Get this crazy baby off my head!


Dave's True Story

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Dave's True Story - Simple Twist Of Fate: DTS Does Dylan - 2005 - BePop Records

With only seven Bob Dylan covers (three are reprised as "radio edits," another is repeated as an "alternative mix"), and a closing original tune, this is more an EP than a full-length album. Regardless, Dave's True Story does right by Dylan, covering songs from the early part of his career, with two coming from Blood on the Tracks and two from Blonde on Blonde. Reinterpreting them in the DTS' lounge-core, tropicalia fashion works surprisingly well for the most part, emphasizing Dylan's edgy lyrics as singer Kelly Flint brings her languid, torchy sensuality to the mix. Hardcore Dylan fans might find these versions on the smooth side, but the arrangements, while easy-going, are not necessarily easy listening. Stripped down to just stand-up bass, brushed drums, predominantly unplugged guitars, and just a hint of organ emphasizes the unique chord changes that mark the best of Dylan's work. Unearthing New Morning's jazzy "If Dogs Run Free," with talk and sung vocals from David Cantor as Flint scats behind him, is a terrific and unexpected find. "It's All Over Now Baby Blue" is the only track here that doesn't translate as well to the DTS style, since the words are too cutting to be sung in such a relaxed fashion. Additionally, Flint changes notes from the original when she sings "blue" in the chorus, which is jarring. The second "alternative" stab at "You're a Big Girl Now" features reverbed, noir surf guitar, infusing a moody and dynamic twist to the song. "Just Like Tom Thumb's Blues" plays closest to the original, but Flint's direct approach misses Dylan's sly, understated humor. The lone new composition, "Blood and Bone," although a good-enough DTS track, doesn't belong here musically, and one wonders why the band could not have worked up a few more Dylan tunes to flesh out this otherwise excellent project. © Hal Horowitz © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/simple-twist-of-fate-r806500/review

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

Terry Teachout of The New York Times said that "Kelly Flint and David Cantor's act is hard to pigeonhole; imagine a weird and wonderful cross of Steely Dan and Stephen Sondheim." Jim Allen of Muze said this about David Cantor's music, "a songwriter whose name belongs in the pantheon of greats like Randy Newman, Donald Fagen and Lyle Lovett." (David Cantor is a great Steely Dan fan). Spencer Harrington of Jazziz noted that "The edgy genius of Dave's true Story - the trio of guitarist-songwriter David Cantor, vocalist Kelly Flint, and bassist Jeff Eyrich - is in its ability to fuse the vibe of jazz from the 1940s and 50s with a modernist lyric sensibility: witty, urbane, and anxiety-ridden... jazz songwriting for a new generation." All great descriptions. How about a cross between Matt Bianco and Michael Franks, or Everything but the Girl and Cole Porter. Why not put all these sounds together? DTS's music is not easy to describe but they are very, very talented with great lyrics, often with dark concepts embedded in them, beautiful jazzy melodic hooks, and a suave, cool and urbane jazz pop sound that is timeless. The music could possibly be described as retro cocktail jazz, but with a unique modern feel. Kelly Flint is the focus with a Peggy Lee/k.d. lang-styled voice, and she is backed by a brilliant band who play with economy and amazing expertise. DTS is another band who rise head and shoulders above the controlled commercial pop and rock "X Factor/Britain's Got Talent bands" masquerading as today's music sensations. When Dave's True Story was invited to play the annual DylanFest at a winery in upstate NY, the band members Kelly Flint, Dave Cantor, and Jeff Eyrich chose their favorite Dylan songs and played them in their unique cool jazzy lounge style. Just before going onstage Dave commented, “either we're going to be tarred, feathered and run out of town for taking liberties, or they're going to love it.” However, the concert was appreciated by the audience and DTS received many requests from people to buy the CD. The following week the band recorded the Dylan set at Bennett Studios in New Jersey. Dave's True Story interprets Dylan's great songs without losing their meaning, and the album is HR by A.O.O.F.C. Search this blog for more DTS/Kelly Flint releases


1 Simple Twist Of Fate 4:53
2 You're A Big Girl Now 4:38
3 Just Like A Woman 4:32
4 I Want You 4:11
5 If Dogs Run Free 3:40
6 It's All Over Now Baby Blue 5:00
7 You're A Big Girl Now (Alternate Mix) 4:40
8 Just Like Tom Thumb's Blues 3:56
9 Simple Twist Of Fate (Radio Edit) 4:00
10 You're A Big Girl Now (Radio Edit) 3:58
11 It's All Over Now Baby Blue (Radio Edit) 4:00
12 Blood & Bone (Bonus Track By Kelly Flint) 2:10

All songs by Bob Dylan except "Blood & Bone" composed by Kelly Flint


David Cantor - Guitar, Vocals
Steve Cardenas - Guitar [Guest]
Carmen Yates - Guitar, Background Vocals [Guest]
Michael King Ross - Guitar, Organ [Guest]
Jeff Eyrich - Upright Bass, Background Vocals
Rich "Dusty Chopmeat" Zukor - Drums, Percussion [Guest]
Kelly Flint - Vocals, Background Vocals


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


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


Little Feat

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Little Feat - Late Night Truck Stop - 2001 - Burning Airlines

Little Feat recorded this concert at Ebbets Field on 15th Street, Denver Colorado, on 19th July 1973. The concert was played around the time "Dixie Chicken" was released. The band were at their best and sound great. The playing is magnificent from the line-up of Lowell George, Paul Barrere, Kenny Gradney, Bill Payne, Richie Hayward, and Sam Clayton. The band are funky and tight and the audience response is great. Ebbets Field only held around 240 people, but there was no problem creating a terrific atmosphere in such an intimate setting. Little Feat really enjoyed this venue and the musicianship on this album is wonderful. This is definitely one of LF's greatest '70's live recordings. The gig has been circulating on various bootleg albums for years, but the post here is the official release from 2001, and the album is VHR by A.O.O.F.C. There is no need to chronicle the achievements of this legendary band here. Search this blog for more LF releases and information. Listen to the band's classic "The Last Record Album" album



01. Apolitical Blues - Lowell George
02. Two Trains - Lowell George
03. Got No Shadow (Part 1) - Bill Payne
04. The Fan - Lowell George, Bill Payne
05. Texas Rose Cafe - Lowell George
06. Snakes On Everything - Bill Payne
07. Cat Fever - Bill Payne
08. Fat Man In The Bathtub - Lowell George
09. Walkin' All Night - Bill Payne, Paul Barrere
10. Sailin' Shoes - Lowell George


01. Dixie Chicken - Lowell George, Fred Martin, Martin Kibbee
02. Hamburger Midnight - Lowell George, Roy Estrada
03. Got No Shadow (Part 2) - Bill Payne
04. On Your Way Down - Allen Toussaint
05. Willin' - Lowell George
06. Cold, Cold, Cold - Dr. John, Lowell George, Jessie Hill, Alvin Robinson


Lowell George - Guitar, Vocals
Paul Barrere - Guitar, Vocals
Kenny Gradney - Bass, Vocals
Bill Payne - Keyboards, Vocals
Richie Hayward - Drums, Percussion, Vocals
Sam Clayton - Percussion, Vocals


Mother Earth

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Mother Earth - Living With The Animals - 1968 - Mercury

Though Mother Earth is often remembered as a vehicle for Tracy Nelson, Living With the Animals is a true group effort, combining memorable vocal performances with tight R&B-derived playing with excellent guitar work from Michael Bloomfield. Side one is a showcase for Nelson's blues belting and piano, particularly on "Down So Low" and "Mother Earth." Not to be overlooked is the blues shuffle "I Did My Part" and R.P. St. John's sardonic "Living With the Animals" and "Marvel Set," which features him on lead vocals. Side two doesn't hold up quite as well, though there are stellar moments here as well, including "Cry On" and "Goodnight Nelda Grebe," with fine horn section work and excellent Nelson vocals. Written and fronted by St. John, "The Kingdom of Heaven Is Within You" is a brilliant closer; it's nocturnal, moody, and spacy and showcases beautiful muted trumpets and reeds with a gorgeous flute solo by Link Davis Jr. The album was reissued on CD by Wounded Bird in 2004. © J.P. Ollio & Thom Jurek © 2011 Answers Corporation http://www.answers.com/topic/living-with-the-animals

Great late sixties Texas blues/R&B. There are some great musicians here. Mark Naftalin was the keyboardist for the Butterfield Blues Band, and Powell St.John wrote for the great 13th Floor Elevators band.Tracy Nelson's powerful and clear vocals are a strong point of this album. The last track, "Kingdom of Heaven" by Powell St.John is a great psychedelic flavoured song, and is a highlight of the album. However, the entire album is great and HR by A.O.O.F.C. Listen to Mother Earth's 1972 s/t album, and Tracy Nelson's great album, "Deep Are the Roots." Mother Earth's "Satisfied" album is @ MOTHERE/SFD



Marvel Group (St. John)
Mother Earth (Memphis Slim)
I Did My Part (Neville)
Living with the Animals (St. John)
Down So Low (Nelson)


Cry On (Toussaint)
It Won't Be Long (McFarland)
My Love Will Never Die (Dixon)
Goodnight Nelda Grebe The Telephone Company Has Cut Us Off (Caldwell/Nelson)
The Kingdom of Heaven (Is Within You) (St. John)


Makal Blumfeld (aka Mike Bloomfield), John Andrews - guitar
Bob Arthur - bass
Tracy Nelson - piano, vocals
Mark Naftalin - piano, organ
Barry Goldberg - organ
Jose Emilio Rodriquez III, George Rains - drums
Martin Fierro - tenor saxophone, alto saxophone, flute
Frank Morin - tenor saxophone
Link Davis Jr. - alto saxophone
Bob Salisbury, Ron Taormina - baritone saxophone
Louis Gasca - trumpet
Spencer Perskin - violin
R. Powell St John Jr - harmonica, vocals
Shalimar Samuelson, Sylvia Caldwell, Losella Funque - backing vocals (members of The Earthettes)


The late-'60s/early-'70s blues-rock outfit Mother Earth was led by singer Tracy Nelson and issued several somewhat underappreciated releases during their time span. Nelson was originally from Madison, WI, and it was while attending the University of Wisconsin that the singer was discovered by producer Sam Charters and was eventually signed to a recording contract with the Prestige label. 1965 saw the release of Nelson's solo debut, the folk-based Deep Are the Roots, and when it didn't exactly burn up the charts, Nelson decided to relocate to San Francisco, with the hopes of forming a more conventional rock outfit. Shortly after arriving on the West Coast, Mother Earth was formed, which led to performances at the famed Fillmore West, opening for the likes of Janis Joplin, Jimi Hendrix, and Eric Burdon. After an appearance on the soundtrack to the 1968 motion picture Revolution (which also featured the Quicksilver Messenger Service and the Steve Miller Band), Mother Earth signed with Mercury Records and issued a steady stream of releases until the early '70s. These albums included 1968's Living with the Animals 1969's Tracy Nelson Country and Make a Joyful Noise, 1970's Satisfied, 1971's Bring Me Home, 1972's Tracy Nelson/Mother Earth, and 1973's Poor Man's Paradise, before Nelson pursued a solo career. Subsequently, Nelson earned a Grammy nomination in 1974 for the track "After the Fire Is Gone" (a duet with Willie Nelson) and continued to issue solo albums until the early '80s, when she became disillusioned with the direction that popular music was going in (although she did sing backup for Neil Young for a spell in the mid-'80s, including appearing with Young at the mammoth Live Aid concert in 1985). Nelson returned to music in the '90s, beginning with 1993's In the Here and Now, continuing to issue solo recordings (and in 1998, earned another Grammy nomination for the release Sing It!, a collaboration with Marcia Ball and Irma Thomas). © Greg Prato © 2011 Answers Corporation http://www.answers.com/topic/mother-earth-rock-band

McKendree Spring

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McKendree Spring - Tracks - 1972 - Decca

McKendree Spring was an electric folk rock group founded in the Glens Falls area of NY in 1969 by the talented vocalist and guitarist from Connecticut, Fran McKendree. They had a good following and actively played into the mid 1970's. The band mixed synthesizers and electric strings with a strong acoustic base. Fran McKendree’s subtle understated voice backed by Marty Slutsky’s guitar, Fred Holman’s bass, and Michael Dreyfuss’ dynamic violin work gave McKS a unique sound. McKS played many top venues including Carnegie Hall, and the Fillmore East. They opened for some high profile bands including ELP. They also played with many great artists including the late Billy Preston. The band regrouped in 2007 for occasional dates playing with more emphasis on folk music than their earlier recordings. At present, the German Line record label possess the publishing rights to the album posted here, and distribution of McKendree Spring's album are generally limited. Try and listen to the band's "Second Thoughts" album


A1 Don't Keep Me Waiting - Fran McKendree 3:51
A2 Underground Railroad - Fran McKendree, David Woods 3:16
A3 The Man In Me - Bob Dylan 3:24
A4 Watch Those Pennies - David Woods 3:05
A5 Shoot Me - Keith Sykes 3:34

B1 Two Of Me - David Woods 3:55
B2 Train To Dixie - Keith Sykes 3:30
B3 Friends Die Easy II - Fran McKendree 4:10
B4 Road To Somewhere - Fred Holman 3:25
B5 Light Up The Skies - Michael Dreyfuss, David Woods (based on Vivaldi's "Four Seasons") 5:00


Electric Guitar - Martin Slutsky
Vocals, Acoustic Guitar - Fran McKendree
Guitar [Classical] - David Woods
Guitar [Pedal Steel] - Hank DeVito
Bass, Backing Vocals - Fred Holman
Piano, Organ - Ron MacKinnon
Drums - Andy Newmark
Saxophone [Tenor] - Artie Kaplan
Violin [Electric], Viola, Synthesizer [Moog, Arp] - Michael Dreyfuss
Backing Vocals - Jo Ann Vent
Backing Vocals - Bob Hipwell, John Montgomery on "Watch Those Pennies"


Fran McKendree grew up in rural Connecticut where he began to play guitar and, very reluctantly, sing. In high school, a trio he’d joined won a talent contest, first prize being a slot on a folk music radio show, and he was hooked. He began his professional career playing at coffee houses in and around Syracuse University. Moving to the Glens Falls area of NY he formed "McKendree Spring," a four-piece folk-rock ensemble that the legendary promoter/manager Bill Graham dubbed "one of the best unknown bands in the world." The band recorded seven albums and toured with some of the most exciting artists of the 70's, beginning early in their career with several weeks at NY's famous 'Bitter End.' where they shared the bill with an amazing array of talent - from the Everly Brothers to James Taylor. McKendree Spring developed a loyal following, spending the next several years touring the US, the UK and Canada, sharing the stage with everyone from the Average White Band to Frank Zappa and the Mothers of Invention. The band played many memorable venues as well, including Carnegie Hall, the Fillmore East, and with the late Billy Preston, the first ever rock concert at Radio City Music Hall. With the [tiny, but hey, nice to be included!] McKendree Spring exhibit in the Rock & Roll Hall of Fame Museum in Cleveland, Ohio is an attribution that says: “Experimental and innovative, McKendree Spring mixed blues, folk and country with a progressive musical vision." The group eventually disbanded in 1975, and each of the members went on to pursue varied careers. © 2011 Fran McKendree http://www.franmckendree.com/bio.html


McKendree Spring was a folk-rock band. The band consisted of Fran McKendree (vocals & guitar), Fred Holman (bass), Dr. Michael Dreyfuss (electric violin, viola, Moog, Arp), Martin Slutsky (electric guitar). Christopher Bishop replaced Holman on bass as of the 1973 release Spring Suite. Steve Anderson (bass and vocals) and Alan Stoker (drums and vocals) were added for the "Live at the Beachland" 2007 release. In addition, Dave Morrison (harmonica) also played on the live album. In the summer of 2010, Christopher Bishop [bass and vocals] rejoined the group for the recording of 5 songs for "McKendree Spring: Recording No. 9". This recording also featured Alan Stoker {drums/percussion/vocals], Paul Hollowell [keys] and Fred Mollin [synth].


Huw Lloyd-Langton

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Huw Lloyd-Langton - On the Move - 1997 - BMA Records (Sweden)

Guitarist Huw Lloyd Langton departs from the psychedelic space rock trappings of his former band, Hawkwind, in favor of a gutsy blues-rock approach. The results are consistently crisp, and powerful, especially when mixed with his riff-oriented brand of rock & roll. Langton gives his bluesy side free rein on a glistening slide guitar piece, "Farewell," and the epic "Lonely Man," a ten-minute display of fleet-fingered guitar power. Angel Air, which has reissued this Swedish-only album worldwide for the first time, has also added bonus tracks of "Big Boss Man," "Shame Shame Shame," and "Rollin' and Tumblin'." They're great, raunchy fun, and reveal a side not commonly associated with him. "On the Move" finds the guitarist exploring an instrumental jazz fusion side only implied on his other solo releases, while "Finally Finding" is a jangling Latin rock number. Other highlights include the social critiques of "Outside the Law," and "No Participation." Langton's guitar is fine form throughout this album, which ranks near the peak of his solo work. © Ralph Heibutzki, © Rovi © 2011 Answers Corporation http://www.answers.com/topic/on-the-move-plus

This album by Hawkwind alumni Langton is a great rocking release. The disc has no weak material and quite a bit that is very strong. Langton shows himself to be both a great guitarist and excellent songsmith. The material on the CD ranges from bluesy rock to arena rock and even includes one extended space jam. © Gary Hill © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/on-the-move-r529142

Huw Lloyd Langton, the former lead guitarist from Hawkwind originally released this album in 1997 on BMA records in Sweden. There is no Hawkwind style synth here but there's plenty of great "no messin" blues rock, R&B and Rock 'N' Roll as well as two great instrumentals. The 2001 release added three bonus tracks included here. Huw has always seemed to be a low profile rock musician, but he's a hugely talented guitarist and songwriter. Listen to Huw's great “Hard Graft" album


1. Got Your Number
2. I Could Cry
3. Wrong Streets
4. On the Move
5. Move Over Lady
6. Finally Finding
7. Farewell
8. Just the Same
9. No Participation
10. Outside the Law
11. Lonely Man
12. Off the Cuff
13. Big Boss Man (2001 Bonus)
14. Shame Shame Shame (2001 Bonus)
15. Rollin' and Tumble (2001 Bonus)

All songs composed by Huw Lloyd-Langton, & Marion Lloyd-Langton except "Big Boss Man" by Al Smith, & Luther Dixon, "Shame Shame Shame" by Jimmy Reed, and "Rollin' and Tumble" (Trad.).


Huw Lloyd Langton - Guitar, Vocals
Calle Mansson - Guitar
Mats Stahl - Bass
Lasrs Schill - Drums


Who can number both HAWKWIND, LEO SAYER, WIDOWMAKER and PRETTY THINGS among their previous gigs? Groups who contained musicians like Pete Becket (Little Feat), John Lingwood (Manfred Man), Ginger Baker (Cream), Steve Ellis (Love Affair) and Ariel Bender (Mott the Hoople)? The answer is HUW LLOYD LANGTON and now he moves on with his new CD on BMA Records, quite logically entitled, "On the Move". After starting his professional career in Germany in the late '60's, Huw returned to England and formed Hawkwind together with Dave Brock and Nik Turner and the next 2 years saw them recording their first classic albums which still to this day sell regularly. The 70's also saw him working with Leo Sayer. A cooperation which gave him the opportunity to show his versatility as a guitarist, which included replicating the banjo part on Sayer's first hit, "I Won't Let the Show Go On".
Huw rejoined Hawkwind in 1979 and stayed with them for all of the '80's before concentrating on his solo career in the '90's. And here it is, his new album. A collection of songs, written together with his wife, Marion. They all have the trademark of Huw's experiences through the years....." [From the original 1997 CD's liner notes (written by & © Producer Bjorn Almquist)]


A founding member of Hawkwind, Langton stayed with them at that time for two years, recording two albums with them. He suffered an illness in 1971 that took him away from Hawkwind, but not forever. Langton went on to do a large number of smaller gigs, but also found time to work with such groups as Bonzo Dog Band, Leo Sayer, and Widowmaker. In 1979, he joined back up with Hawkind and stayed with them until 1989. Since that time, he has pursued a solo career, but also played with Pretty Things and others. © Gary Hill © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/huw-lloyd-langton-p189232


Huw Lloyd-Langton (born Richard Hugh Lloyd-Langton, 6 February 1951, at the Park Royal Hospital, Harlesden, North West London) is an English guitarist, famous as the guitarist for Hawkwind. He also had his own band, the Lloyd Langton Group with bass player Kenny Wilson and drummer John Clark (along Ultravox drummer Warren Cann), and is the session lead guitarist for UK band The Meads of Asphodel. As a member of Hawkwind he appeared on their first album, Hawkwind, before leaving the band. He rejoined the band in 1979, appearing on the Live Seventy Nine album release from that year and the subsequent Levitation album. He continued performing with Hawkwind until 1988. Since then he has made occasional guest appearances, rejoining for a brief spell in 2001/2002 until ill health, Legionnaires' disease, forced him to leave once more. He sometimes plays solo as a support act for Hawkwind, including at The Brook in Southampton in December 2009.

Lloyd Jones

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Lloyd Jones - Lloyd 'Have Mercy' Jones - Live! - 1993 - Burnside Distribution

Great live raw bar room blues recorded by college students at the Sierra Nevada Brewery in Chico California. "This was done over 17 years ago as a project for the local community college. We've grown a lot since then, but this recording brings back fond memories. Besides having my ol' friend Terry Hanck join in with "Crying Fool", this was the catylist for Joe Louis Walker to record "I Can't Get You Off My Mind" for Polygram Records. Since that time, others such as Coco Montoya, Curtis Salgado, and Clarence "Gatemouth Brown" have continued to cover my songs. I thank Bob Littel at The Sierra Nevada Brewery for such kind support of this music both then and now". - Lloyd Jones. "The Lloyd Jones Struggle" is a great album and worth hearing


1 Let's Have a Natural Ball - Albert King 7:46
2 Driving Wheel - Roosevelt Sykes 4:43
3 I'm a Fool for You - Ray Charles 7:57
4 Crying Fool - Terry Hanck 8:39
5 Goin' Away Baby - J. A. Lane, J. Rogers 6:37
6 Live It Up - Lloyd Jones 6:09
7 I Can't Get You off My Mind - Lloyd Jones 5:26
8 Gone to Main Street - McKinley Morganfield 8:16
9 It Hurts Me Too - James Marshall, Hudson Whittaker 5:22
10 Everything I Do Gonna Be Funky - Allen Toussaint 11:05


Lloyd Jones Guitar, Vocals
James Solberg Bass, Vocals (Background)
Glen Holstrom Organ, Piano
Mike Klobas Drums
Terry Hanck Sax (Tenor), Vocals on "Crying Fool"
Rudy Draco Sax (Baritone), Sax (Tenor) (solo on "It Hurts Me Too")
Bob Roden Sax (Tenor) (solos on "I'm a Fool for You", "Let's Have a Natural Ball", & "I Can't Get You off My Mind")


Lloyd Jones is a consummate guitarist- singer- songwriter- arranger- performer- band leader. One of the most original artists on the modern day blues scene, Jones is, in the words of Blues Revue, "certainly worthy of greater recognition." The release of his first recording for Blind Pig Records, Love Gotcha, should bring him the national and international acclamation he deserves. Jones was born in Seattle into a musical family, which moved to Portland soon afterward. "Yeah, I remember music was everywhere in our house growing up. My dad was playing Dixieland jazz records and trying to teach me to play trumpet when I was only five years old. My older brother played drums and showed me how. Then he took me to his band rehearsals and had me playing gigs when I was just 13. He took me to see James Brown in '64. you've got to imagine James in '64- ouch! Then B.B. King, Buddy Guy, even Sonny Terry and Brownie McGhee - all this before I was out of high school. I was underage and totally mesmerized." Jones got deep into the blues and was the leader of Portland's most popular blues bands, Brown Sugar, in the early 7O's. "We got to work with touring musicians in those days, like Charlie Musselwhite, George "Harmonica" Smith, the Johnny Otis Show, Big Mama Thornton and Big Walter Horton. That's how we learned, and that's really when I first picked up the guitar. A lot of times these people would stay at our homes and teach us music and history. Some of them have passed now, so I cherish those memories. S.P. Leary, who was in Muddy Waters band and was playing drums with Big Walter at the time, leaned over to me as he was leaving town and said, "Man, I'm getting old. You gotta keep it alive. It's a struggle sometimes, but if you love it, you keep on struggling.'" Through the years Jones would continue to hone his craft by performing with the likes of Albert Collins, Robert Gray, Bonnie Raitt, Taj Mahal, B.B. King, Dr. John, John Hammond, Etta James, Junior Wells and Buddy Guy, and many more music legends. In the 80's Jones joined forces with ex-Robert Cray singer/harp player Curtis Salgado in a band called In Yo' Face. "That was one fun band! Seemed like we all had the same record collection. Curtis really pushed me as a guitar player, and when he left in '85 to join Roomful of Blues I knew it was time to play my music." Jones knew what he wanted to say and how he wanted to say it. The Lloyd Jones Struggle started in 1985 as a vehicle for his songwriting. "I love a good story. Most of the traditional blues stayed with a shuffle or slow blues. Being a drummer I keep hearing the rhythm of the words all broke down funky and swamp-a-fied; nice and relaxed but kind of turned inside out." Jones made two recordings in the late 80's for Criminal Records: The Lloyd Jones Struggle (1987) and Small Potatoes (1989). They won over a dozen local music awards, as well as acclaim from national music publications such as Down Beat and Guitar Player, which in turn led to some extensive touring for the band. In 1993 Jones released his third album, Lloyd 'Have Mercy' Jones -Live! on the Burnside Records label. In 1995 Lloyd Jones recorded a highly acclaimed album for the Audio Quest label, entitled Trouble Monkey. Blues Revue named it, "not only one of the best albums of 1995, it is one of the best albums of the 1990's," while Robert Cray called it "the best damn record I've heard in a long time!" Vintage Guitar Magazine said, "Jones offers vocals that would make Sam and Dave smile and guitar work Steve Cropper would be proud of" and referred to his affecting vocals as "gritty as a dirt road and smooth as melting butter." Lloyd's songwriting was starting to be noticed as well, with Joe Louis Walker and Gatemouth Brown covering two of his compositions. Jones and his band have become a mainstay on the West Coast circuit, and have brought their tasteful, crowd-pleasing brand of music from New Orleans to Canada to the Caribbean, where Delbert McClinton witnessed a performance and remarked, "When I heard Lloyd Jones live for the first time in January 1999, it was like exhaling after holding my breath for fifteen years." It was such a typically memorable set at the Santa Cruz Blues Festival that led to Jones' signing by Blind Pig Records. Jones describes his soulful and intelligent fusion of funk, blues, and R&B as "storytelling with a Memphis groove." His latest CD, Love Gotcha, presents Lloyd's writing at its trenchant best. His songs have the quality that makes them sound as if they have been around as blues standards for years or they seem to have fallen out of some time warp from the golden days of R&B. His approach to the guitar is both economical and rhythmically sophisticated, with a style that can be as delicate as it is devastating. And Jones' accomplished guitar and vocal work are complemented throughout the recording by some of the funkiest horn-rhythm-organ arrangements around. Blues lovers everywhere are about to discover what Lloyd Jones' fans already know - one taste of his beguiling music and you're captivated. Lloyd's gotcha! © 2006 Blind Pig Records, a division of Whole Hog, Inc. - All Rights Reserved C:\Documents and Settings\Paul\My Documents\Blind Pig Records.mht

Phillip Walker & Otis Grand

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Phillip Walker & Otis Grand - Big Blues From Texas - 1992 - JSP

Nice comeback set after a lengthy absence from the recording scene that was cut in London under the direction of guitarist Otis Grand (who shares axe duties throughout). Why this Louisiana-born guitarist hasn't been recorded more heavily is a mystery; he seldom fails to connect, and this import is no exception to the rule. © Bill Dahl © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/big-blues-from-texas-r129357

An exceptional 1992 classic blues album. The late Phillip Walker was one of the most talented blues guitarists of the postwar years and some say that this album was the finest moment of an illustrious career. The album was recorded with Otis Grand as guitarist, producer and bandleader. The original release deservedly won a Handy Award. The horns by the Oh Gee Horns are rootsy and contemporary and the guitars of Phillip and Otis combine to create an outstanding studio collaboration. Listen to the late Phillip Walker's brilliant "Tough As I Want to Be" album and Otis Grand's "He Knows the Blues" album. Philip Walker's "I Got A Sweet Tooth" album is @ PHILWAL/IGAST & Otis Grand's "Nothing Else Matters" album is @ OTISGND/NEM


1 Dressin' Trashy - Phillip Walker, Nat Dave, Nathaniel Dove
2 Young Devil - Phillip Walker
3 She's Gone - Phillip Walker, James Thomas
4 Bluesmobile - Phillip Walker, James "Son" Thomas
5 Beatrice, Beatrice - Phillip Walker, Larry Garner
6 Don't Leave Me Baby - Lou Baxter, T-Bone Walker
7 Play Me Some Blues - Phillip Walker, Jimmy Johnson
8 Insomnia - Phillip Walker, Otis Grand
9 Goodie Train - Cleo Page
10 She Torture Me - Phillip Walker, Otis Grand
11 You're So Fine - Little Walter
12 Big Blues from Texas - Phillip Walker, Otis Grand


Phillip Walker RIP (guitar,vocals)
Otis Grand (guitars)
Dan Quinton (Fender bass)
Steve Diamond (piano,Hammond B3)
Alan Premier (drums, percussion)
Oh Gee Horns: Peter Beck (Tenor & Alto Sax), Mike Hobart (Baritone Sax), Noel Harris (Trumpet)
Buzz Brown (harmonica solos) on Tracks 5,11,&12


Despite recording somewhat sparingly since debuting as a leader in 1959 on Elko Records with the storming rocker "Hello My Darling," Louisiana-born guitarist Phillip Walker enjoys a sterling reputation as a contemporary blues guitarist with a distinctive sound honed along the Gulf Coast during the 1950s. A teenaged Walker picked up his early licks around Port Arthur, TX, from the likes of Gatemouth Brown, Long John Hunter, Lightnin' Hopkins, and Lonnie "Guitar Junior" Brooks. Zydeco king Clifton Chenier hired Walker in 1953 as his guitarist, a post he held for three and a half years. In 1959, Walker moved to Los Angeles, waxing "Hello My Darling" for producer J.R. Fulbright (a song he's revived several times since, most effectively for the short-lived Playboy logo). Scattered 45s emerged during the '60s, but it wasn't until he joined forces with young producer Bruce Bromberg in 1969 that Walker began to get a studio foothold. Their impressive work together resulted in a 1973 album for Playboy (reissued by HighTone in 1989), The Bottom of the Top, that remains Walker's finest to date. Walker cut a fine follow-up set for Bromberg's Joliet label, Someday You'll Have These Blues, that showcased his tough Texas guitar style (it was later reissued by Alligator). Sets for Rounder and HighTone were high points of the 1980s for the guitarist, and 1994's Big Blues from Texas (reissued in 1999) continued his string of worthy material. His 1995 set for Black Top, Working Girl Blues, shows Walker at peak operating power, combining attractively contrasting tracks waxed in New Orleans and Los Angeles. I Got a Sweet Tooth followed in 1998, and displayed no letdown in quality or power. Walker got together with fellow blues legends Lonnie Brooks and Long John Hunter in 1999 to record Lone Star Shootout for Alligator. Walker is featured as lead vocalist on four tracks and backs the others on the rest of the record. In the fall of 2002, a live recording of a spring concert was released on M.C. Records. © Bill Dahl © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/phillip-walker-p135596/biography [N.B: Phillip died on Jul 22, 2010]


Otis Grand (born February 14, 1950, Beirut, Lebanon) is an American blues musician, best known for his album, Perfume and Grime (1996). Although born in Beirut, Grand has spent much of his life in the United States. He played with local blues musicians at Eli's Mile High Club in Oakland, California, and made contacts that would later prove useful; such as Joe Louis Walker who produced his debut album, Always Hot (1988). He later cited his early influences as being B.B. King, Otis Rush, Johnny Otis and T-Bone Walker. By the late 1980s, Grand was based in the UK where he and his Dance Kings became a popular nightclub act. He was voted 'Best UK Blues Guitarist' seven years running (1990–1996) by the British Blues Connection magazine. In 1991, Grand co-starred with his backing band and Guitar Shorty, on the My Way or the Highway album. Joe Louis Walker also played on Grand's next album, He Knows the Blues (1992) alongside Calvin Owens, Alfred "Pee Wee" Ellis, and the singer Jimmy Nelson. The album was nominated for a W.C. Handy Award. Nothing Else Matters (1994) involved Curtis Salgado, Sugar Ray Norcia, and Kim Wilson, whilst Walker and Salgado returned for Perfume and Grime (1996) which also utilised Luther Allison and Darrell Nulisch. In 1997 Grand guested on Joe Louis Walker's album, Great Guitars. In March 2009, Grand appeared on stage at the Arts Centre in Cranleigh, Surrey, England. In addition to living in Lebanon and the United States, Grand has lived in France and currently resides in Croydon, England, Grand remains an incisive guitarist. His latest album, Hipster Blues, was released on May 21, 2007. [from Wikipedia]


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Bluebone - Bluebone - 2000 - Bluebone

"The self-titled CD by BLUEBONE cooks! The 12 originals and one cover will definitely have your foot tappin' and your body swayin'. The collective talent of the four band members is truly present and accounted for. Thirty years of live performances is the evidence for the obvious fact, THEY AIN'T JUST A BAR BAND! See them "live" to experience the full essence of their music, but, until you get that chance, the CD will get you through." - The Commander; Cadillac Blues with the Commander 91.3 FM WLVR Bethlehem

"...the latest and greatest in the world of roots music, the self titled disc from BLUEBONE is cut from tavern-shaking cloth. Bluebone's originals draw on a wide variety of stylistic range from the light SRV-isms of "Faster Than You Know" to the ballad "When Blue Was Just a Color"...Shuffles abound, usually with a lazy, Jimmy Reed feeling. The funky closer "Big Love" works well. - Tom Hyslop, Blues Revue Magazine

"The group Bluebone has released it's own collection of roaring, rocking performances... the disc is a quality collection of blues tunes. And if the Bluebone members don't leave you crying in your beer, they'll certainly set you to moving on the dance floor at any one of their appearances at local bars and nightclubs. The guitar work by Jay Bethel and Dan McPheeters is sharp, and the two receive great backup by bassist Steve Smith and drummer Andy Vernon....if you want to hear a band doing a good job playing straightforward blues, Bluebone is worth a listen." - Steve Cronin, At The Shore, Press of Atlantic City

"Bluebone is quite simply the best at what they do...They blow you away with their unique take on the blues. Keeping the blues fresh and interesting isn't easy...Bluebone can do it!" - Dallas Mayer, former music critic for CREAM

Bluebone is a great blues rock band based in Cape May, New Jersey, USA. Guitarist, Jay Bethel has said that "We always love Cape May crowds because we've gotten to know a lot of them, and they are very enthusiastic. Because of the area's tourist population, we gained fans from all over the country, and now they go see our shows wherever we play." The band also play frequently in the Philadelphia and Maryland areas. The band play a good mix of covers and originals. They cover Ike Turner's "Matchbox" on the s/t album here. The band regularly cover songs by BB King, Freddie King, Albert King, Eric Clapton, Stevie Ray Vaughan, Tommy Castro, Fats Domino, Willie Dixon, Bo Diddley, Jimi Hendrix, Big Bill Broonzy, and many others. Jay Bethel has stated that "We all love to perform and are all lifelong players. Last year (2008), I celebrated my 40th year of playing paid gigs, with Van (Burris) at 30 years. The idea behind Bluebone was to play music we enjoyed, and to write and record music in those genres. Our original music has been widely accepted and usually tops the requests when we play live." Jay says "Bluebone is most comparable to B.B., Freddy and Albert King, as well as Eric Clapton with a little rockabilly, old school rock 'n' roll and jazz thrown in". A New York Times article referred to the band as being "one of the few, top-notch blues bands operating out of New Jersey". The band has also sold albums and received radio play in Europe and South America, but are still relatively unknown in the blues world. Buy Bluebone's great "Devil Keep Chewin'" album and promote real music! Albums can be bought through cdbaby.com


1. She Took A Taxi
2. Matchbox
3. Y3X
4. When Blue Was Just A Color
5. Hey Baby
6. Life's Twisted Tree
7. Faster Than You Know
8. Girl of My Dreams
9. Exit Zero Blues
10. Bad Dog
11. Freudian Slip
12. Tough Break
13. Big Love

All songs © Bluebone 2000, except "Matchbox", © Ike Turner


Dan McPheeters, Jay Bethel - Guitar and Vocals
Steve Smith - Bass
Andy Vernon - Drums


BLUEBONE began as four musicians that defied the labels and the hype to play hard-hitting music of their own. The band has grown into a family- a movement- of music from the heart to the heart. It doesn't seem to matter which of the BLUEBONE alumni are back to perform, or which new folks enter the family, BLUEBONE is ALWAYS about the most earnest, heart-felt performance. From family to fans to friends to the band, BLUEBONE is first and foremost, the most honest, intense, and emotional music you will find anywhere. Each BLUEBONE performer has roughly thirty years experience playing live, and they have come together to make a statement. Refusing to fit into an industry mold, they play a variety of guitar driven, contemporary blues and blues rock that is artful and inspired. Their sound is tight, emotional, and often hard-hitting, as they perform thier repetoire of both originals and cover tunes. Bluebone originals can be sampled on their fine cds. Their debut, "Bluebone" is a collection of great original songs. "Live @ Cape May" is a snapshot of this powerful band at their best- live. "We The People" is a release of two songs that shouldn't be missed. "RADIO", their latest release(April 2005), is their best recorded work yet, with powerful, driving songs. A list of Bluebone cover songs includes material by BB, Freddie, and Albert King, Eric Clapton, Stevie Ray Vaughn, Tommy Castro, Fats Domino, Willie Dixon, Bo Diddley, Jimi Hendrix, Big Bill Broonzy, Ike Turner, and many more. Bluebone has received airlplay on many radio stations, including Cadillac Blues with the Commander on WLVR, WRDV FM, and Jonny Meister's Blues Show on WXPN Philadelphia. They have also recieved enthusiastic reviews of their cd in national publications such as Blues Review Magazine and Blues Access Magazine. Other favorable reviews have come from regional publications, including At The Shore Magazine and the Montgomery County TICKET, as well as the Jersey Shore Jazz & Blues Foundation and Oklahoma Blues Society newsletters. Recently Bluebone was mentioned in a New York Times article as one of the few, top-notch blues bands operating out of New Jersey. As a group, Bluebone boasts over 120 years of live performance experience playing various kinds of music. Bluebone has shared the stage or played on the same bill with Carl Weathersby, Georgie Bonds, Heather Hardy, Roomful of Blues, Son Seals, Frank Bey, Miss E.C. Scott, Archie Jenkins, Eddie Clearwater, Steve Jankowski, George Mesterhazy, Levon Helm, Sweet Georgie Brown, and Shemeika Copeland. They believe that blues are the basis of nearly everything they have played in the past, and they bring those various flavors back home- to the blues. They know how to play, and they play what they love. Bluebone is associated with ASCAP. © http://www.bluebone.net/


One of the founders of Bluebone, has traveled the world in various bands, including a ship's band during a three year stint in the Navy. His strong vocals and searing guitar work were fan favorites. Dan contributed clever lyrics and "In-your-face" guitar licks to Bluebone's original songs, and he always incited a good deal of mischief and fun on stage. Dan can be heard on the Bluebone, Live @ Cape May, We The People, and Radio cds. © http://www.bluebone.net/


A BLUEBONE founder, Jay has played a variety of instruments in a wide variety of bands, including rock, country, blues, lounge acts, and he even played guitar for an Elvis impersonator. Heavily influenced by Eric Clapton, the Allman Brothers, BB, Freddie, and Albert King , his guitar weeps and hollers throughout Bluebone's music. Jay's vocals are warm and soulful, while his guitar playing is inventive and emotion-packed. A prolific songwriter, Jay has won songwriting awards from both Billboard and ASCAP. He performs these songs in Bluebone as well as in other projects with different musicians. Jay has performed on all of the Bluebone cds © http://www.bluebone.net/


A BLUEBONE Founder, Steve Smith was a huge part of the original BLUEBONE sound with his fretless bass. Steve has performed in many different acts and styles of music, including zydeco and a tour with Danny & the Juniors. Steve is currently performing regularly with Wire & Wood. Steve can be heard on the Bluebone, Live @ Cape May, We The People, and Radio cds. © http://www.bluebone.net/


A BLUEBONE founder, Andy Vernon has a tremendous sense of time and the perfect placement of accents. Andy has performed all over, with the Manatees, RD-1, and has even performed in Albert Collins' backup band. Andy can be heard on Bluebone, Live @ Cape May, and We The People cds. Andy is the drummer who set the bar (very high) for Bluebone drummers, and still performs with the band occasionally on percussion. © http://www.bluebone.net/


Clifford T. Ward

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Clifford T. Ward - Home Thoughts - 1973 - Charisma

Right in the middle of glam rock 1973 came a homely singer/songwriter from the town of Stourport-on-Severn, north Worcestershire, England, named Clifford T. Ward who took the charts by storm with a simple love song, "Gaye," telling the age-old story of a girl and how much she meant to him. This was like a breath of fresh air in the overproduced mid-'70s by its very nature. For here was a man who told simple stories, with beautiful melodies, played with the minimum of fuss. Hot on the heels of the single "Gaye" came his second album, Home Thoughts, which Ward was heavily involved with writing and producing, as well as playing keyboards. Home Thoughts opened with the lovely ballad "Gaye" and continued in the same vein as the single with piano backed ballads sung with clear, concise lyrics, reflecting Ward's homespun family thoughts, living as an ordinary man with a wife and three children, spurning the attention from the media, refusing to tour or play any live gigs that would take him away from his family, and also shying away from the pop press, interviews, and photographs, except when absolutely necessary. Clifford T. Ward had been working as an English teacher at a local school and it was here he developed his love of poetry and words, an asset he brought to his songs, especially "Where Would That Leave Me" and "Time the Magician," "Home Thoughts from Abroad," and "The Open University" in which he namechecks his favorite authors, and "Wherewithal," a song he wrote simply because he liked the sound of the word. But for all the beautiful songs on Home Thoughts, the standout track is the hit single "Gaye" with its instantly memorable singalong melody. © Sharon Mawer © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/home-thoughts-from-abroad-r52312/review

A masterpiece. So strong are the melodies, so succinct and sympathetic are Richard Hewson's arrangements, that lyrics like, "Would you like to have a drink or two with big fat Joan/She knows what it's all about at twenty stone" and, "Does the cistern still leak?/Will it last another week?" do not grate in the slightest. The Traveller is sublime, Wherewithal comes over as smart rather than smug and the inspired simplicity of Time, The Magician still astounds twenty two years on. Thirteen outstanding songs. Unlucky for those who have never heard any of them. Essential. (1973). Star Rating: * * * * * (out of 5) © Waves - Fanzine (© Clive Winstanley)

Cliff made several great albums, including "Escalator", "No More Rock and Roll", "Waves", and "New England Days" but his romantic style of songwriting was never compatible with the "glam rock", punk or New Wave eras and his songs were dismissed by some as unfashionable. He wasn't the first and he certainly won't be the last songwriter to be categorized like this, however his songs will be around forever. Other great "unfashionable" songwriters include Janis Ian, Al Stewart, and Roy Harper. The great author/singer/songwriter/poet Richard Digance said, 'Home Thoughts From Abroad' is still the greatest 'British' song that I have ever heard. Cliff had no pretentious Americanisms, and it's still the only popular song with the word Worcestershire in it." Melody Maker stated that 'This album is so beautiful it makes you want to forget the idiot antics of the rock 'n' roll world. Some of Ward's songs are the finest since McCartney penned "Yesterday" - "Gaye" and the title track for instance. He is a tender poet writing real love songs and in this jungle of music he offers a clearing where you can lay down, rest your head, and dream sweet dreams.' A beautiful diamond of an album and VHR by A.O.O.F.C. Listen to his "Singer Songwriter" and "Gaye & Other Stories" albums



1 Gaye
2 Wherewithal
3 The Dubious Circus Company
4 Nightingale
5 Where Would That Leave Me?
6 The Traveller


1 Home Thoughts From Abroad
2 Where's It Going To End?
3 Time, The Magician
4 Give Me One More Chance
5 Cold Wind Blowing
6 The Open University
7 Crisis


Clifford T. Ward - Vocals, Keyboards
Derek Thomas - Guitars
Terry Edwards - Bass
Ken Wright - Drums, Percussion
Orchestral Arrangements - Richard Hewson

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Clifford Thomas Ward (10 February 1944, Stourport-on-Severn, Worcestershire — 18 December 2001) was a popular English singer-songwriter, best known for his career as a solo artist. Ward was one of five children, having one sister and three brothers. He was educated at Stourport Secondary Modern School, and there he met his wife, Pat, when she was 13 years old, and he 14. At school he spent some time as a choir boy. Ward and Pat married when he was 17 and she 16, after Pat became pregnant with the first of their four children: Debbie, Martin, Sam and Polly. In 1962, shortly after leaving school, Ward formed a beat band 'Cliff Ward and The Cruisers'. The band was popular in Birmingham and also in demand at American Army bases in France. It was during this time abroad that Ward wrote "Home Thoughts From Abroad" (a song that would later appear on his second solo album and also as the B-side of "Gaye"). In the mid 1960s and after several member changes, the group was re-named 'Martin Raynor and The Secrets' with Ward in the role of the elusive Raynor. The fictitious name was soon dropped and the band continued on as 'The Secrets', and went on to tour around Britain and France, achieving moderate success. Along the way, six singles were recorded by the group (ten of the songs penned by Ward himself), though these made little impact. In 1968, following the demise of The Secrets, Ward decided he needed to get a 'real job', and so spent the following three years at a teacher training college, ultimately finding employment at nearby North Bromsgrove High School, teaching English and drama. One of his pupils was the future wife of Sting, Trudie Styler. The children heard singing on Ward's early albums were from North Bromsgrove High School. In his spare time, he continued songwriting and recorded his first solo album Singer Songwriter. His first album, Singer Songwriter, was released in 1972 on Dandelion Records (a label formed by the late disc jockey John Peel) just before it went into liquidation. As a result, the album received little media coverage and went largely unnoticed. Signing a new recording contract with Charisma Records, Ward went on to have a hit with the single "Gaye". It sold over a million copies worldwide and reached number 8 in the UK Singles Chart in June 1973. In July 1973, following the success of "Gaye", Ward's second album Home Thoughts achieved healthy sales and reached number 40 in the UK Albums Chart. At this point, wanting to concentrate on music full time, he gave up the teaching profession. He made a rare public appearance in August, performing "Gaye" on Top of the Pops. In January 1974 Ward entered the singles chart again at number 37 with "Scullery", a track from his third album Mantle Pieces. Subsequent singles, notably "No More Rock'n'Roll", "Jigsaw Girl", "Ocean of Love" and "I Got Lost Tonight" (written by the U.S. singer-songwriter Tim Moore, one of the very rare occasions when he recorded outside material) were loved by BBC Radio presenters and programmers but Ward never made it into the UK charts again. It was said that he would have had more commercial success were it not for his dislike of touring, public appearances, interviews and photo shoots. "The Best Is Yet To Come", from the album Both of Us, enjoyed success when covered by Justin Hayward, and his songs were also recorded by Cliff Richard, Jack Jones, Art Garfunkel, and Judy Collins. He was compared to Paul McCartney by reviewers and his songs have strong melodies and concise, original lyrics. In 1984 Ward was diagnosed as having multiple sclerosis. He continued to record and write songs while living at home, cared for by his wife Pat. In 1994, Ward was interviewed by local paper, the Wolverhampton Express & Star. He told reporter Aidan Goldstraw: "I have not and will not come to terms with this illness. There are times - usually quite late at night - when I'm almost normal again. But unless they find a cure for this dreadful MS, then I don't see a future." Also then, he recorded his eleventh and what would be his last new album, Julia And Other New Stories, crawling on all fours into his home-based recording studio to finish it. At around the same time, a stage musical, Shattered World, was produced as a tribute to him, based on his life and his battle against MS. Half of the songs were Ward's own and half were numbers written by others about him. In the winter of 2001, he fell ill from pneumonia and entered a hospital. He died there a few weeks later, at 9 a.m. on Tuesday December 18.


Robert C. Brookes & The Desperate Dan Band

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Robert C. Brookes & The Desperate Dan Band - What You See Is What You Get! - 1995 - Jookmedia

The Desperate Dan band are a hard-working six-piece outfit who have travelled the length and breadth of the UK for the last eight years. The most recent line-up of the band consists of: Robert C. Brookes on vocals and harmonica, Roy Sudan on guitars, Johnny Wigg on fiddle and mandolin, Fraser Wigg on keyboards, Jim Bryan and Dave Clarke on bass guitar and Justin Hildreth and Bill Footman on drums. The members of the band have worked with and supported some of the most credible names in the business, either collectively or individually - people like Paul McCartney, Jools Holland, Elton John, Leo Sayer to name but a few - having had in the line-up at one time or another such people as Dave Mattacks (Fairport, Mary Chapin-Carpenter), Robin Goodridge (Bush), and Miller Anderson (Spencer Davis, Keith Hartley, Donovan, T Rex etc). The band gigs on a regular basis as a trio consisting of Robert C. Brookes, Jon Wigg, & Roy Sudan. Roy is a relative newcomer to the band bringing some fresh feel to the party. There is a new album out recorded live at The Old Blue Coconut Club in Pulborough (those of you not familiar with the place should check it out - every Monday) called "Unplugged, Unhinged & Almost Live!". © http://www.desperate-dan-band.com/biog.html

Robert C. Brookes & The Desperate Dan Band band's line ups have included at various times artists like Dave Mattacks (Fairport, Mary Chapin-Carpenter), Robin Goodridge (Bush), Nigel Glockler & Doug Scarrat (Saxon) Terry Popple (Snafu &Van Morrison) and Miller Anderson (Spencer Davis, Keef Hartley, Donovan, T Rex). The album features previously unreleased songs recorded at Black Barn Ripley Surrey & Riverside Studios Littlehamton, West Sussex, England, and also some re-mastered recordings from earlier albums. Mastered at Master Rock Studios Kilburn London England. Robert C. Brookes also plays with The Three Tenors Of The Blues band - "Eight years ago in a small south coast pub the greatest of the 60’s iconic singers Chris Farlowe was booked to play after some 35 dates back to back in Germany. The voice that gave us the number one single ’Out of Time’ penned for him by Mick Jagger and Keith Richards, ’Hand Bags and Glad rags’ The man responsible for making this happen was none other than Miller Anderson whose appearances at just about every venue on the planet including ’Woodstock’ have made him a legend. It was also Miller who was also responsible for the phone call inviting Robert C Brookes of The Desperate Dan Band to sit in. That was the first time and ever since then the meeting of these three great singers occurs at least once a year and with the help of The Desperate Dan Band they grace the Ropetackle Arts this December. This promises to be one hell of a party! Don’t miss it. Get your tickets early!" @ http://www.jookmedia.co.uk/threetenors.htm © BritEvents.com 2011/2012 The Three Tenors Of The Blues The Grand Victorian Hotel Worthing Whats on in Worthing Sussex

This is the kind of band who play great straight-up soulful blues and Rock 'n' Roll without very much recognition from the media. Some of these musicians have been on the road for many years and are very talented and experienced. They deserve better. This is a good compilation album from this neglected outfit. Try and listen to the bands' "A Little Black Magic" and "There's A Lot Of It About" albums, and maybe think about buying an album.

" In this world of super hype it's too easy to feed you a pack of lies. So no bullshit. Let the music speak for itself! What you see is what you get." - Robert C. Brookes & The Desperate Dan Band.


1. Let it Roll (a)
2. Touch Too Much (a)
3. Driving Too Hard (a)
4. Good Morning Blues (b)
5. China Cup (a)
6. Tear it up/My Babe (c)
7. Trying To Get To You (a)
8. Wild About You Baby (a)
9. D'fer (a)
10. Crossed (d)

Recorded at Black Barn Studio, Ripley, Surrey (a)(b)(d) : Recorded at West Park Studio, Littlehampton (c) : Engineered and produced by Robin Black (a) : Engineered by Chris Mainsbridge (c ): Produced by Chris Mainsbridge and the band (c)


Bob Brookes Vocals, Harmonica
Roger Adams Guitar (a)(b)(c)
Paul Watson Bass (a), Acoustic Guitar (d)
Julian Scott Bass (b)
Jim Bryan Bass (c)
Steve Kelly Sax (a)
Nigel Glockler Drums (a)
Justin Hildreth Drums (b)(c)
Mike Smith Keyboards (a)
Dave Formula Keyboards (b)
Tim Jupp (Delirious) Piano (c)
Stella Golds backing vocals (a)



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Colosseum - Live Cologne 1994 - 2003 - Angel Air

Colosseum's music has been described as "high-energy jazz-blues-rock fusion with classical influences." Colosseum is one of the pivotal progressive bands that emerged in the second part of the 60's. In 1968 the founding members were drummer Jon Hiseman, the late tenor sax-player Dick Heckstall-Smith and bass player Tony Reeves, later joined by Dave Greenslade (keyboards), Clem Clempson (guitar), Chris Farlowe (vocals) and Mark Clarke, who replaced Tony Reeves. Colosseum made three studio albums: "Those Who Are To Die We Salute You" and "Valentyne Suite" (both from ’69) and "Daughter Of Time" (’70). The music is a progressive mix of several styles (rock, jazz, blues) with lots of sensational solos and captivating interplay. In ’71 the band released their highly acclaimed live album "Colosseum live", a proof of their great skills on stage but also showing that at some moments the compositions sounded a bit too stretched. After Colosseum was disbanded in ’71, most of these members formed or joined known groups like Humble Pie (Clem Clempson), Atomic Rooster (Chris Farlowe), Greenslade (Dave Greenslade re-united with Tony Reeves) and Colosseum II (founded by Jon Hiseman). The band was reunited in 1994 and is still active until to date.

There are many editions of these reunion concerts on VHS, DVD, and DVD/CD. This album contains six tracks from the second reunion concert on October 28, 1994 at the E-Werk in Cologne, Germany. The album is HR by A.O.O.F.C. Listen to the band's outstanding jazz rock classic "Grass Is Greener" album and check out the band's "Tomorrow's Blues" album @ COLOSS/TB


1. Those About to Die - Greenslade, Heckstall-Smith, Hiseman, Reeves 5:22
2. Skelington - Clempson, Hiseman12:24
3. Tanglewood '63 - Mike Gibbs 10:54
4. Rope Ladder to the Moon - Brown, Bruce 9:41
5. Stormy Monday Blues - T-Bone Walker 5:27
6. Walking in the Park - Graham Bond 6:36


Dave 'Clem' Clempson - Electric & Acoustic Guitar, Vocals
Mark Clarke - Bass, Vocals
Dave Greenslade - Hammond Organ, Vibraphone, Vocals
Jon Hiseman - Drums, Percussion,Gong, Pearl drums, Paiste Cymbals
Dick Heckstall-Smith RIP - Soprano & Tenor Saxophone
Chris Farlowe - Vocals


One of the most influential of the early British progressive rock bands, Colosseum fused an adventurous approach to rock with strong jazz and blues influences and classical keyboard accents; they earned a loyal and lasting following though they never scored a major breakthrough hit. Colosseum was founded in 1968 by saxophonist Dick Heckstall-Smith, bassist Tony Reeves, and drummer Jon Hiseman; the three had previously worked with John Mayall, playing on his album Bare Wires, and Heckstall-Smith and Hiseman were formerly members of the Graham Bond Organisation. The first lineup was completed with the addition of Dave Greenslade on keyboards and Jim Roche on guitar, though Roche's tenure in the band was brief and he was soon replaced by James Litherland, who also sang lead. After making their live debut in Newcastle, Colosseum earned a valuable ally in legendary BBC disc jockey John Peel, who featured the band on his Top Gear radio show. Fontana Records signed the band, and their first album, Those Who Are About to Die Salute You, was released in 1969; it fared well in the charts, and the lead-off track, "Walking in the Park," was issued as a single, though it proved to be the only 7" from the group. Colosseum's second album, Valentyne Suite, appeared later the same year; it was the debut release from Vertigo Records, the influential progressive and hard rock label. (Vertigo and Fontana were both affiliated with the Dutch recording firm Phillips.) 1970's Daughter of Time featured a new lineup of the band; James Litherland left to form the band Mogul Thrash and Tony Reeves moved into production full-time, and Colosseum added guitarist Dave Clempson, bassist Mark Clarke, and lead vocalist Chris Farlowe. Another Colosseum album, The Grass Is Greener, appeared in 1970, but it was in fact a revised version of Valentyne Suite, released only in the United States and featuring four of the original selections from the LP and four new songs. In 1971, Colosseum jumped ship from Vertigo to the newly formed Bronze Records and recorded a handful of shows at Manchester University and the Big Apple club in Brighton; the band broke up before they could complete a studio album for their new label, and 1971's Colosseum Live would prove to be the last release from the group's first era. In 1975, Jon Hiseman launched Colosseum II, a more jazz-oriented combo which also featured Gary Moore on guitar and Don Airey on keyboards; the new group released three albums before parting ways in 1978. In 1994, the Daughter of Time lineup of Colosseum reunited for a concert tour, and a live album was drawn from the concerts. The band issued a new studio album in 1997, Breads & Circuses, and Colosseum has reconvened for periodic recordings and live shows ever since. Saxophonist Barbara Thompson (who is married to Jon Hiseman) frequently appeared with the reunited version of Colosseum, and became an official member of the group following the death of Dick Heckstall-Smith in 2004. © Mark Deming © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/colosseum-p16590/biography

Boz Scaggs

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Boz Scaggs - Boz Scaggs & Band - 1971 - Columbia

After the burnished, mellow Moments, Boz Scaggs put some grit back into his music with this third album, Boz Scaggs & Band. Not that he got down and dirty - his blue-eyed soul and funk is still sleek and stylish, music for uptown parties, not downtown juke joints. But Scaggs gave his band equal billing on the title here because they carry equal weight on Boz Scaggs & Band. It's a true band album, showcasing the group's tight interplay as much as it does Scaggs' vocals. Sometimes, the band almost dominates the proceedings too much, as they do on "Runnin' Blue," where they're as splashy as a Vegas big band. Such excesses are balanced by the nimble "Up to You," this album's irresistible foray into country - something that was a regular Boz feature at this point - and the brief, breezy "Here to Stay," which helps keep things light and casual. But the best thing about Boz & Band is hearing that band play, particularly on "Flames of Love" and "Why Why," where they get down low, playing funky rock and soul that holds its own with Little Feat's Meters-inspired grooves. © Stephen Thomas Erlewine © 2011 Answers Corporation http://www.answers.com/topic/boz-scaggs-band-1971-album-by-boz-scaggs

Although most listeners know Boz Scaggs primarily for his 1976 disco-era, multi-million seller Silk Degrees, he produced several excellent recordings in the years leading up to that breakthrough. Boz Scaggs & Band is the middle release of a three-disc spurt which Scaggs produced in a two-year period, between 1971 and 1972. Although it is weaker than Moments and My Time which bookend it, this album still has much to offer. Sounding at times like the original average white band, and at other times like a bunch of Nashville cats, Boz and his eight-piece group traverse a wide terrain with great facility and much soul. "Here to Stay" is particularly appealing, hinting at things to come, and "Flames of Love" is an extended piece of smoking funk. "Monkey Time" and "Why Why" also turn up the funk. This album is well worth checking out. © Jim Newsom, All Music Guide

Boz Scaggs’ second album, and his only one for Atlantic, "Boz Scaggs", is a minor classic. His version of Fenton Robinson’s "Loan Me a Dime" on that disc features some blistering guitar work from Duane Allman, and for that reason alone it should be in everyone’s collection. Boz Scaggs & Band was his fourth release, and his second for Columbia Records. His first Columbia disc, Moments, mixed enjoyable MOR rock with blues, country, and jazz, and this follow-up is similar. But it’s a tighter record, and avoids the sappiness that sometimes creeps into Moments. "Here to Stay" and "Nothing Will Ever Take Your Place" are romantic, mid-tempo rock tunes that Frank Sinatra or Tony Bennett could have covered without embarrassment. The two standouts are "Running Blue" and "Why Why." The first is a big-band blues track with a horn chart Neil Hefti would have been happy to present to Count Basie. Scaggs is smooth and urbane, more Jimmy Witherspoon than Muddy Waters, and Doug Simril’s guitar solo avoids clichés. "Why Why" is also blues-based, with a simple structure that fills in as the song develops. A subtle horn arrangement supports Scaggs’ understated vocals, and blends beautifully with Jymm Joachim Young’s swirling Hammond organ. Doug Simril turns in another beautifully constructed solo. Whatever happened to this guy? I Googled his name and couldn’t come up with anything. He plays everything from blues to jazz to country with ease. Although it’s these two tunes that still cause me to pull Boz Scaggs & Band from the shelf, I end up listening to and enjoying every track. Even in the ’70s, Scaggs was unusual in not forcing an emotion when he sang. In 2003 he recorded an album of standards, and he sounds more natural singing such songs as "What’s New?" or "Sophisticated Lady" than anyone of his generation. Listen to Boz Scaggs & Band and you’ll hear why. © Joseph Taylor

Boz Scaggs & Band is a clean, natural blend of blues, R&B, rock and country styles with some spicy Latin touches–a pulling together of Scaggs' experience with the Steve Miller Band, Mother Earth and others, but without a hint of false or forced eclecticism. Like Mother Earth, he grasps both country music and rhythm and blues with assurance and ease. Avoiding for the most part those careful but uninspired imitations of, say, R&B form and style that are little more than many performers' clumsy dues-paying, Scaggs prefers to dig to the root feeling of the music and reinterpret it in his own way. Consequently, his best songs are not framed in any particular style, but they evoke the richness of all his influences–especially the very real emotional qualities of country and R&B–giving his music an unexpected depth. In the same way, Scaggs doesn't affect a gritty snarl or lilting twang in his singing (although he seems naturally closer to the latter). Instead, his voice, slightly raw and wispy around the edges, full of aching, appealing qualities, carries the song unpretentiously and effortlessly. With no sense of pushing for effect or hard-driving intensity in the singing, the songs move in on you gradually, at a relaxed pace, and the total hold they have on you in the end is all the more surprising. Everything here is fine, but it's side two that I keep coming back to. "Here to Stay," a beautifully liquid love song, begins like a spring morning with vibes, light guitar and a thin curl of electronic sound and opens into a delicate wash of music with just the right touch of Latin percussion. Boz sings, "Lovin' you makes more sense/Than keepin' up/Or payin' rent/Anytime." Scaggs' lyrics are loose, often elusive, not from any failed attempt to be "poetic," but rather, I think, because he lets the ideas drift and flow with the music. A few lines in the second cut, another love song titled "Nothing Will Ever Take Your Place," seem to deal with this: "Thoughts and daydreams fill the air/They fly around like birds/And I can sing you melodies/–Not just sound like words." He can. "Nothing Will Ever Take Your Place" has a delicacy similar to that of the opening cut, with some fantastic organ work (by Jymm Joachim Young, whose work throughout the album is outstanding) and an especially lovely organ and flute break. But with Boz Scaggs, the impression of delicacy doesn't mean the song dissolves into a soft center of mush; there's more real strength here than on most Heavy Blues albums. The use of horns here and elsewhere is particularly sensitive, avoiding the blaring, sharp edges that stick jaggedly out of so many other bands' work. Production on these two cuts, my favorites, is by Boz Scaggs; Glyn Johns handles the rest with equal precision and flair. "Why Why" at 5:32 is the longest cut and one of the more blues oriented, chugging along with fine bass, guitar and organ out front, underlining Boz's pleading question, "Why why why must a good love go bad?" Although the vocal cuts out almost half way through, the Band is so tight and so firmly into the song–not slipping off into irrelevant riffs but sticking within a breaking and re-forming pattern–that the attention doesn't drift for a second. The eight-man band, with Scaggs on guitar, is joined by Chepito Areas (timbales) and Mike Carrabello (congas), formerly with Santana, on the side one closer–the hot, Latin-flavored "Flames of Love." Otherwise, they carry the album alone and in fine style; I can't think of a rock band with brass that I've enjoyed as much. A final note: the opening cut, "Monkey Time," is not the Major Lance original but a crazy Boz Scaggs dream/dance song that's almost as much fun. Try it. You'll like it. © Vince Aletti / Rolling Stone (RS 99) / Jan 6, 1972

1971's Boz Scaggs & Band was truly a showcase effort. Featuring not only the legendary artist, the album also included his extraordinary hand-picked band of notable musicians, who had been his touring and studio band for a number of his earlier Columbia Records albums. Painstakingly recording the excitement and delivery of this multi-faceted leader and band, Boz Scaggs once again collaborated with producer Glyn Johns. They put together nine incredible tracks which netted the artist another chart album and further acclaim from the music critics and fans. Not sticking with one type of sound or genre, this rock and jazz fused album was truly a definitive look into the soul and artistry of this legendary musician. Monkey Time kicks the album into full gear as this R&B fused old style rocker displays the interplay between the horns, the rhythm section and the voice and guitar of Boz Scaggs. This particular track was also featured on the highly successful The Music People 3 LP set on Columbia back in 1972, gaining a lot of new Boz Scaggs' fans. The single Runnin' Blue is still a staple in his concert repertoire and is one of his classic throw down blues numbers that made this the classic that it is today. His love of Texas blues and the music of folks like T-Bone Walker and B. B. King all get a nod of appreciation in this dynamic track. For a slight return to his Atlantic era, It's Up To You embraces the country blues feel and reprises some of those elements you might remember from his late sixties debut. Interestingly enough, he has most recently gone back to the roots and even plays bluegrass at various music festivals honoring the genre. For more of a San Franciscan flavor, Flames Of Love highlights the percussive expertise of Santana's Michael Carrabello and Jose Chepito Areas. This funk filled groover helps close out side one and made this one of the more memorable tracks of this album. Here To Stay is another definitive Boz Scaggs moment. This smooth R&B pop tune establishes his knack for crossing over into the adult pop mainstream while keeping his hip factor entrenched firmly in the blues. A precursor feel to his mega smash Lowdown, Here To Stay features a hook filled flute section, light percussion with solid ivories, and soul drenched vocals. More soul follows, as Nothing Will Take Your Place mirrors some of the vibe from his Moments album, while the classic FM radio burner Why Why co-penned with the late Tim Davis returns us right back to a danceable funk groove. All in all, nine tremendous chapters of the ever cool Boz Scaggs © http://www.fridaymusic.com/releases/scaggs.html © 2008 Warner Bros. Records, Inc

This issue is from vinyl, and there a few "snaps, crackles, and pops", but sound quality is fair to good. If you can find a better issue, please buy it. It's a great album and HR by A.O.O.F.C. Check this blog for more Boz releases


1. Monkey Time - Scaggs, C. Arrowsmith
2. Runnin' Blue - Scaggs, Patrick O'Hara
3. Up to You - Scaggs, C. Arrowsmith
4. Love Anyway - Boz Scaggs
5. Flames of Love - Scaggs, C. Arrowsmith
6. Here to Stay - Boz Scaggs
7. Nothing Will Take Your Place - Boz Scaggs
8. Why Why - Boz Scaggs, T. Davis RIP
9. You're So Good - Boz Scaggs


Boz Scaggs - guitar, vocals
Doug Simril - guitar, piano
David Brown - bass
Joachim Jymm Young - organ, piano, keyboards, vibraphone
George Rains - drums, percussion
Eddie Lee Charlton - drums
Mike Carabello - percussion, conga, timbales on "Flames of Love"
Chepito Areas - conga, timbales on "Flames of Love"
Mel Martin - tenor alto & baritone saxophones, flute
Pat O'Hara - trombone
Tom Poole - trumpet, flugelhorn
Rita Coolidge, Dorothy Morrison - background vocals on "Flames of Love"
Lee Charleton - saw, harp on "Here to Stay"


Dave Walker

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Dave Walker - Walking Underwater - 2007 - Iron Horse

Thirty years may have elapsed since his Savoy Brown pomp, but you wouldn't know it from Walking Underwater. With the Walker lungs as loud and leathern as ever, and a band that blisters as brutally as the Brown ever did, Walking Underwater is one of those albums that you hear for the first time, and it immediately transports you back to a time when all British blues records were capable of sounding this good. The chiming bluster of the opening "Little Susie and Mr Tight" is the fanfare that draws you in, but ten Walker band originals don't let up for a moment, whether pumping through the downbeat shuffle of "I Can Make It on My Own," lamenting the piano-led passion of the title track, or frolicking across "Black Steel Blues" -- and a word here for guitarist Jim Lewis; if you've ever wondered what Paul Kossoff would have sounded like if he was really Robin Trower, "Walking Underwater" and "Weep No More" will answer your question. New blues albums are ten a penny these days. But truly great ones have been at a premium since the mid-'70s went out of fashion. Walking Underwater is the album we've been waiting for since then. © Dave Thompson © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/walking-underwater-r1271594

The most underrated British blues singer comes to the surface again - with a mighty splash. Strange it may seem but Dave Walker's name is subscribed to the dark recesses of the blues history, his work with SAVOY BROWN and FLEETWOOD MAC and short stint with BLACK SABBATH notwithstanding. Having moved to America, Walker, in his own words, was "shiftless hippie for a few years, working on ranches and doing a lot of manual jobs", and this experience has enriched Dave's understanding of his chosen genre. Cue "Walking Underwater", the singer's best work to date which funnily starts with a fine slice of walking blues that is "Little Susie & Mr. Tight", and one will be forgiven for thinking it's a late '60s recording. While it's not that easy to sound natural in such a lyrical idiom, in "Rabbit's Foot Charm" and "Crazy Baby" the veteran is totally convincing. Smooth "Blues From The Bottom" may feel a tad melodramatic, yet the emotional pinnacle emerges in the drama of the title track, a deeply moving ballad where the voice glides over the instrumental bedrock and fathoms the human desperation while Robert Britten's crystal piano soothes the heat. And if that's not enough to go down, the next in line is "Weep No More": a heavy gloomy piece splicing Dave's doomy vocals with Jim Lewis' crying guitar. But "Hard Headed Woman" with its powerful slide closes the album with a great dose of rocking panache. There's sadness and there's madness, and that's what they call the genuine blues. © ***** http://dmme.net/reviews/reviews37.html#dawalk

Just get this one- it’s like expensive kid leather gloves that you never take off (not even when you pick your nose!) O.K., say you meet a gorgeous woman (or hunky guy for you blues gals out there) you want to introduce to the blues but don’t want to take the risk of scaring her off with the machinations of Jon Spencer Group or Barrence Whitfield and the Savages? Just put on Dave Walker’s latest beauty, “Walking Underwater” – she’ll love the sound and, hopefully, want to stay a while at your messy apartment after “Hard Headed Woman” (the last cut) trails off. Those familiar with Dave, know he is a consummate blues singer (maybe The consummate blues singer of our time) - so smooth and so earthy at the same time. It’s a little hard to believe he’s not black and not from the U.S. of A- it’s got to be his life struggles after WWII in England’s forgotten back waters: “Black Country” a sooty, constantly rainy “museum” for the industrial revolution (I’ve been there and, as a hard drinking Welshman, I just fell in love with these working class blokes- like family. They live the blues and pay their dues every day. They remind me a lot of the fighting Irish- but without the bloodied heads- after a long night of pullin’ ales and lagers at pubs like the Red Lion- where, as Garrison Keller would say, the women are strong, the men love their song and the children are above average). If you’re looking for something solid as a rock and fresh at the same time, get this flawlessly performed and produced CD- it’s a disk you can build a collection around. It is that good; not even one slightly disappointing cut. © 2008, Mel Miller Mel Productions for the BluesSource.com 2009-02-03 © 2006-2010 BluesSource.com, Clarksdale, MS http://www.bluessource.com/readreview.php?id=222

As I listened to "WALKING UNDERWATER", by DAVE WALKER, I found myself thinking that what I was listening to was such good stuff and I couldn't believe that I had never heard of this artist before. Wondering why, I just had to find out if there were more of his music that I might be able to get my hands on. As it turned out, having done stints with Savoy Brown, Black Sabbath and Fleetwood Mac, and having recorded several dozen discs, I've probably heard DAVE more times than I could imagine. On DAVE WALKERS newest release - "WALKING UNDERWATER" - DAVE, on vocals, guitar and writer of most tracks, is joined by: ROBERT BRITTEN on piano, organ and guitars; MIKE GILLAN on drums; CRAIG HALL on bass; SHEAMUS CONLEY on lead guitar; JIM LEWIS on lead and slide guitar. On the opening track, "LITTLE SUSIE & MR. TIGHT", it just took the opening guitar chord by JIM for me to decide I was going to like this disc. Then, DAVE started singing and my decision was reaffirmed. He's got one of those very articulate, attention commanding, yet melodic voices, that were made for singing. For reasons I'm finding difficult to explain, this is one of the more interesting discs I've listened to in many a year. The conviction with which some of the songs are sung brought back memories of the way RICHARD HARRIS presented "MACARTHUR PARK", and the chills I'd get from hearing PROCOL HARUM do "A WHITER SHADE OF PALE". Meanwhile, instrumentally, MIKE OLDFIELD'S "TUBULAR BELLS" occasionally came to mind. I can see I've got my work cut out here. Choosing just a few tracks to comment on is going to be a challenge. "I CAN MAKE IT ON MY OWN", the next track, is a good place to start. Nothing fancy here and nothing fancy needed.....just five minutes of DAVE intriguing me with his vocals, while JIM works his magic on guitar with the rhythm section getting my fingers snappin' and my foot tappin'. Great stuff! Phenomenal would be the word I'd pick, if only given one, to describe the title track - "WALKING UNDERWATER". This is one of the songs I had in mind when I made my earlier references. With this year's Blues Music Awards still several months away, I've already got one of my nominations for the following years "Song of the Year". ROBERT on piano, SHEAMUS on guitar, MIKE on drums and DAVE on vocals are astounding. "BLACK STEEL BLUES" takes it up a few notches. This one's three and a half minutes of smoke caused by wailing guitar (SHEAMUS), thunderous rhythm (JIM & CRAIG) and fierce piano and organ (ROBERT). And yes, DAVE had something to do with it as well. This one easily reached 7-8 replays. At just under three minutes, "RABBITS FOOT CHARM" is an all too short - but oh so very sweet shuffle. With a smooth, soft rhythm going on behind them, DAVE on vocals and ROBERT on piano run with this one. Once again, the replay button came into play. "CRAZY BABY", "WEEP NO MORE", "BLUES FROM THE BOTTOM", "GIRL TROUBLE" and "HARD HEADED WOMAN" make up the rest of the tracks - which if I had the space, I could sit here and talk about all night long - on "WALKING UNDERWATER". I can't see how, but if I haven't made myself perfectly clear yet, let me just come right out and say it - ya gotta get this disc. I've just got done picking the winner of the 2007 BLEWZZY AWARD - which will be announced soon - and here I am, three weeks into `08 and thinking "WALKING UNDERWATER" may very well be this year's disc to beat. Check DAVE out at www.aboutdavewalker.com/. From there, you know the drill.....You tell him the Blewzzman sent ya and you're here to buy the disc. BY & © PETER "BLEWZZMAN" LAURO, © January 2008 © 1998-2008 Mary4Music.com. All Rights Reserved http://www.mary4music.com/CD42.html

Dave Walker's name is unfamiliar to many people but the guy is a modern day blues and rock legend who has performed with Savoy Brown, Black Sabbath, Fleetwood Mac and many more great bands. Since the '60's with various bands, he′s played venues from Birmingham, England to Carnegie Hall, Woodstock 1989, and beyond. "Walking Underwater" is a fantastic album, and will keep your faith in real music alive. Dave Thompson of allmusic.com called "Walking Underwater" "one of the most authentic-sounding discs of the last few years". This is phenomenal blues rock and VHR by A.O.O.F.C. Check out Dave's incredible bio @ http://en.wikipedia.org/wiki/Dave_Walker#Savoy_Brown Buy Dave's brilliant "Mostly Sonny-A Tribute To Sonny Boy Williamson" and join Dave Walker in preserving the great blues tradition


1 Little Susie & Mr. Tight - Britten
2 I Can Make It On My Own - Britten, Walker
3 Crazy Baby - O'Keeffe, Walker
4 Walking Underwater - Walker
5 Weep No More - Britten
6 Black Steel Blues - O'Keeffe, Walker
7 Blues From the Bottom - Britten, Walker
8 Girl Trouble - O'Keeffe, Walker
9 Rabbits Foot Charm - O'Keeffe, Walker
10 Hard Headed Woman - Britten, Walker


Dave Walker - Guitar, Vocals
Jim Lewis - Lead Guitar, Slide Guitar
Sheamus Conley - Lead Guitar
Craig Hall - Bass
Robert Britten - Piano, Organ, Guitar
Mike Gillan - Drums


With a career that included a stadium-stuffing stint with the pre-Buckingham-Nicks Fleetwood Mac and a contrarily rehearsals-only spell fronting Black Sabbath, plus two solid solo albums so far this century, Dave Walker is rightly proclaimed one of the true warriors of the British blues scene. His last album, a tribute to Sonny Boy Williamson, contains some of the finest interpretations the old bluesman ever received; while his latest, 2007's Walking Underwater, sees him unleash that so distinctive growl across ten originals, to conjure up one of the most authentic-sounding discs of the last few years. Walker is best remembered, however, for the two years he spent helming Savoy Brown. Three albums, including the essential Street Corner Talking and Hellbound Train, plus the less dynamic (but still worthy) Lion's Share mark out Walker's time with the band and, for any number of American concert-goers of a certain age, they remain the definitive Brown sound, raw and rambunctious, exciting and energetic. A native of nearby Walsall, Walker's musical background lay within the same Birmingham scene that conjured Fleetwood Mac, Chicken Shack, Black Sabbath, the Move, and half of Led Zeppelin out of the ether, a tough working class district whose audiences took no prisoners, and even in his teens and on-stage with his first band, the Redcaps, his performance was wild and raucous. Walker joined the Redcaps as rhythm guitarist in early 1963, graduating to the microphone when original vocalist Ronnie Brown quit. Lining up now with guitarists Mick Blythe and Roy Brown, bassist Mike Walker, drummer Alan Morley, and saxophonist Mac Broadhurst, the Redcaps were snapped up by Decca, for whom they cut three singles, covers of the Isley Brothers' "Shout" and Chuck Berry's "Talking About You," and a Mick Blythe original, "Funny Things." But all three failed to bother the chart, and the Redcaps broke up. Walker moved onto Beckett, Birmingham superstars who sadly, and strangely, never made their way out of the local circuit. They folded, unrecorded, in 1969, when Walker took on the unenviable task of replacing Jeff Lynne in the Idle Race. This lineup of the band recorded a new album (their third), but their fame spread no further than Latin America. Their version of Mungo Jerry's "In the Summertime" was an Argentinian number one in the summer of 1970. It was his friend Stan Webb of Chicken Shack who recommended Walker to Savoy Brown (the two bands shared a manager), and it was his wild on-stage performances that recommended him to Fleetwood Mac once the Savoy Brown adventure was over. That sojourn, too, was short -- Walker was present for the recording of their Penguin album, but appeared on just two songs before it became apparent that the ubiquitous "musical differences" really were irreconcilable. The Fleetwood Mac connection was not immediately severed. In 1974, Walker teamed with another of that band's alumni, guitarist Danny Koran (plus Savoy Brown's Dave Bidwell and Andy Sylvester) as Hungry Fighter. But a promising debut at the University of Sussex was followed by disaster when the band lost its equipment in a road accident that also severely injured their road manager and having canceled their next show, the band broke up. Walker relocated to San Francisco in 1975. There he formed Raven, a breathtaking partnership with Quicksilver's John Cipollina, Steve Miller Band guitarist Greg Douglas, and bassist Skip Olson; when Cipollina left to concentrate on the various other bands with which he was then working, his bandmates re-formed as Mistress. Then came the phone call from Tony Iommi that found him flying back to England in November 1977 to join Black Sabbath. Walker was brought into the fold to replace the recently sacked Ozzy Osbourne, and then eased out again when Osbourne was reinstated (for Never Say Die). The Walker lineup never recorded together, but they did make one television appearance, performing an early version of "Junior's Eyes" on the BBC regional show Look Hear in January 1978. Walker returned to the U.S., but his next project, the Dave Walker Band flourished briefly, but by the end of the decade he had effectively retired. He re-emerged in 1986 in a new Savoy Brown lineup, cutting three albums over the next four years: Make Me Sweat, Kings of Boogie, and the concert recording Live and Kickin before departing again in 1991, and it would be 13 years before those oh-so-distinctive vocals were heard again with the release of Mostly Sonny in 2004. Since that time, he recorded with psychedelic revivalists Donovan's Brain and singer Angie Pepper before unleashing Walking Underwater in 2007. © Dave Thompson © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/dave-walker-p135520/biography