant male bands. "Sonic Reducer" by the Dead Boys is an underground classic and was one of the better-sounding discs when Sire Records started heralding the new wave rock movement. Ravan has produced numerous groups, from Joy Rider released on Polydor in Europe to the Crumbsuckers, Certain General, Long John Baldrey, Kool & the Gang, Tiny Tim, and many, many others. Her visibility as a vocalist is at times overshadowed by the huge amount of production and industry work that she took on, from promotion to A&R at various labels. In 2001, she released For Fans Only, a collection of songs recorded over the years available only from her website, www.genyaravan.com. She's painting art, recording music, and at the dawn of the new millennium, was busy writing a book/screenplay about her incredible life in the music industry. From major girl group and blues vocalist to pioneering record producer and having performed with Steve Winwood, Dusty Springfield, Buddy Guy, Kool & the Gang, and so many others as an artist, the music industry would be a different place without the vast contributions of Genya Ravan, contributions that the world has still failed to recognize © Joe Viglione © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/genya-ravan-p20088/biography


Genya Ravan released an album a year starting in 1969 with Ten Wheel Drive's Construction #1 on Polydor, up to the 1974 release of Goldie Zelkowitz on Janus, but created her most popular recordings on 20th Century Fox in 1978 and 1979 when she released the self-produced ...And I Mean It / Urban Desire one-two punch. Genya Ravan, her first solo disc which Columbia released after she left Ten Wheel Drive, was the catalyst for Ravan producing herself. Perhaps the most shocking thing about the record is that it is the only one she recorded for Columbia, a place that seemed like the perfect home for a woman with so many talents. Clive Davis originally wanted Richard Perry to produce, and it wasn't the fact that he was Ravan's first boyfriend that the idea was nixed, his pop work with Carly Simon was not what this artist is about. Larry Fallon former partner of producer Jimmy Miller and the guy behind "Brandy (You're a Fine Girl)"for The Looking Glass (he had also put strings on an unreleased version of "Wild Horses" for Jimmy Miller and the Rolling Stones ) was brought in. But "Brandy" was more pop than "You're So Vain" if you think about it. To feel comfortable, Ravan asked for, and got, her original partners in Ten Wheel Drive, Aram Schefrin, and Michael Zager, and with the band Baby behind her, Goldie Zelkowitz made the first album of her career beyond Goldie & the Gingerbreads and Ten Wheel Drive. It is a pure document of her transition. This is the shift between the sounds of Ten Wheel Drive and what would follow on 1973's They Love Me, They Love Me Not and 1974's Goldie Zelkowitz. She takes Rod Stewart and the Faces superb and little recognized "Flying" and makes it her own, a tune she would continue to perform live in concert. Stephen Stills' "Sit Yourself Down" gets a total reworking, just as Gabriel Mekler would revamp Whipping Post with her in 1974, when Ten Wheel Drive was re-forming with Annie Sutton. It is an amazing thread of events, with players from both the Rolling Stones and Janis Joplin filtering through her recorded work, and where this album could have been Columbia Records replacing Janis Joplin with Genya Ravan, the singer opted to take her music into a realm where Diane Schuur would feel at home, rock influenced by jazz rather than high-powered blues rock. Indeed, the final track on side one, "Takuta Kalaba," is blended into "Turn on Your Love Lights," a song Janis Joplin did with the Grateful Dead if memory serves on one of the live tapes of theirs that has circulated over the years, so there was this thread, though the result is 180 degrees from where Joplin took it. Genya Ravan did not want to fill the Janis Joplin void for Mr. Davis — she wanted to be herself. Clive told her, "You are either a rock singer or you're a jazz singer, but you cannot do both," and maybe for short-term marketing he had a point, but for longevity and vision, the Larry Fallon-produced "I'm in the Mood For Love" is exquisite. Fallon had come from a jazz band with Jimmy Miller, who coincidentally produced Genya Ravan's next album for his production company, released on ABC Dunhill. James Moody's saxophone solo is thrilling, and a real touch of class. The cabaret atmosphere seguing into the African drum sound of Michael Olatunji and his "Takuta Kalaba," which was released as a single in Europe. Brilliant material which would certainly stifle the Janis Joplin comparisons. The soulful rendition of Leonard Cohen's "Bird on a Wire" was tracked long before Cohen was considered chic. Columbia released "What Kind of Man Are You" from this album on a 45 rpm with the non-LP A side of "Morning Glory," written by Michael Holmes, and produced by he and Dixon Van Winkle, making for five producers during these sessions! The single was the idea of Clive Davis, and it is beautiful, the style of music that Bette Midler was having success with at this point in time. Midler eventually covered Genya Ravan's "Stay With Me" for The Rose film and soundtrack, bringing things full circle. Genya Ravan is an album brimming with this creative woman's personality, talent, and amazing vocal prowess. "Morning Glory" should eventually find itself on a Sony/Legacy re-release of Genya Ravan, important music that is continuously contemporary because of the long-range vision of the artist. © http://www.itsaboutmusic.com/genyaravan.html


Ten Wheel Drive was a highly influential rock/jazz group not afraid to push the envelope while exploring various musical styles. Though musicians came and went, including the original lead vocalist, by the time the fourth album was released, the records have stood the test of time, influencing the successful Bette Midler breakthrough film The Rose, inspiring women with the drive and ambition to front their own group in a once male-dominated industry, getting sold on auction sites like Ebay to be discovered by new generations of music lovers. The original lead vocalist and founding member, Genya Ravan, spoke with AMG concerning how she formed the band: "I went to see Billy Fields, he was going to manage me. He had a friend in New Jersey that befriended two guys that were writers and they were looking for someone to sing their songs. Billy asked me if I wanted to hear them, I said 'OK' since I was always looking for material, so I met with Mike Zager and Aram Schefrin at a dinky little piano studio in Times Square. They played "Polar Bear Rug" and "I Am a Want Ad" and got me interested even though I thought they sounded more like show tunes, I was also an actress, so I liked it. At this time, I had an R&B band and they came to hear me in some sleazy bar and they liked what they heard and saw. They did not have a band nor musicians in mind, I knew some good jazz players, so (we) got the musicians and started to audition and rehearse." When asked how the idea took shape, Ravan replied: "When I heard Blood, Sweat & Tears — (the) first record with Al Kooper ( Child Is Father to the Man), my fave. I said, oh I want a horn band. It was 1969, we started to rehearse at the Bitter End, Sid Bernstein joined in the management with Billy Fields. It was a very exciting time, we played the Atlanta Pop Fest. Every great band that lived played that gig, that gig is what broke our band (and) we were an instant success." On the material, Ravan said she "seldom wrote with Ten Wheel Drive...Aram was a brilliant lyricist, Mike and Aram were easy to work with, so I wrote some, it made me feel good, because the ones I wrote turned out to be the most soulful, like "Pulse," "Tightrope." I came into my writing more during the Urban Desire and ...and I Mean It! recordings." Those were the albums that came out on 20th Century Records at the end of the '80s, apart from Ten Wheel Drive. The group signed with Polydor when Sid Bernstein brought Jerry Schoenbaum to the band's rehearsal and to one of their gigs at the Bitter End. The vocalist noted: "Jerry flipped. Signed us immediately." There were artistic consequences to having phenoms like bassist Bill Takas and drummer Leon Rix moving on to LaBelle and Buzzy Linhart, Rix recording with Bette Midler as well. Over the span of four albums, guitarist Aram Schefrin and keyboard player Mike Zager (no relation to Zager & Evans of "In the Year 2525" fame, though because of the point in time, there was some confusion in rock circles) worked with more than a dozen and a half different players. When Ravan was asked about this, she replied: "It turned out to be good for us, fresh blood, it was creative, I love changes like that. I did not like the canning of musicians, but I was the one that had to do it. New blood is always exciting, You know how laid-back jazzers can be, they get excited for the first five minutes." The band played Carnegie Hall on Ravan's birthday and she cites the Central Park gig for WNEW when the Nightbird disc jockey Allison Steele hosted it, as well as the Atlanta Pop Festival as just two of the highlights of their brief but important career. Steele would later co-write the liner notes to Bill Levenson's 1995 16-track compilation on Polygram, The Best of Ten Wheel Drive With Genya Ravan. With all the excitement the band generated live, there was, unfortunately, no full concert performance on video or record. "One of the last gigs we did was a show at Carnegie Hall with a symphony," Ravan said. "Mike and Aram were geniuses. This was their forte — they wrote this rock opera of "Little Big Horn" and it was brilliant, Polydor did not want to record it, I swear 'til this day, had it been recorded, Ten Wheel Drive would have gone down in history, it was one of the reasons I was disillusioned into leaving the label, it made me want to quit the business." There were no unreleased gems recorded and left in the vaults, Ravan stating that everything happened all too fast. And then she left the group she founded: "Things started to get complicated. The music was not the main thing anymore, it was too expensive to have that many people involved. We had accountants, lawyers, roadies, and of course the group, we could not tour Europe because it was to expensive to get there and stay there. I just felt like there would be no future for me with the band anymore, also some personal stuff went down, that made it awkward. It just felt like it had hit the end for me." Ravan recorded a solo album in 1972 for Columbia Records with Schefrin and Zager co-producing. They enlisted the Rascals vocalist Annie Sutton to sing on the self-titled 1974 Capitol release that featured Hall & Oates on backing vocals, but it wasn't the same. The band created essential music and has a revered place in rock history. Schefrin practices law in Rhode Island, having produced other records after the final breakup of Ten Wheel Drive; Zager does soundtrack work; and Ravan continues to record. © http://www.itsaboutmusic.com/genyaravan.html