Get this crazy baby off my head!


The End

The End - The Last Word (1969-1970) - 2000 - Tenth Planet

Originally a numbered 1000 issue limited edition vinyl release, "The Last Word" is a collection of rare recordings from the '60s British beat/mod/psych band, The End (later to evolve into the hard rock band, Tucky Buzzard). All the tracks are from 1969 and early 1970 and are from the band's post "Introspection" album period. Nine of the tracks were previously unreleased. "Smartypants" was previously released on the Spanish 'Hispavox' label in 1970 as a B-Side under the pseudonym of Los Polos Opuestos. There is nothing really outstanding on the album, but tracks like "Second Glance", "Turn On Waterstone", "My Friend', and the instrumental, "Smartypants" are good examples of 1969/1970 early psychedelic/progressive rock. All the tracks are authentic, fully worked out studio recordings. The album contains some good harmonies, some fine guitar work, and some really inventive keyboard and Hammond organ. The post here is a vinyl version @ 320 Kbps, and sound quality is above average. The album was produced by The Stones' Bill Wyman. Try and listen to The End's "Introspection" album, and Tucky Buzzard's "Coming on Again" album. Tucky Buzzard's 1973 "Buzzard!" album can be found on this blog


A1 Son Of Lightning - recorded 4 March 1969
A2 Second Glance - recorded 3 April 1969
A3 Mistress Bean - recorded 13 February 1970
A4 For Eleanor - recorded 14 February 1970
A5 So Free - recorded 10 December 1969

B1 North Thames Gas Board - recorded 15 April 1969
B2 Do Right Woman Do Right Man - recording date unknown
B3 Turn On Waterstone - recorded 23 January 1970
B4 Smartypants - recording date unknown.
B5 My Friend - recorded 10 December 1969

All tracks composed by Dave Brown, Nicky Graham, Paul Francis, & Terry Taylor except "North Thames Gas Board" by Dave Brown, Nicky Graham, & Colin Giffin, and "Do Right Woman Do Right Man" by Dan Penn, & Spooner Oldham


Guitar - Terry Taylor
Guitar - Chris Spedding on "Mistress Bean"
Bass, Vocals - Dave Brown
Keyboards, Vocals - Nicky Graham
Piano - Ian Stewart on "North Thames Gas Board"
Drums - Paul Francis
Vocals - Jim Henderson
Producer - Bill Wyman


The End were a British rock band formed in 1965 by Dave Brown (bass, vocals) and Colin Griffin (guitar, lead vocals) following the demise of The Innocents. Nick Graham (keyboards, vocals) and John Horton (saxophone) joined from Dickie Pride's backing group, The Original Topics, and Roger Groom (drums) of The Tuxedos completed the line-up. The band was produced by Rolling Stone' Bill Wyman, who arranged for them to tour with his group. After the tour, Grooms quit and was replaced by Hugh Atwooll, an old friend of Graham. Horton would also quit, but continued to work with the band on their second single, "Shades of Orange". In 1969 the band released their only album, Introspection. They are not to be confused with the similarly named California band, who released two singles for Kabron Records in 1966/67.


Although never achieving the success they deserved, the End are best remembered for their Bill Wyman-produced psychedelic-pop that was a masterful mixture of swirling, dream-like numbers, and flowery, but never twee, pop. Their Introspection album is now viewed as one of the finest examples of British psychedelia. Dave Brown and Colin Giffin formed the End in 1965 following the demise of beat group the Innocents. Nicky Graham and John Horton were drafted in from Dickie Pride's backing group, the Original Topics, and the line-up was completed with former Tuxedos drummer Roger Groom. After recording at the now legendary R.G. Jones' Morden studio, successful friend Bill Wyman arranged a tour with the Rolling Stones. They also appeared with Spencer Davis on ITV television's Thank Your Lucky Stars playing "Hallelujah I Love Her So." At this time their music was very much in the club-soul/blue-eyed soul style that was sweeping England by storm. Following the tour, Roger Groom quit to be replaced by Hugh Atwooll, a former school friend of Nicky Graham. John Horton also quit, but the split was amicable as he continued to help out on their second single, "Shades of Orange." Cut by Bill Wyman, with the addition of Charlie Watts on tabla, the song was recorded during the sessions for the Rolling Stones' psychedelic foray, Their Satanic Majesties Request. "Shades of Orange" epitomizes British Psychedelia and is one of the genre's most sought after items. Following the single's release, Gordon Smith also left and was replaced by former Mode guitarist Terry Taylor. The band then decamped to Spain, where several singles were released domestically, including "Why," a Top Five hit in April 1967. By Christmas 1968, both Colin Giffin and Hugh Attwooll had left after recording the Introspection album, and although a new drummer, Paul Francis, was enlisted, the writing was on the wall. With the arrival of another Mode refugee, Jim Henderson, the End metamorphosed into the more progressive-sounding Tucky Buzzard. Introspection was delayed for over a year due to a fallout from the Rolling Stones' bust-up with Allen Klein and was musically the type of psychedelia that had gone out of fashion by the time of its December 1969 release. The band had changed name and style, leaving this glorious album to sink without a trace. © Jon "Mojo" Mills © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/p17318/biography

Tucky Buzzard

Tucky Buzzard - Buzzard! - 1973 - Purple

The great British hard rock band Tucky Buzzard are almost forgotten now. The band only lasted from 1969 to 1973, but they recorded five good studio albums. Dave Brown, Nick Graham, and Terry Taylor had all previously played in The End, a British psychedelic rock band during the sixties who had backed Elkie Brooks, and acted as a support band for the Rolling Stones. The End gradually evolved into Tucky Buzzard, with Bill Wyman producing all the band's albums. 'Bo-Bo's Hampton' is a great track which mellows in the middle and ends with some very good guitar work. 'Hanging On In There' is a great Southern rock influenced track, and 'Super Boy Rock'n'Roller 73' is a good old fashioned Rock'N'Roll track with great brass arrangements. But really, there's not a dud track on this album. The album still retains a psychedelic rock touch with some Alexis Korner-esque vocals. The album posted here is @ 320 Kbps. N.B: The 1974 US Passport label LP omitted the track, "Who Do You Love". Try and listen to TB's "Coming on Again" album, and if you can find it, The End's "Introspection" album. The End's very rare "The Last Word" album covers rare recordings from 1969 and early 1970 and is also worth hearing


1 Who Do You Love - Elias McDaniel 3:56
2 Run in the Morning - Henderson, Taylor 4:19
3 Hanging on in There (Waiting for You to Come) - Brown, Henderson, Johnson, Taylor 5:30
4 Superboy Rock & Roller '73 - Brown, Henderson, Johnson, Taylor 2:06
5 Bo-Bo's Hampton - Henderson, Taylor 4:27
6 Wine and Wimmen - Wyman 4:51
7 Superfine Lady - Henderson, Taylor 4:13
8 Near to Me - Brown, Henderson, Taylor 3:40
9 Shy Boy - Henderson, Taylor 7:32


Paul Kendrick - Guitar, Rhythm Guitar, Vocals, Background Vocals
Phil Talbot - Guitar, Rhythm Guitar
Terry Taylor - Guitar, Slide Guitar, Electric Piano
Dave Brown - Acoustic & Electric Bass, Percussion
Tony Ashton - Keyboards, Hammond Organ, Piano
Bill Wyman - Piano, Electric Piano
Robert Cooksey - Vibraphone
Chris Johnson - Drums, Percussion
Richard Dodd - Tenor Saxophone
John Lee - Trombone
Noel Norris - Trumpet
James Thomas Henderson - Harmonica, Percussion, Vocals
Buzzettes - Background Vocals


British hard rockers Tucky Buzzard formed in 1969, and during their five-year career together as a band, featured members David Brown (bass), Paul Francis (drums), Nick Graham (keyboards), Jimmy Henderson (vocals), Chris Johnson (drums), Terry Taylor (guitar), and Paul Kendrick (guitar, vocals). The group is best remembered amongst hardcore Rolling Stones fans for the fact that former Stones bassist Bill Wyman served as producer (and played on) a few of their albums. Tucky Buzzard issued a total of four recordings -1969's Warm Slash, 1971's Coming on Again, plus a pair of albums in 1973, Alright on the Night and Buzzard - before splitting up. © Greg Prato © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/tucky-buzzard-p21154/


The Johnny Hiland Band

The Johnny Hiland Band - Loud and Proud - 2008 - O.I.E. Records, Ltd.

Johnny Hiland from Woodland, Maine is best known as a "country" and bluegrass style guitarist. In fact, the guy is a very talented multi-instrumentalist, and his musical tastes and styles also extend to guitarists of the calibre of players like Joe Satriani and Eddie Van Halen. Johnny is an amazing guitarist, and his albums are well worth checking out. "inmyhands" on dinosaurrockguitar.com made the statement that "He (Johnny Hiland) may not be a rocker at heart, but, he can rock with the best of them. When he's not playing rock it's just a matter of personal preference. It has nothing to do with any lack of skill level. Hell, he could waste 90% of today's "Rock Guitarists". Johnny is also a good vocalist, and sings on four of the album's thirteen tracks. The album has some "country" and bluegrass elements, and even if you're not a fan of these genres, you've got to admire the brilliant instrumentation. However, the album is predominantly instrumental, and is one of Johnny's more rock orientated albums. Ted Nugent said "I've jammed with the best the world has produced, and Johnny stands spirit to spirit with them all." "Loud and Proud" is HR by A.O.O.F.C. There is a fantastic video clip of Johnny Hiland and Christian Grizzard jamming while trying out some guitars at Atomic Music Store in Baltimore, MD @ Hiland & Grizzard Jam ..."Unplugged" at it's best! Buy Johnny's "Red Hot And Rippin" album and support great music. There's still a lot out there!


1 Intro
2 Groovin'
3 Honky Tonk Night Time Man
4 Rock It
5 Truckin' Route 9
6 My Sweet Kimmie Girl
7 Loud and Proud
8 I Never
9 Chicken And Cheese
10 Little Girl's Lullaby
11 Mercury Blues
12 Standing On New Ground
13 Chicken Pickin' Heroes


Johnny Hiland - Guitar, Vocals
Michael Hill - Bass
Solon Smith - Rhythm Guitar, Keyboards,Vocals
Cody Leppo - Drums


Johnny Hiland grew up in the small town of Baileyville, Maine. He was born legally blind with an eye disease known as nystagmus, which did not allow him to grow up like most children. He started playing guitar at age 2, and went on to perform his first tv show at age 7. His career took off when Johnny won the "Talent America Contest," at age 10, in New York City. His father had taken him to see Ricky Skaggs perform, and Johnny immediately went from pickin' bluegrass to wanting a telecaster. As a teen, Johnny spent countless hours learning and developing his own blend of chicken pickin,' rock, blues, and swing; while pickin' in a number of different bands around the state of Maine.. After finishing high school, and 3 years of college, he moved to Nashville in 1996. Since then, he performed with The Don Kelley Band down at Robert's Western World, which led him to perform on TNN's "Prime Time Country," and then as a headline artist at the legendary Grand Ole Opry. Johnny has played on a number of records for artists like Toby Keith, Trick Pony, Randy Travis, Ricky Skaggs, Janie Fricke, Lynn Anderson, and Hank 3. He later signed a record deal with Steve Vai and his guitar based record company, Favored Nations. He released his first debut, self titled, album in 2004. Since then he has been touring the globe with his band, "The Johnny Hiland Band," and has released a 2nd guitar album, independently, called, "Loud and Proud." He has also performed on stage with super artists like Sammy Hagar, Ted Nugent, George Clinton and P-Funk, Les Paul, Steve Vai, Joe Bonamassa, G3, and many others. He loves to teach, and has his own line of guitar instructional material as well; 2 Hot Licks videos, and a number of books/cds with Mel Bay. He has had his own signature model PRS, and now has found his proper guitar home with Ernie Ball Music Man. Now, in 2010, he has teamed up with his long time friend, Ron Lutrick, and they have just released a new record called, "The Blues Connection." You will find The Blues Connection touring hard in 2011. Johnny will always reach out to show the young people of today that live music is really cool, and that guitar is awesome!!!! He has written a children's book called, "Tuff and Friends," to inspire handicapped children to follow their dreams. He feels, and shows every single day, that he has been very blessed, by God, for the gift of music/guitar, and to be able to continue to earn a living doing what he loves to do. For tour dates, and other information on Johnny, please check out www.johnnyhiland.net. © 2010 Johnny Hiland Enterprises http://www.johnnyhiland.net/index.php?p=1_4_Biography


Johnny Hiland is a guitarist originally from Woodland, Maine, and was born with a medical condition that left him legally blind. He joined his family's band, the Three Js and toured New England under the auspices of the Down East Country Music Association. At ten, Johnny won the Talent America contest, entitling him to a performance in New York City. He expanded his musical interests beyond bluegrass to the guitar rock of players like Joe Satriani and Eddie Van Halen. After high school, he attended the University of Southern Maine as a history major, but ultimately dropped out to become a professional musician. Johnny eventually moved to Nashville where he worked as a guitarist for artists such as Toby Keith, Ricky Skaggs, Janie Fricke, and Hank Williams III. He has with Steve Vai’s Favored Nations label as a solo artist and to date has released two studio albums, the self-titled Johnny Hiland and Loud and Proud. The Johnny Hiland Band has headlined concerts and clubs in the US and internationally in Italy, Japan, Canada, England, Italy and Germany. In addition to all of that, he also teaches Master Classes at vschools ranging from Berkley School of Music in Boston to Musicians Institute in California and the Academy of Contemporary Music in England. Johnny has also released instructional DVDs which highlight his bluegrass and “chickin’ pickin’ style. If you play guitar, you probably know what that is. Johnny career has really taken off the last few years, as evident by the fact that he has a signature guitar on the market. He played Fender Telecasters for years, then “shocked” the guitar world by switching to Paul Reed Smith guitars, eventually having a signature model named for him. (A few guitar forums went nuts about this!) He just joined the Ernie Ball/Music Man company as an endorsee, using a Music Man Silhouette guitar. "I think Johnny Hiland is the most versatile guitar player I've ever heard. From Bill Monroe to Eddie Van Halen, he can play it all." - Ricky Skaggs. "I've jammed with the best the world has produced -- Johnny stands spirit to spirit with them all." - Ted Nugent [Posted by & © Tom C at 7:52 PM Wednesday, May 26, 2010 http://fendersixstring.blogspot.com/2010/05/johnny-hiland.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+TheSixStrings+%28The+Six+Strings%29]


Gerry McAvoy

Gerry McAvoy - Can't Win 'Em All - 2010 - Angel Air

Incredibly, it took almost 30 years for this album to see the light of day. Nine Below Zero bassist Gerry McAvoy was still a member of Rory Gallagher's band when he began work on his first solo album and, while it would take him a few years to get it finished, dipping in and out of the studio as Gallagher's schedule allowed, by the mid-'80s he had emerged with a solid 11-song collection that, as he explained, wrapped up all of his influences in one. Rounding up songs that he'd been accumulating for years -- several of which would have sounded great in Gallagher's hands, incidentally -- it's a solid British blues album, tough and tuneful, and powered, unsurprisingly, by some of the most inventive bass playing around. But it isn't just a bassist's album -- a full band pounds behind McAvoy, while he adds vocals and guitars to the brew as well. © Dave Thompson © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/cant-win-em-all-r1830577

Gerry McAvoy is an exceptional and gifted Irish blues rock bass guitarist who is known for his 30m plus years playing bass with Rory Gallagher and was the only consistent factor on all of Rory's 14 solo albums which have sold over 30 million copies worldwide. After Gallagher's death in 1995 Gerry moved on and joined Nine Below Zero whom he still plays with today all over the world. 2005 saw the publication of his autobiography "Riding Shotgun-35 years on the road with Rory Gallagher and Nine Below Zero". "Can't Win 'Em All" is his first solo album and captures not only his solid bass line, complex notes, rhythms and song writing skills as well as his deep warm enchanting vocals. © 1996-2011, Amazon.com, Inc. or its affiliates & © 2010 MVD Entertainment Group. All Rights Reserved © http://mvdb2b.com/s/GerryMcAvoyCantWinEmAll/SJPCD321

Bassist for the late great Northern Irish blues guitarist Rory Gallagher, and after the death of that doyen of the blues, Gerry became bassist for Nine below Zero, how can Gerry fail to be a hit with your old scribe? He's a bassist, the anchor of a band and keeper of the boogie, and he played with one of your old scribe's favourite bluesmen (so I must've seen him live many times including at the first ever gig at the UK National Exhibition Centre after Rod the God refused to play an untried venue and Rory was shoehorned in for his second Brummie gig that year). This album might be called Can't Win 'Em All, but McEvoy sure can win most. Mostly gems and few fillers on this solo outing. Raunchy boogie, dense dynamics, like coked up Canned Heat. this white boy plays the blues with the unique flavour born not from the cotton fields but from the urban troubles of Ulster. Sound quality is as clean as it oughta be for this genre with convincing drums despite some obvious compression and artificial reverb. Any slicker would devalue the performance, and an unusually convincing lateral soundstage for a multitracked recording; predictably little depth but what there is preserves the cymbals in the same plane as the skins, avoiding the close mike problem of cymbals too close for comfort. This disc remains in the current playlist stack next to the CD player. © Mark Wheeler & Reviewer: Mark Wheeler - TNT UK Reviewed: June-July 2010 © 2010 Mark Wheeler - www.tnt-audio.com http://www.tnt-audio.com/topics/angel_air_july_e.html

For over twenty years Irish bassist Gerry McAvoy was Rory Gallagher's right hand man as he held down the bottom end for the famous guitarist, logging countless miles on the road as well as playing on every one of Rory's solo records from 1970 to 1990. After parting ways with Rory in 1990 McAvoy took drummer Brendan O'Neil with him and joined forces in the newly revamped lineup of British blues band Nine Below Zero, where McAvoy has remained to this day. With a recent flurry of activity in the Nine Below Zero camp, new album, couple of stellar reissues & celebrating their 30th anniversary etc… the timing for McAvoy to launch a new solo album couldn't be better. With Gallagher it seemed that Gerry was rarely called upon to contribute as a songwriter, but with Nine Below Zero and now with Can't Win 'Em All he's shown that in addition to be a gifted musician he's an accomplished writer as well. Although no actual specifics are given the songs on Can't Win "Em All were recorded in different locations at various times in the 70's and 80's, but for some reason they're only seeing the light of day now. Some of the musicians helping him out here are his Nine Below Zero cohorts, O'Neil, harmonica player Mark Feltham and ex-Manfred Mann guitarist Dave Flett. Revealing his love for 50's rock 'n roll, straight ahead rock and of course the blues, songs like "Troubled Heart", the bluesy swagger of the title track and "Help Me Through The Day", along with the punchy horns featured prominently on the Junior Wells cover "What My Mamma Told Me", certainly wouldn't have sounded out of place on any of Rory's records. While I wouldn't consider Gerry to be a particularly strong lead vocalist, he doesn't try to push things outside of his range, and his voice does have an endearing appeal to it. In the end if you've followed Gerry McAvoy's career at all for the past forty years I don't think you'll find that the material on Can't Win 'Em All strays too far from what he's been known to do. However, what this album really does is offer the listener a bit of unique insight into who Gerry McAvoy is as both a musician and a songwriter, because this is certainly one musical vision that he can truly call his own. Reviewer: Ryan Sparks & © Ryan Sparks - Score: 3.5 stars © Sea of Tranquility http://www.seaoftranquility.org/reviews.php?op=showcontent&id=9473

Good album from the great Irish bassist, Gerry McAvoy, (formerly with the late, great Irish blues legend Rory Gallagher), featuring original compositions and a few standards. Gerry recorded these tracks at various locations during the 70's and early 80's during gaps in Rory Gallagher gigs and recording sessions. The tracks have remained unreleased for at least thirty years, but the music here even if it "Can't Win 'Em All", will certainly win over a lot of people who like good blues, rockabilly, R&B, and funk. Gerry McEvoy played with Rory Gallagher for over 20 years and played on most of Rory's albums. Sound quality on "Can't Win 'Em All" is @ 160 Kbps. Audio could be better, but the recordings date from different venues and time periods. Audio quality varies from track to track, but the album is very listenable. Give Rory's great "Top Priority", and "Fresh Evidence" albums a listen. Nine Below Zero's "Both Sides of" album @ 9BZ/BSO N.B: Details on "Can't Win 'Em All" are "sketchy" to say the least. Some catalogues list Track 8 on the album as "I Gotta Move". The album here has Track 8 listed as "Oh' What A Shame". 1 Are there more versions of this album? 2 Does anybody know who Jimmy the Greek is and what he plays on the album? 3 Can anybody list exactly which tracks are composed by Gerry McAvoy? 4 Has anybody any info on Gerry McAvoy's "Bassics" album? Thanks!

TRACKS / COMPOSERS [Where known]

1 Misunderstood - Gerry McAvoy
2 Chose To Sing The Blues - Ray Charles, Jimmy Holiday
3 Born Too Late
4 Troubled Heart
5 Behan
6 Can't Win 'Em All
7 Midnight Man
8 Oh' What A Shame
9 Runaway - Del Shannon, Max Crook
10 What My Mama Told Me - Junior Wells
11 Help Me Through The Day


Gerry McAvoy - Bass, Vocals
Tommy Willis, Davy Flett - Guitar
Ian Kewley - Keyboards
Brendan O'Neill - Drums
Mark Feltham - Harmonica
Jimmy the Greek - Unknown


Gerry McAvoy (born John Gerrard McAvoy, 19 December 1951, Belfast, Antrim, Northern Ireland) is an Irish blues rock bass guitarist, who is best known for his twenty five year long friendship and professional association performing with Rory Gallagher between 1970 and 1991. A melodic bassist, McAvoy provided what Gallagher has maintained a "musical ESP", in performances and songwriting composition, often playing solos within Gallagher's quartets, and most notably, power trios. After Gallagher's death in 1995, McAvoy moved on, and joined Nine Below Zero, with whom he is still active. McAvoy first began his musical career in the Belfast band Deep Joy. During his tenure with Deep Joy he first played with drummer Brendan O'Neill, who was later to tour with Rory Gallagher and appear on Gallagher's last three albums Jinx, Defender and Fresh Evidence. McAvoy began listening to blues records at an early age. As well as rock and roll, his main influences include Muddy Waters, Paul McCartney and Jet Harris. In his autobiography he cites his brother-in-law (of the same name) as an influence on much of his musical taste. He mostly plays Fender bass guitars, particularly Precisions, owning a 1955 butterscotch blonde Precision and a 1975 cream Precision. However his main stage bass guitar is the black Music Man StingRay. He also owns a black Silvertone bass. For amplification, he uses a Trace Elliot V6 amplifier and a 4 X 10 speaker cabinet, a Peavey T1-15 and a Marshall bass 30W. 2005 saw the publication of his biography Riding Shotgun - 35 years on the road with Rory Gallagher and Nine Below Zero.

Brian Auger's Oblivion Express

Brian Auger's Oblivion Express - Live Oblivion - Volume 1 1974 & Volume 2 1976 - RCA

As a retrospective collection, this two-disc set provides an excellent introduction to the Oblivion Express's music of the early '70s. Brian Auger's distinctive organ and percussive electric piano attack lead the way, defining the group's sound. Guitarist Jack Mills may lean a little too heavily on the wah-wah effect popular at the time, and Alex Ligertwood's vocals may be an acquired taste, but the total package is very strong, a potent mix of jazz and rock. Mixing covers of funky jazz classics like Herbie Hancock's "Maiden Voyage" and Eddie Harris' "Freedom Jazz Dance" with "Happiness is Just Around the Bend" and other originals, this recording captures Auger and cohorts at the peak of their powers, stretching out at the Whisky a Go Go in 1974. Throughout, these guys really cook, taking the music into new directions only hinted at on earlier studio efforts, showing how exciting the jazz-rock blend could be. © Jim Newsom © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/complete-live-oblivion-r223437

Brian Auger, the "Grandfather of Acid Jazz", came out of the British Blues scene playing with artists like John Mayall. He was strongly influenced by organ players like Groove Holmes, Charles Earland, Jimmy Smith, Jack McDuff, Don Patterson, and many others. However, in his own right, Brian is equally as talented as any of these artists. In his early career, during the mid '60's in England, Brian was a "straight up jazz player". Later in his career he was accused by many music critics and fans of selling out, after he veered his music in a more R&B/jazz direction. At various times, he played with artists like Passport, Average White Band & Les McCann and Eddie Harris. "Brian Auger is one of the best B-3 artists I have ever heard in my life. His technique is awesome and the amount of energy he generates is unparalleled and relentless. He is a tremendous talent with a wonderfully warm and compassionate personality, a combination that is hard to beat. He deserves all the accolades."- Herbie Hancock: "My Favorite rock artists are Van Morrison, Bonnie Raitt, Brian Auger and Loudon Wainwright."- Mose Allison. "Live Oblivion" is a great contemporary live soul jazz rock album. The tracks were recorded live at The Whisky a Go Go, Sunset Strip, Hollywood, Ca. in 1974 with Alex Ligertwood on lead vocals.The tracks have been released on several labels with different track sequencing. The two albums were released on CD in 1995 on One Way Records as "Brian Auger's Oblivion Express' The Complete Live Oblivion". The tracks posted here are the same track listings as the original separate RCA LP's from 1974 and 1976. Both rar files are separate albums. They are also very large files @ 320 Kbps. Listen to Julie Driscoll/Brian Auger & The Trinity's "Streetnoise" album, Brian Auger's Oblivion Express' "Reinforcements" album, and Karma Auger's great "Blue Groove" album. "Live Oblivion" is HR by A.O.O.F.C. N.B: A little note for Steely Dan fans. Some of the music on Brian Auger's "Voices Of Other Times" album is very reminiscent of Walter Becker's (Steely Dan) jazz rock style. One of Brian's favourite musicians is the late English multi-instrumentalist, Victor Feldman, who played on at least five Steely Dan albums, and one of Brian's favourite albums is Steely Dan's "Aja".


A1 Beginning Again - Brian Auger
A2 Don't Look Away - Ligertwood, Dean, Mullen
B1 Bumpin' On Sunset - Wes Montgomery
B2 Truth - Alex Ligertwood


Lead Vocals, Percussion – Alex Ligertwood
Organ, Electric Piano, Backing Vocals – Brian Auger
Lead Guitar – Jack Mills
Bass – Barry Dean
Drums – Stephen Ferrone


A1 Freedom Jazz Dance - Eddie Harris
A2 Happiness Is Just Around The Bend - Brian Auger
B1 Maiden Voyage - Herbie Hancock
B2 Second Wind - Brian Auger
C1 Whenever Your Ready - Brian Auger, Barry Dean
C2 Inner City Blues - Marvin Gaye
D1 Straight Ahead - Barry Dean
D2 Compared To What - Gene Mcdaniels


Organ, Electric Piano, Backing Vocals - Brian Auger
Lead Guitar - Jack Mills
Bass - Barry Dean
Drums - Andre Ceccarelli (track: D1), Stephen Ferrone (tracks: A1 to C2)
Lead Vocals, Percussion - Alex Ligertwood


Brian Auger was raised in London, where he took up the keyboards as a child and began to hear jazz by way of the American Armed Forces Network and an older brother's record collection. By his teens, he was playing piano in clubs, and by 1962 he had formed the Brian Auger Trio with bass player Rick Laird and drummer Phil Knorra. In 1964, he won first place in the categories of "New Star" and "Jazz Piano" in a reader's poll in the Melody Maker music paper, but the same year he abandoned jazz for a more R&B-oriented approach and expanded his group to include John McLaughlin (guitar) and Glen Hughes (baritone saxophone) as the Brian Auger Trinity. This group split up at the end of 1964, and Auger moved over to Hammond B-3 organ, teaming with bass player Rick Brown and drummer Mickey Waller. After a few singles, he recorded his first LP on a session organized to spotlight blues singer Sonny Boy Williamson that featured his group, saxophonists Joe Harriott and Alan Skidmore, and guitarist Jimmy Page; it was Don't Send Me No Flowers, released in 1968. By mid-1965, Auger's band had grown to include guitarist Vic Briggs and vocalists Long John Baldry, Rod Stewart, and Julie Driscoll, and was renamed Steampacket. More a loosely organized musical revue than a group, Steampacket lasted a year before Stewart and Baldry left and the band split. Auger retained Driscoll and brought in bass player Dave Ambrose and drummer Clive Thacker to form a unit that was billed as Julie Driscoll, Brian Auger and the Trinity. Their first album, Open, was released in 1967 on Marmalade Records (owned by Auger's manager, Giorgio Gomelsky), but they didn't attract attention on record until the release of their single, "This Wheel's on Fire," (music and lyrics by Bob Dylan and Rick Danko) in the spring of 1968, which preceded the appearance of the song on the Band's Music from Big Pink album. The disc hit the top five in the U.K., after which Open belatedly reached the British charts. Auger and the Trinity recorded the instrumental album Definitely What! (1968) without Driscoll, then brought her back for the double-LP, Streetnoise (1968), which reached the U.S. charts on Atco Records shortly after a singles compilation, Jools & Brian, gave them their American debut on Capitol in 1969. Driscoll quit during a U.S. tour, but the Trinity stayed together long enough to record Befour (1970), which charted in the U.S. on RCA Records, before disbanding in July 1970. Auger put together a new band to play less commercial jazz-rock and facetiously called it the Oblivion Express, since he didn't think it would last; instead, it became his perennial band name. The initial unit was a quartet filled out by guitarist Jim Mullen, bass player Barry Dean, and drummer Robbie McIntosh. Their initial LP, Brian Auger's Oblivion Express, was released in 1971, followed later the same year by A Better Land, but their first U.S. chart LP was Second Wind in June 1972, the album that marked the debut of singer Alex Ligertwood with the band. Personnel changes occurred frequently, but the Oblivion Express continued to figure in the U.S. charts consistently over the next several years with Closer to It! (August 1973), Straight Ahead (March 1974), Live Oblivion, Vol. 1 (December 1974), Reinforcements (October 1975), and Live Oblivion, Vol. 2 (March 1976). Meanwhile, Auger had moved to the U.S. in 1975, eventually settling in the San Francisco Bay area. In the face of declining sales, he switched to Warner Bros. Records for Happiness Heartaches, which charted in February 1977. Encore, released in April 1978, was a live reunion with Julie Tippetts (née Driscoll) that marked the end of Auger's association with major record labels, after which he dissolved the Oblivion Express and recorded less often. In 1990, he teamed up with former Animals singer Eric Burdon, and the two toured together during the next four years, releasing Access All Areas together in 1993. In 1995, Auger put together a new Oblivion Express. As of 2000, the lineup consisted of his daughter, Savannah, on vocals, Chris Clermont on guitar, Dan Lutz on bass, and his son Karma on drums. This group issued the album Voices of Other Times on Miramar Records one week before Auger's 61st birthday. © William Ruhlmann © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fpfrxqr5ldhe~T1


James Taylor

James Taylor - (Live) - 1993 - Columbia

Rolling Stone (9/30/93, p.101) - 4 Stars - Excellent - "...LIVE makes clear [that] Taylor's popularity is not merely a case of nostalgia but a testament to the abiding power and depth of his artistry..."Entertainment Weekly (8/6/93, p.56) - "...JT's at the top of his familiar folksy form, singing with tangible pleasure, and a wry rhythmic kick..." Rating: B+
Q (11/93, p.137) - 4 Stars - Excellent - "...James Taylor has always been a top-notch act, exuding charisma and effortless musicality.... [LIVE is] proof..."

"A live James Taylor album has been suggested, demanded and contemplated for many years," writes Taylor's manager/producer, Peter Asher, in this album's liner notes, and the reasons are not hard to find. For one thing, Taylor has been a successful concert attraction for more than 20 years. For another, an artist who has scored in excess of 30 chart records (on four different labels) over those years is represented by only one, 20-year-old hits compilation. The 30-track, two-hour Live, drawn from a tour staged specifically to record it, is an attempt to address those points. Fronting a typically top-notch band, Taylor ranges across his repertoire, back to 1968 for "Something in the Way She Moves" and "Carolina in My Mind," and up to 1991 for "Copperline," among other songs drawn from New Moon Shine. In between come most of his hits. (The most notable exception is "Her Town, Too," and there is a general paucity of later recordings like "That's Why I'm Here" and "Never Die Young.") Taylor treats the material in his relaxed, assured style, making occasional ironic or self-deprecatory remarks between songs and charming his audience even more. The effect of presenting the songs in a uniform manner is to imply an equality between them, as though the deeper material was less significant and the slighter songs more substantial. But that doesn't keep the set from being a consistently enjoyable listening experience. Taylor remains sorely in need of a retrospective that would bring his work into concise coherence, but this one at least presents most of his best-known material in effective performances. © William Ruhlmann © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/r188465/review

Although he is a seasoned and well-loved live performer, James Taylor had never made a live record before 1993, when he released this two-CD set. Culled from a series of 14 concerts, these 30 songs capture the genial Taylor digging into an impressively rich bag of songs, with crowd-pleasing results. It's an extremely faithful recording--no overdubs--and the band is top-notch, with a standout backup vocal section. Taylor proves he doesn't mind serving up old chestnuts even after performing them for decades, and delivers the goods with such staples as "You've Got a Friend" and "Fire and Rain." The first CD concentrates a bit more on classic-era James Taylor--CD 2 leans a bit toward his later career--but most of these songs will be familiar to anyone who was around when Taylor was a fixture on American radio. Beginning with a luminescent "Sweet Baby James," he remains faithful to the spirit of hits like "Shower the People" "Your Smiling Face", and "How Sweet it Is," although he sometimes plays around with his vocal delivery, as on the driving "Steamroller Blues." All in all, this is a satisfying retrospective of a distinguished body of work. © 1996 - 2011 CD Universe; Portions © 1948 - 2011 Muze Inc. For personal non-commercial use only. All rights reserved

Thirty tracks taken from 14 shows during a tour in November 1992. James Taylor is a struggling, young, hugely talented singer/songwriter who has been ignored by the media for far too long. Buy a few of his albums and support this guy! (LOL!). But seriously,what can you say about James Taylor's artistry that hasn't already been said? The album is VHR by A.O.O.F.C. N.B: 2 rar files are 2 separate albums. They are v.large files @ 320 Kbps. Think before you DL


1.01 Sweet Baby James
1.02 Traffic Jam
1.03 Handy Man - Otis Blackwell, Jimmy Jones, Charles Merenstein
1.04 Your Smiling Face
1.05 Secret O' Life
1.06 Shed A Little Light
1.07 Everybody Has The Blues
1.08 Steamroller Blues
1.09 Mexico
1.10 Millworker
1.11 Country Road
1.12 Fire And Rain
1.13 Shower The People
1.14 How Sweet It Is - Lamont Dozier, Brian Holland, Eddie Holland
1.15 New Hymn - James Taylor, Reynolds Price


2.01 Walking Man
2.02 Riding On A Railroad
2.03 Something In The Way She Moves
2.04 Sun On The Moon
2.05 Up On The Roof - Carole King, Gerry Goffin
2.06 Don't Let Me Be Lonely Tonight
2.07 She Thinks I Still Care - Steve Duffy, Dickey Lee Lipscomb
2.08 Copperline - James Taylor, Reynolds Price
2.09 Slap Leather
2.10 Only One
2.11 You Make It Easy
2.12 Carolina On My Mind
2.13 I Will Follow
2.14 You've Got A Friend - Carole King
2.15 That Lonesome Road - James Taylor, Don Grolnick

All songs composed by James Taylor unless stated otherwise


James Taylor - Guitar, Vocals
Michael Landau - Guitar
Jimmy Johnson - Bass
Clifford Carter - Keyboards
Don Grolnick - Piano
Carlos Vega - Drums
Arnold McCuller, Kate Markowitz, David Lasley, Valerie Carter - Vocals


When people use the term "singer/songwriter" (often modified by the word "sensitive") in praise or in criticism, they're thinking of James Taylor. In the early '70s, when he appeared with his introspective songs, acoustic guitar, and calm, understated singing style, he mirrored a generation's emotional exhaustion after tumultuous times. Just as Bing Crosby's reassuring voice brought the country out of the Depression and through World War II, Taylor's eased the transition from '60s activism and its attendant frustrations into the less political, more inward-looking '70s. He was rewarded with a series of hit albums and singles (surprisingly, many of the latter were covers of old songs rather than his own compositions), and he managed to survive his initial fame to achieve lasting popularity. He continued to tour successfully for decades, and, starting with his 1970 breakthrough Sweet Baby James, all but one of his regular album releases for the rest of the century went gold or platinum, while his 1976 Greatest Hits album achieved a diamond certification reflecting sales of more than ten million copies. Taylor was the son of Dr. Isaac and Gertrude Taylor. His three brothers Alex (1947-1993), Livingston, and Hugh -- and his sister Kate -- all became musicians and recorded albums of their own. In 1951, Dr. Taylor was appointed dean of the medical school at the University of North Carolina at Chapel Hill, and the family moved from New England to the South. Taylor studied cello as a child, but first took up the guitar in 1960. In 1963, he began attending Milton Academy, a prep school in Massachusetts. That summer, he met fellow guitarist Danny "Kootch" Kortchmar while staying on Martha' s Vineyard, and the two formed a folk duo. Taylor dropped out of school at 16 and formed a band with his brother Alex. Having moved to New York, he suffered from depression and checked himself into McLean Psychiatric Hospital in Massachusetts, a stay that would inspire some of his early songs. While there, he earned a high-school diploma. Upon release, he returned to New York in 1966 and formed a new group, the Flying Machine, with Kortchmar and Joel O'Brien. The band played in Greenwich Village and was signed to a fledgling record label, Rainy Day Records (the name taken from Taylor' s song "Rainy Day Man"). It released one single, "Brighten Your Night with My Day" / "Night Owl," both songs written by Taylor. The record was unsuccessful, and the band broke up in the spring of 1967. By 1968, Taylor had become addicted to heroin. In an attempt to overcome his addiction, he moved to London, where he submitted a demo tape to Peter Asher, former member of Peter & Gordon, then working for the Beatles' Apple Records label. As a result, Taylor was signed to Apple and recorded his debut solo album, James Taylor, released in the U.K. in December 1968 and in the U.S. in February 1969. Initially, it received little attention. A more pressing concern, however, was that Taylor had not been able to kick heroin. As a result, he returned to the U.S. and checked into the Austin Riggs Hospital in Massachusetts. By July 1969, he had recovered sufficiently to make his solo debut at the Troubadour nightclub in Los Angeles, but soon after he was in a motorcycle accident and broke both of his hands, which put him out of commission for several months. Freed of his Apple Records contract, Taylor signed to Warner Bros. Records, moved to California, and, retaining Asher as his manager and producer, recorded his second album, Sweet Baby James. It was released in February 1970 and became a major success during the course of the year, spurred by the single "Fire and Rain," a song that reflected on his experiences in mental institutions, which peaked in the Top Five in October, the same month that Sweet Baby James achieved the same status on the LP charts. With that, interest in Taylor's first album was re-stimulated, and it belatedly reached the charts along with the single "Carolina on My Mind," as did James Taylor and the Original Flying Machine -- 1967, a short collection of unfinished recordings made by his '60s band. Sweet Baby James then spawned a second hit single, "Country Road," which peaked in the Top 40 in March 1971. The same month, Taylor appeared on the cover of Time magazine, touted as the founder and leading proponent of the "singer/songwriter" trend in popular music. Meanwhile, Taylor had acted in a feature film, Two-Lane Blacktop, co-starring with the Beach Boys' Dennis Wilson. It was not successful, and Taylor never pursued an acting career, though it has been well reviewed subsequently. Taylor also worked on a new album, returning to record stores in April 1971 with Mud Slide Slim and the Blue Horizon. As he toured the U.S., the LP spent the summer in the Top Ten, eventually peaking just below the top of the charts, paced by its first single, "You've Got a Friend," written by Carole King, which hit number one in July and went gold. A second single, "Long Ago and Far Away," reached the Top 40, and the album eventually sold more than two million copies. On March 14, 1972, Taylor won the 1971 Grammy for Best Pop Vocal Performance, Male, for "You've Got a Friend." Taylor took what was then considered a long time -- more than a year and a half -- to come up with his next album, One Man Dog, released in November 1972. On November 3, 1972, during an appearance at Radio City Music Hall in New York, he announced to the crowd that he had married singer/songwriter Carly Simon earlier in the day. Simon was already well known for the hits "That's the Way I've Always Heard It Should Be" and "Anticipation," and would soon top the charts with "You're So Vain." One Man Dog marked a fall-off in Taylor's record sales, though it went gold, reached the Top Five, and spawned a Top 20 single in "Don't Let Me Be Lonely Tonight." Taylor was next heard from in January 1974, when he sang a duet with his wife of "Mockingbird," a cover of the 1963 hit by Inez & Charlie Foxx, on her Hotcakes album. Released as a single, the recording reached the Top Five and went gold. That spring, Taylor launched a major tour in anticipation of his next album, Walking Man, released in June. Though it reached the Top 20, the album was a commercial disappointment, failing to go gold or produce a chart single. But Taylor bounced back the following year with the May release of Gorilla. Again, he succeeded by reviving an old hit, this time Marvin Gaye's 1964 song "How Sweet It Is (To Be Loved by You)," which reached the Top Five, helping the album become a Top Ten, gold-selling hit. In the Pocket, Taylor's seventh album, was his third annual warm-weather release, appearing in June 1976. Its single was the singer's own "Shower the People," which reached the Top 40, while the album made the Top 20 and went gold. Nearing the end of his Warner Bros. contract, Taylor re-recorded a couple of his Apple songs for his Greatest Hits LP, released in November. It became a perennial seller. With that, in a major coup, he was signed by Columbia Records. His debut for the label, JT, was released in June 1977. Once again, a revival spurred its sales, as Taylor covered Jimmy James' 1959 song "Handy Man" and took it into the Top Five, followed by a Top 20 showing for his own "Your Smiling Face." With such stimulation, JT reached the Top Five and sold over two million copies. On February 23, 1978, Taylor picked up a second Grammy for Best Pop Vocal Performance, Male, for "Handy Man." Along with Paul Simon, Taylor was a featured singer on Art Garfunkel's cover of "(What A) Wonderful World," previously a hit for Sam Cooke and Herman's Hermits, which peaked in the Top 20 in March 1978. Taylor next became involved with the Broadway musical Working, based on Studs Terkel's bestseller, writing three songs for it. The show ran a scant 25 performances after opening on May 14, 1978, but Taylor reclaimed "Millworker" and "Brother Trucker" for his next album. Meanwhile, his duet with Carly Simon on a revival of the Everly Brothers' "Devoted to You" peaked in the Top 40 in September. Flag, marking a nearly two-year break between albums, appeared in April 1979, its Top 40 hit single being a revival of the 1963 Drifters hit "Up on the Roof." Despite the lack of a really big hit single, the LP reached the Top Ten and went platinum. That September, Taylor performed at Madison Square Garden in the No Nukes concerts, later being featured in the No Nukes triple LP and in the No Nukes concert film. Taylor embarked on a national tour in the summer of 1980, despite not having a current album to promote. From here on, recurrent touring became a regular part of his career and contributed to his longevity as an artist. That fall, he appeared on the children's album In Harmony 2, singing "Jelly Man Kelly." The album won the 1981 Grammy for Best Recording for Children. He toured extensively during 1981, releasing Dad Loves His Work in February. The album reached the Top Ten and went gold, spurred by the Top Ten success of the single "Her Town Too," written by Taylor, J.D. Souther, and Waddy Wachtel, Taylor's most successful original composition since "Fire and Rain." Taylor continued to tour frequently in the early '80s, a period when his marriage to Carly Simon came to an end (they were divorced in 1983). Often, his performances took place overseas. In January 1985, he performed at the Rock in Rio concert in Brazil, a show that resulted in the Brazil-only release Live in Rio. His next studio album, following a gap of more than four years, was That's Why I'm Here, released in October 1985. As usual, his record label issued a cover song as the single; in this case it was Buddy Holly's "Everyday," which didn't get very far up the charts. Nevertheless, Taylor's long career and constant touring had brought him a permanent audience ready to buy his records, and the album eventually went platinum. On December 14, 1985, he married for the second time, to Kathryn Walker; a month later, he was on tour in Australia. Road work continued to be Taylor's primary occupation in the mid-'80s, but he came off tour long enough to finish another album, Never Die Young, only a little more than two years after That's Why I'm Here, released in January 1988. The title song, issued as a single, barely reached the charts, but Never Die Young was another million-seller. The late '80s and early '90s saw more extensive worldwide touring. New Moon Shine, Taylor's 13th regular album release, came in October 1991, the same month that he sold out six consecutive shows at the Paramount Theater in New York; the disc stayed in the charts nearly a year and sold a million copies. Despite his consistent draw as a concert attraction, Taylor had never released a live album in the U.S. until the August 1993 appearance of Live, a two-CD set that went platinum within months. Columbia Records, which had never had a Taylor compilation to promote, trimmed the album down to a single disc of hits for the 1994 release (Best Live). Taylor was divorced from his second wife in 1996. His next album, Hourglass, released in May 1997, demonstrated his continuing appeal by entering the charts in the Top Ten. On February 25, 1998, it won the 1997 Grammy for Best Pop Album. In October the same year, Columbia issued the DVD Live at the Beacon Theatre while Billboard magazine was honoring Taylor with their highest accolade, the Century Award. By 2000, Taylor's first Greatest Hits collection had sold over ten million copies, earning him the RIAA's Diamond Award. Taylor was also inducted into both the Rock & Roll Hall of Fame and the Songwriter's Hall of Fame in 2000, and at the end of the year, Columbia issued Greatest Hits, Vol. 2, covering the years 1977-1997. Fans who had waited five years for new material were awarded with October Road in 2002, an album that earned two Grammy nominations and eventually went platinum. A year later, The Best of James Taylor became the first compilation to cover material from his years with Apple, Warner Bros., and Columbia. In 2004, he appeared on the television show The West Wing, released a Christmas Album, and sang the national anthem before game two of the World Series. Two years later, Taylor released James Taylor at Christmas and made an appearance on the soundtrack for the Pixar film Cars. In 2007, the CD/DVD One Man Band was released on the Hear Music label. An album featuring a dozen cover versions of various songs, simply and appropriately called Covers, followed a year later in 2008, also from Hear Music. A sequel, Other Covers, appeared in 2009. Following a highly successful dual tour with Carole King, Taylor and King released a concert CD/DVD set called Troubadour Reunion in 2010.


John Cunningham

John Cunningham - Shankly Gates - 1992 - La-Di-Da Productions

"Cunningham's first full album, 1991's Shankly Gates, is much more stripped down and intimate than Backwards Steps, with jazzy piano and subtle trumpet and oboe accents. It was rapturously received by the French press, which compared Cunningham to artists like Robert Wyatt and late-period Talk Talk, but as would be the case throughout Cunningham's career, sales did not match the critical reaction" - © Stewart Mason © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/john-cunningham-p430305/biography

Liverpudlian, John Cunningham's music has received some great reviews from magazines including Mojo and NME, yet he is virtually unknown in his own homeland. John's career began in the early '90's when he released the 'Backward Steps' album with The Housemartins' Stan Cullimore. The album was popular in France, but remains an obscurity to many people. He released solo albums including 'Shankly Gates', (posted here), 'Happy Go Unlucky', and the brilliant "Homeless House" album. "Homeless House was my record of the year for 1998. It was my record of the year for 1999, and 2000. If you're lucky enough to own a copy, hide it from your thieving bastard friends." - So said Joe Pernice on the liner notes to the British edition of John's 'Happy Go Unlucky' album. John has performed with artists like Edwyn Collins, Television and PJ Harvey, and supported Stereolab on a US tour. There are slight similarities on "Shankly Gates" to the songwriting styles of Nick Drake, Robert Wyatt, and even Lennon & McCartney. In fact, one music critic referrred to John's music as bridging the gap between Nick Drake and The Beatles. John, himself describes his music as folk-rock. His songs are beautifully structured and melodic, with wonderful deep and intelligent lyrics. In 2008 John was the head of music at Lancaster and Morecambe College, a further education College on Torrisholme Road, halfway between Lancaster and Morecambe, Lancashire, England. His aim is to promote the music of good young artists who are not getting the breaks in today's "sickeningly bad" music scene. - (A bit like this blog! LOL!) "Shankly Gates" is HR by A.O.O.F.C. Try and listen to John's fabulous "Homeless House" album. For other "unfashionable" songwriters, listen to the music of Al Stewart, Roy Harper, and the late Clifford T.Ward.


1 Punch Drunk 6:43
2 Hollow Truce 3:48
3 Shankly Gates 3:53
4 Spit And Polish 4:01
5 Dim Crusade 2:33
6 Red Stone 5:43
7 Fold Down Graciously 4:21
8 Comic Book Notions 7:44
9 Five Minutes Too Late 2:35
10 Maryport 3:32
11 I'm Coming Home 6:10
12 Master Grin 6:12

All songs composed by John Cunningham


John Cunningham - Guitar, Hammond Organ, Hammer Dulcimer, Keyboards, Vocals
Tony Stevenson - Bass Guitar
Simon Heathfield - Bass Guitar on "Red Stone"
Tristan Banks - Drums
Paul Elsworthy - Drums, Hammond Organ on "Red Stone"
Grant Lyons - Oboe on "Comic Book Notions"
Ben Paley - Violin
Steve Fanning - Backing Vocals on "Maryport"


Although John Cunningham is British, he lives and works in France. Like his fellow musical expatriate Bill Pritchard (or for that matter, Prefab Sprout or the High Llamas), Cunningham's elegant brand of pop music owes a certain debt to smooth pre-rock classic pop of the Cole Porter school, mixed with a touch of Bacharach, Wilson, McCartney, and Costello. Unlike those artists, however, Cunningham infuses his music with an almost Nick Drake-like acoustic vibe that suits his delicate yet melodic compositions beautifully. (This John Cunningham is, of course, not to be confused with the Scottish fiddle player who was a member of Silly Wizard and other folk groups.) Born in Liverpool, England, in 1969, Cunningham attended school in the East Sussex town of Brighton, where he quickly fell in with the city's thriving artistic and musical community. After a brief and apparently unsatisfying tenure in the Curtain Twitchers alongside Jane Fox of Marine Girls fame in the mid-'80s, Cunningham decided that a solo career was more suitable for him. A demo cassette landed him at the tiny indie La-Di-Da, which released Cunningham's debut EP, Backwards Steps, in 1989. Produced by ex-Housemartins guitarist Stan Cullimore, Backwards Steps owes rather a lot to that band, and while the EP is entertaining, it's not particularly representative of Cunningham's later work. Cunningham's first full album, 1991's Shankly Gates, is much more stripped down and intimate than Backwards Steps, with jazzy piano and subtle trumpet and oboe accents. It was rapturously received by the French press, which compared Cunningham to artists like Robert Wyatt and late-period Talk Talk, but as would be the case throughout Cunningham's career, sales did not match the critical reaction. Cunningham's third release, 1994's Bringing in the Blue, is even more refined and elegant, but it continued the trend of ecstatic reviews on the Continent, little notice in Great Britain, and total invisibility in the United States, with sales figures to match. Cunningham dropped out of sight for nearly five years after Bringing in the Blue, finally reappearing in late 1998 with the sublime Homeless House. By far Cunningham's best work, Homeless House is a sweetly melodic and gentle album with an even more stripped-down sound than his two previous albums, sounding at times like a more upbeat version of Drake's Bryter Layter. After the release of Homeless House, Cunningham began collaborating with Mehdi Zannad of the French pop group Fugu. Cunningham mixed Fugu's debut, 2000's Fugu1, and Zannad wrote the orchestral arrangements for Cunningham's follow-up to Homeless House. © Stewart Mason © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/john-cunningham-p430305/biography

Adam Holzman & Brave New World

Adam Holzman & Brave New World - Jazz Rocket Science - 2005 - Nagel Heyer

This is the best album released this year. Period! When I first put on this CD, I played the INCREDIBLE opening track "Superhero" 10 times in a row. It was so deep, funky and nasty. I was worried to play the rest of the CD because I thought, "Nothing can possibly top this." Well, I was wrong. Every single one of the 11 cuts on Jazz Rocket Science kicks butt! Adam Holzman is the most innovative musician and composer on the scene today, and his brand new album Jazz Rocket Science is his best release to date (which is saying a lot). Hardly surprising, given the fact that Holzman was personally mentored by the world-famous jazz legend Miles Davis for more than 10 years. As you may recall, jazz became modern, hard-hitting, funky and electric with Miles back in the late `60's. With "jazz fusion," the music began an evolutionary journey that fused rock, R&B and jazz into one powerful experience where anything could happen. Then smooth jazz came along and contemporary jazz got watered down into sweet-as-a-toothache music for people in a dentist's office. BUT THIS CD HAS CHANGED THAT. On Jazz Rocket Science, Holzman pays honor to Davis, his personal mentor. The music is bold and powerful. It delivers full-throttle funk, soulful melodies, gorgeous chords and brilliant improvisation. This is contemporary jazz the way it was meant to be: fresh, bold, exciting, aggressive, experimental and brilliant! Jazz Rocket Science isn't just jazz. It's a creative and fresh take on countless music styles. It combines urban, funk, rock, hip-hop and jazz with cool lush keyboard riffs, deep throbbing basses, funky guitars, thumping drums and cool melodies. If your mouth isn't watering yet, it will be when you take a listen to the seriously hip tunes on this album! You will not find any bland tracks on this CD. Every song is first rate. If Jazz Rocket Science doesn't wake you up, and make you a believer that there STILL IS GOOD MUSIC OUT THERE, then you may as well check yourself into the local retirement home right now. HIGHLY RECOMMENDED!!! - from Review of "Jazz Rocket Science" by & © Isaiah Stewart © Amazon.com

Great funk fusion with the always impressive and amazingly talented Adam Holzman on keys. Other artists playing include Mitch Stein (from The Steve Kimock Band & The Hermanators), Alan Burroughs guitar, Aaron Heick, sax, Freddy Cash Jr., bass; and Alex Elena, drums. Adam's motto is "Optimistic music in the age of fear." "Jazz Rocket Science" is great music in the age of musical mediocrity, and HR by A.O.O.F.C. Buy Adam Holzman & Brave New World's "Spork" album. Adam's "Overdrive" album is @ ADMHLZMN/ODRIVE


1 Superhero - Adam Holzman, Alex Elena, Mitch Stein 6:05
2 Life On Mars - Adam Holzman 5:54
3 The Telltale Heart - Adam Holzman 5:11
4 The Whole World Is Everywhere - Adam Holzman, Alex Elena 3:44
5 Firewire - Adam Holzman, Alex Elena, Mitch Stein 5:22
6 Level 3 Intro: Airlock - Adam Holzman 1:13
7 Level 3 Containment Suit - Adam Holzman 4:07
8 Maria Rain - Adam Holzman 6:27
9 Kadiddle Hopper - Adam Holzman, Alex Elena 5:44
10 Kryptonite - Adam Holzman 7:05
11 Miles Runs The Voodoo Down - Miles Davis 4:33


Adam Holzman - Drums, DX-7, Fender Rhodes, Keyboards, Korg Synthesizer, Kurzweil K-2000, Kurzweil Synthesizer, Mini Moog, Piano, Electric Piano, Programming, Sampling, Wavestation, Wurlitzer
Alan "AB" Burroughs, Alanda Burroughs, Mitch Stein - Guitar
Freddy Cash Jr. - Bass Instrument
Aaron Heicke - Soprano & Alto Saxophone, Saxophone
Alex Elena - Drums, Programming, Sampling


Jazz keyboardist Adam Holzman (b. February 15, 1958, in New York, NY) has had an interesting career trajectory. The son of Jac Holzman, the president of Elektra Records during its late-'60s heyday, Holzman learned keyboards at an early age, picking up the instrument when he was in the third grade. Since he was in the inner circle of Elektra, he was not only exposed to many of the era's trailblazers, but he was also able to see how they worked. He hung out at Doors rehearsals, met Love, and saw the Paul Butterfield Blues Band in their prime. Like many musicians of his era, he was also heavily influenced by the Beatles. He found himself attracted to the music of Butterfield and the Fab Four, which led him to explore a number of different artists from Leon Russell to Joe Cocker, eventually leading to keyboard-dominated prog-rockers Emerson, Lake and Palmer and Yes. Holzman's infatuation with prog-rock turned out to be the doorway to his passion for jazz-fusion and synthesizers. In a matter of time, ELP gave way to Chick Corea's groundbreaking Return to Forever and Herbie Hancock's innovative early-'70s work. By the early '80s, he was working at Goodman's Music, a respected instrument store in Los Angeles. At Goodman's, he became an expert in MIDI technology and synth programming, which led to regular studio gigs. Soon, he had attracted the attention of Miles Davis, who was interested in MIDI. He joined Davis' band in 1985. Holzman stayed with the legendary musician for four years, spending his final year -- from 1988 to 1989 -- as the musical director for the entire band. Following his tenure with Davis, he toured and recorded with a variety of artists, including Chaka Khan, Michel Petrucciani, Wayne Shorter, Kolvynator and Kenny Garrett. In the spring of 1997, he joined Grover Washington Jr.'s band. By the late '90s, he was also playing with FM Tribe and Francis M'Bappe in New York City. In addition to his role as a sideman, Holzman pursued many of his own projects. He led the Los Angeles-based jazz-rock group the Fents with guitarist Ted Hall; they released The Other Side on Passport Jazz in 1987. He also formed the prog-influenced Mona Lisa Overdrive, who released an eponymous album in 1993. In the '90s, he released several solo albums -- In a Loud Way (1991), Overdrive (1994) and Big Picture (1997) -- before forming the New York-based, funk-inflected group Brave New World, who were a recording entity in their own right, releasing Worldwind in the fall of 1998. © Stephen Thomas Erlewine © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/adam-holzman-p45164/biography

Deep Purple

Deep Purple - Live At Montreux 2006: They All Came Down To Montreux - 2007 - Eagle Records

Recorded live at the 40th Montreux Festival on July 15th 2006, during Deep Purple's 2006 Rapture of the Deep tour. Powerful stuff from one of the greatest rock bands of all time. Jon Lord is not present, but Don Airey is a terrific keyboardist. The great guitarist, Steve Morse also plays some dazzling guitar. The album is HR by A.O.O.F.C. Listen to Deep Purple's classic "Deep Purple In Rock" and "Machine Head" albums. Check out "Deep Purple & Friends Greatest Hits" album @ DEEPUR/DP&F/GH


1."Pictures of Home"
2."Things I Never Said" (Gillan, Steve Morse, Glover, Don Airey, Paice)
3."Strange Kind of Woman"
4."Rapture of the Deep" (Gillan, Morse, Glover, Airey, Paice)
5."Wrong Man" (Gillan, Morse, Glover, Airey, Paice)
6."Kiss Tomorrow Goodbye" (Gillan, Morse, Glover, Airey, Paice)
7."When a Blind Man Cries"
Credited to Gillan, Morse, Glover, Lord and Paice on this release
9."Keyboard Solo" (Airey, Albert Ammons, Wolfgang Amadeus Mozart)
10."Space Truckin'"
11."Highway Star"
12."Smoke on the Water"

All songs composed by Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, and Ian Paice except where stated


Steve Morse - guitar
Roger Glover - bass
Don Airey - keyboards
Ian Paice - drums
Ian Gillan - vocals, harmonica


Deep Purple survived a seemingly endless series of lineup changes and a dramatic mid-career shift from grandiose progressive rock to ear-shattering heavy metal to emerge as a true institution of the British hard rock community; once credited in the Guinness Book of World Records as the globe's loudest band, their revolving-door roster launched the careers of performers including Ritchie Blackmore, David Coverdale, and Ian Gillan. Deep Purple was formed in Hertford, England, in 1968, with an inaugural lineup that featured guitarist Blackmore, vocalist Rod Evans, bassist Nick Simper, keyboardist Jon Lord, and drummer Ian Paice. Initially dubbed Roundabout, the group was first assembled as a session band for ex-Searchers drummer Chris Curtis but quickly went their own way, touring Scandinavia before beginning work on their debut LP, Shades of Deep Purple. The most pop-oriented release of their career, the album generated a Top Five American hit with its reading of Joe South's "Hush" but otherwise went unnoticed at home. The Book of Taliesyn followed (in the U.S. only) in 1969, again cracking the U.S. Top 40 with a cover of Neil Diamond's "Kentucky Woman." With their self-titled third LP, Deep Purple's ambitions grew, however; the songs reflecting a new complexity and density as Lord's classically influenced keyboards assumed a much greater focus. Soon after the album's release, their American label Tetragrammaton folded, and with the dismissals of Evans and Simper, the band started fresh, recruiting singer Ian Gillan and bassist Roger Glover from the ranks of the pop group Episode Six. The revamped Deep Purple's first album, 1970's Concerto for Group and Orchestra, further sought to fuse rock and classical music. When the project, which was recorded with the Royal Philharmonic Orchestra, was poorly received, Blackmore took creative control of the band, steering it towards a heavier, guitar-dominated approach which took full advantage of Gillan's powerful vocals. The gambit worked; 1970's Deep Purple in Rock heralded the beginning of the group's most creatively and commercially successful period. At home, the album sold over a million copies, with the subsequent non-LP single "Black Night" falling just shy of topping the U.K. pop charts. Released in 1971, Fireball was also a smash, scoring a hit with "Strange Kind of Woman." Plans to record the follow-up at the Casino in Montreux, Switzerland, were derailed after the venue burned down during a live appearance by Frank Zappa, but the experience inspired Deep Purple's most enduring hit, the AOR staple "Smoke on the Water." The song, featured on the multi-platinum classic Machine Head, reached the U.S. Top Five in mid-1972 and positioned Deep Purple among rock's elite; the band consolidated its status with the 1973 studio follow-up Who Do We Think We Are and the hit "Woman from Tokyo." However, long-simmering creative differences between Blackmore and Gillan pushed the latter out of the group that same year, with Glover soon exiting as well. Singer David Coverdale and bassist/singer Glenn Hughes were recruited for 1974's Burn, and Gillan meanwhile formed a band bearing his own name. After completing 1974's Stormbringer, Blackmore left Deep Purple as well, to form Rainbow with vocalist Ronnie James Dio; his replacement was ex-James Gang guitarist Tommy Bolin, who made his debut on Come Taste the Band. All the changes clearly took their toll, however, and following a farewell tour, the group dissolved in 1976. Coverdale, meanwhile, went on to form Whitesnake, and Bolin died of a drug overdose later in the year. The classic lineup of Blackmore, Gillan, Lord, Glover, and Paice reunited Deep Purple in 1984 for a new album, the platinum smash Perfect Strangers. The House of Blue Light followed three years later, but as past tensions resurfaced, Gillan again exited in mid-1989. Onetime Rainbow vocalist Joe Lynn Turner was recruited for 1990's Slaves and Masters before Gillan again rejoined to record The Battle Rages On..., an apt title as Blackmore quit the group midway through the supporting tour, to be temporarily replaced by Joe Satriani. In 1994, Steve Morse took over the guitar slot (fresh from a stint in Kansas), and the revitalized group returned to the studio for 1996's Purpendicular, which proved a success among the Purple faithful. 1998's Abandon followed, as well as a 1999 orchestral performance released the following year as Live at the Royal Albert Hall. Deep Purple was given the box set treatment the same year with the four-disc set Shades: 1968-1998, which collected hits, demos, live takes, and unreleased tracks from throughout the years (touching upon all of Purple's different lineups). The late '90s/early 2000s saw the release of several other archival releases and collections (Machine Head's 25th anniversary, Friends & Relatives, Rhino's The Very Best Of, and Days May Come and Days May Go: The 1975 California Rehearsals), as well as a slew of DVDs (Total Abandon: Live Australia 1999, In Concert with the London Symphony Orchestra, Bombay Calling, and New Live & Rare). Former member Blackmore also kept himself busy after leaving the band by issuing a single album with his briefly resuscitated outfit Rainbow (1998's Stranger in Us All), before forming the Renaissance-inspired Blackmore's Night with fiancée/vocalist Candice Night. Despite numerous lineup upheavals during their career, Deep Purple remained alive and well in the 21st century. © Jason Ankeny & Greg Prato © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:difyxqe5ld6e~T1


Cornell Dupree

Cornell Dupree - Can't Get Through - 1991 - Amazing Records

Cornell Dupree's classic guitar sound has been pervasive in popular music for the past four decades, having graced more than 2500 albums by a dazzling array of artists. His work with the superstar session band Stuff was highly praised. More recently, he played on Return to the Wide Open Spaces with saxophonist James Clay and others, drawing uniformly rave reviews. Can't Get Through, recorded in New York City last year, contains nine tracks, most of them instrumental, done with his regular working band in a soul/jazz/funk vein. Titles include "Double Clutch," "Sweet Thing," and "Duck Soup." © Roundup Newsletter © 2011 Rovi Corporation. All Rights Reserved

Great album from the late and highly respected saxophonist and jazz guitarist Cornell “Uncle Funky” Dupree. As well as recording a few solo albums, Cornell was an in-demand session musician. Perhaps best known as a R&B guitarist, accompanying artists like B. B. King and Wilson Pickett, Cornell also performed or recorded with artists that included Miles Davis, Joe Cocker, Laura Nyro, Bonnie Raitt, Paul Simon, Ringo Starr, Aretha Franklin, and the late, great saxophonist, King Curtis. His name may not be familiar to many people, and Cornell, himself once said that “Not many people read the back of albums". "Can't Get Through" is a great example of top class '90's soul jazz and R&B guitar. Listen to his great "Bop 'n' Blues" album and/or his "Mr.2500 Live At Birdland" album


1 Can't Get Through - Kenny Smith 5:20
2 Southern Comfort - Cornell Dupree 4:01
3 Double Clutch - Cornell Dupree, Skip Vanwinkle 3:56
4 Sweet Thing - Gary Sieger 5:03
5 Slippin' In - E.Parker, D.Waldo 4:32
6 Let the Sun Shine on Me Again - E.Parker, D.Waldo 4:23
7 Duck Soup - Cornell Dupree 4:28
8 Could It Be - Cornell Dupree 5:35
9 "7" - Cornell Dupree 7:39


Cornell “Uncle Funky” Dupree - Guitar RIP
Frank Canino - Bass
Mitch Margold - Piano
Eric Parker - Drums
Barry Danielian, Randy Andos - Horns
Steve Greenfield - Horn, Sax (Alto)
Scott Kreitzer - Horn, Arranger
Windell Capel - Vocals


A veteran of over 2,500 recording sessions, guitarist Cornell Dupree worked most prolifically in R&B and blues, but he was equally at home in jazz, particularly funky fusion and soul-jazz. Dupree was born in Fort Worth, TX, in 1942, and by the age of 20 was playing in King Curtis' R&B group. He became a session musician soon after, playing on Brook Benton's "Rainy Night in Georgia," as well as records by stars like Lou Rawls, Paul Simon, Barbra Streisand, Harry Belafonte, Lena Horne, Roberta Flack, Joe Cocker, Michael Bolton, Mariah Carey, and countless others. Dupree was also a member of Aretha Franklin's touring band from 1967-1976, and during that time also became a presence on many jazz-funk recordings, the sort that would find favor with rare groove and acid jazz fans in the years to come. Dupree's first jazz session as a leader was 1974's Teasin', which was followed by Saturday Night Fever in 1977, and Shadow Dancing in 1978. During the same period, Dupree was a member of the studio-musician fusion supergroup Stuff, which signed with Warner Bros. in 1975 and recorded four albums. They also reunited periodically in the '80s and spawned a mid-'80s spin-off group called the Gadd Gang, which Dupree also belonged to. Some of Dupree's most rewarding jazz albums came in the late '80s and early '90s; 1988's Coast to Coast was nominated for a Grammy, and funky sessions like 1991's Can't Get Through, 1992's live Uncle Funky, and 1993's Child's Play received positive reviews. 1994's Bop 'n' Blues was his most straight-ahead jazz album, also ranking as one of his best. © Steve Huey © 2011 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/artist/cornell-dupree-p70447/biography


Cornell Luther Dupree (December 19, 1942 – May 8, 2011 was an American jazz and R&B guitarist. He worked at various times with Bill Withers, Donny Hathaway, King Curtis and Steve Gadd, appeared on David Letterman, and wrote a book on soul and blues guitar: Rhythm and Blues Guitar. He reputedly recorded on 2,500 sessions. Dupree began his career playing in the Atlantic Records studio band, recording on albums by Aretha Franklin (Aretha Live at Fillmore West) and King Curtis as a member of Curtis's band "The King Pins" (having grown up with King Curtis in Fort Worth, Texas). He appeared on the 1969 Lena Horne and Gábor Szabó recording, and on recordings with Archie Shepp, Grover Washington, Jr., Snooky Young and Miles Davis. He was a founding member of the band Stuff, which featured fellow guitarist Eric Gale, Richard Tee on keyboards, Steve Gadd and Chris Parker on drums, and Gordon Edwards on bass. Dupree and Tee recorded together on many occasions. Notable albums include the aforementioned Aretha and King Curtis records, plus Joe Cocker's Stingray and Luxury You Can Afford, plus Cornell's solo albums Teasin', Saturday Night Fever (instrumental), Shadow Dancing, Can't Get Through, Coast to Coast, Uncle Funky, Child's Play, Bop 'n' Blues, and Unstuffed. He played on Brook Benton's "Rainy Night in Georgia" and "Please Send Me Someone to Love", and is featured on two tracks of Peter Wolf's 1998 album, Fool's Parade. He is also known for playing the opening guitar riff on Aretha Franklin's "Respect". In December 1972, the UK music magazine, NME, reported that Dupree, along with Roberta Flack and Jerry Jemmott, had been injured in an auto accident in Manhattan. Dupree used a Fender "red-knob" Twin Reverb and played a Yamaha signature guitar called the Dupree Super Jam (it used to be a model similar to the SJ-550 HM, but now is closer to a three-pickup Pacifica with a maple neck). Dupree died on May 8, 2011 at his home in Fort Worth, Texas. He had been waiting for a lung transplant as a result of suffering from emphysema.


Adam Holzman

Adam Holzman - Overdrive - 1994 - Lipstick Records

Very few keyboardists are staying true to the world of fusion music, most take a stab and venture elsewhere in the wide world of gigging and session work, granted you have Corea, Sherinian and few others, but where are the rest? Hammer, Zawinul, Lorber, Zavod to name a few, have really exempted themselves from the fusion scene, by either not releasing significant music in the genre, or becoming obscure in the rcording industry altogether. Enter Adam Holzman, he has been around for a while, making a name for himself as a onetime member of The Fents, which released two cds(reviewed here at the site), and are musts for fusion fans to get hold of. I his solo music, Holzman may have morphed into a funkier version of his former band, but his music is every bit as interesting and dazzling as his offerings with The Fents. Adam Holzman is the kind of keyboardist that pays as much attention to his note selections as he does is sound patches, his detailed approach to sound and melodic hooks are captivating. He also has surrounded himself with some outstanding talents, every member involved on this cd is a virtuoso in their own right. The music here is not so much about improv, more so geared towards the creation of compositional arrangements, works that are built through careful construction, played with meticulous detail. I guess a fair comparison would be towards the early works of Chick Corea's Elektric Band. The music is everybit as funky and complex as Chick's early work with that band. So if you like that stuff, this is a must. Holzman's keyboards are far more futuristic sounding than most keyboardists in the fusion scene, he really stands out, but in a good way, the music has a great production quality to it, a treat for audiophiles to be sure. The guests on this cd are respective players in their own right, you may be familiar with some of them from other bands/artists releases. Van Romaine has been steadily recording and gigging with The Steve Morse Band, anyone who is familiar with his playing knows he is both skilled and powerful, and he does the same with Holzman's material. Jimi Tunnell has been steadily gaining popularity as an outstanding fusion guitarist, his sound is very versatile, and he can play the most demanding solo spots with rare spontanaity. Both of these players turn in great performances on this cd. To date, I have come to the conclusion that Adam Holzman posesses the Midas Touch, every cd I have heard him involved with has been nothing short of great fusion, this one perhaps his best to date, hopefully we can expect Adam Holzman to stay the course of a dedicated fusion keyboardist, and only with fan support can this be a reality, check him out. By & © MJBrady Published on: 29 Nov 2003 © ProGGnosis - Progressive Rock & Fusion © 2000 - 2011 where appropriate - All rights reserved http://www.proggnosis.com/PGRelease.asp?RID=7077

A good album of funk rock crossover jazz/jazz fusion from the N.Y multi-instrumentalist, Adam Holzman. Many of these albums defy definition. One reviewer on Amazon called it "cyber electric fusion", and that may be the most suitable description of this album. Adam Holzman is mainly known for his keyboard skills. He was once a member of the jazz rock band, The Fents who released two albums of brilliant jazz rock/fusion. Check out The Fents' "The Other Side" album. Adam was influenced by artists like "The Doors", Leon Russell and Dr. John, but during the late 70s his music became more jazz and progressive rock orientated. Adam said, "First I was influenced by groups like "Emerson, Lake & Palmer" or "Yes". When I heard Chick Corea, the Mahavishnu Orchestra and Billy Cobham I got completely turned on to jazz." he says today. "But I only started getting serious about jazz harmonies when I was in my late 20s. Even today there are still some gaps in my jazz knowledge. But I do not consider my musical role to be a keeper of jazz traditions. I try to make entertaining music today, influenced by rock, jazz-rock, funk and a lot of other styles and ideas." The great guitarist Drew Zingg plays on the album, as does the late Hiram Bullock, but don't expect many killer guitar solos. The review from proggnosis above describes the album very well. N.B: The album was previously released as Mona Lisa Overdrive's "The Laws of Physics". Listen to Adam Holzman & Brave New World's "Spork" album.


1 Breakfast at Troy - Adam Holzman
2 Dog Day - Adam Holzman, Wayne Krantz
3 Maze - Erin Davis
4 Shaggy Dog - Steve Logan
5 Half Gainer - Adam Holzman
6 The Laws of Physics - Adam Holzman
7 Iven Space Trek - Adam Holzman
8 Szechuan Death Nugget - Adam Holzman
9 Mr. Potato Head - Adam Holzman, David Phelps
10 Power Lunch - Adam Holzman, David Phelps, K. Dennard
11 Mean Ol'Cinelu - Jimi Tunnell


Adam Holzman - Acoustic Guitar, Sampled Guitar, Piano, Keyboards, Sound Effects, Synthesizer Percussion
Drew Zingg, Jimi Tunnell, Hiram Bullock, David Phelps - Guitar
Steve Logan - Bass, Vocals, Voices
Van Romaine - Drums, Sound Effects, Electronics


Jazz keyboardist Adam Holzman (b. February 15, 1958, in New York, NY) has had an interesting career trajectory. The son of Jac Holzman, the president of Elektra Records during its late-'60s heyday, Holzman learned keyboards at an early age, picking up the instrument when he was in the third grade. Since he was in the inner circle of Elektra, he was not only exposed to many of the era's trailblazers, but he was also able to see how they worked. He hung out at Doors rehearsals, met Love, and saw the Paul Butterfield Blues Band in their prime. Like many musicians of his era, he was also heavily influenced by the Beatles. He found himself attracted to the music of Butterfield and the Fab Four, which led him to explore a number of different artists from Leon Russell to Joe Cocker, eventually leading to keyboard-dominated prog-rockers Emerson, Lake and Palmer and Yes. Holzman's infatuation with prog-rock turned out to be the doorway to his passion for jazz-fusion and synthesizers. In a matter of time, ELP gave way to Chick Corea's groundbreaking Return to Forever and Herbie Hancock's innovative early-'70s work. By the early '80s, he was working at Goodman's Music, a respected instrument store in Los Angeles. At Goodman's, he became an expert in MIDI technology and synth programming, which led to regular studio gigs. Soon, he had attracted the attention of Miles Davis, who was interested in MIDI. He joined Davis' band in 1985. Holzman stayed with the legendary musician for four years, spending his final year -- from 1988 to 1989 -- as the musical director for the entire band. Following his tenure with Davis, he toured and recorded with a variety of artists, including Chaka Khan, Michel Petrucciani, Wayne Shorter, Kolvynator and Kenny Garrett. In the spring of 1997, he joined Grover Washington Jr.'s band. By the late '90s, he was also playing with FM Tribe and Francis M'Bappe in New York City. In addition to his role as a sideman, Holzman pursued many of his own projects. He led the Los Angeles-based jazz-rock group the Fents with guitarist Ted Hall; they released The Other Side on Passport Jazz in 1987. He also formed the prog-influenced Mona Lisa Overdrive, who released an eponymous album in 1993. In the '90s, he released several solo albums -- In a Loud Way (1991), Overdrive (1994) and Big Picture (1997) -- before forming the New York-based, funk-inflected group Brave New World, who were a recording entity in their own right, releasing Worldwind in the fall of 1998. © Stephen Thomas Erlewine © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/adam-holzman-p45164/biography


Steve Rowe

Steve Rowe - Live à Montréal - 2006 - Select Digital

Steve, acknowledged by the local press as a “Guitar Hero”, has firmly established himself as an original Canadian Bluesman. Upon hearing a teenage Steve play Led Zeppelin, older brother David threw him a classic Robert Johnson vinyl, telling him that this was the key to understanding the blues. Steve never turned back, forming his first band Skid Rowe with Bob Smith in 1981. He mastered his craft while backing up many headliners on the Montreal blues scene. Smokey Wilson’s advice to Steve was simple: “You’re an honest bluesman. Don’t ever change.” Steve’s approach to blues comes from 1950s Chicago and 60s British blues, largely self-taught, with influences from Michael Bloomfield, all the Kings (Freddie, Albert, and B.B.), Buddy Guy and Eric Clapton. After honing his skills on blues standards, Rowe decided to start writing his own lyrics and music, releasing his first CD in 2000 entitled Driving the Blues Away. This is when he first met Sound Engineer Kevin Komada, Hotel2Tango’s Recording Studio, and Mastering Artist Andrew Heermans of Polywog Recording Company (NYC). Or Lord Polywog, as he has been righteously dubbed. This team can take much of the credit for the rich and pure tones of each instrument, with four microphones on guitar, naturally. Staying true to his roots, Steve and the band record live off the floor straight to two inch analogue tape, including guitar solos. In 2002, Steve released his second original album, No Refund, No Return. Steve has opened for Bryan Lee and jammed with blues legends Hubert Summlin and Buddy Guy. Canada’s Prime Minister of the Blues Dutch Mason had a young Steve once play with his band, inviting him to “Take it away, son” on the evening’s first solo. Today, as a bluesman in his own right, Steve continues to shine as part of this rich musical tradition. © http://www.steverowe.com/profile.htm

Their show at last summer's Festival International de Jazz de Montreal is documented in fine fashion here, with Rowe's guitar prowess Front Rowe Center. Six songs from that last CD get beautifully recorded performances here, with Eric Khayat on sax and Sarah McElcheran on trumpet lending valuable support. As always, Al McElcheran plays bass and shares the vocals and Dominic Legrand is on drums for this show. Rowe sounds great, with a big fat tone, soloing fluidly throughout. Particularly on "Carlos & Me", I think he out-Santanas his rival. Much the same happens on "Train to Gatton" and "Little Wing". They don't just do these tributes, though. Their own songs are well written. 4:00 in the Morning, One Foot Front and Can't Forgive, Won't Forget were good songs on the earlier CDs, they're even better here. A guitar lover's delight, this one, don't miss it! © John Valenteyn, Maple Blues, August 2006

"Live à Montréal", was included in the Top 20 CDs of 2006 in Maple Blues and Living Blues magazines, and was also a 4-time nominee at the 2007 Quebec Lys Blues Awards, including Best Performer and Best CD. This official soundboard album from the 2005 editions of the Festival International de Jazz de Montréal and FestiBlues de Montréal is a great example of a great band playing good live raw blues rock. Check out Steve Rowe's great "Front Rowe Center" album, and support real music


1 Don't Dog Me Tonight - Rowe, Smith
2 4:00 in the Morning - McElcheran, Rowe
3 Train to Gatton - McElcheran, Neil, Rowe
4 Little Wing - Hendrix
5 One Foot Front - Bowe, McElcheran, Neil
6 Cool Down - McElcheran, Neil, Rowe
7 Carlos & Me - McElcheran, Neil, Rowe
8 Can't Forgive, Won't Forget - Rowe, Smith
9 Shine On - McElcheran, Neil, Rowe
10 Mumblin' Man - McElcheran, Neil, Rowe


Steve Rowe - Guitar, Vocals
Al McElcheran - Bass, Vocals
Sarah McElcheran - Bass, Organ (Hammond), Trumpet, Horn Arrangements
Dominic Legrand - Drums
Eric Khayat - Sax


Montreal-born guitarist Steve Rowe has been playing the blues all his life. So how did Mr. "Little on the Shy Side" Rowe become a bluesman? Says Steve, "I've always wanted to play the blues. I grew up on Chicago and British blues so you'll hear a lot of that on my first CD (Driving the Blues Away). The new CD (No Refund No Return) let me push the boundaries of a standard blues tune. The roots of jazz and rock are the blues. There are no limits and I can play a different solo every night." Steve started his career back in the early 1980s and was notoriously known as the "The Undertaker". A black hat, black van, guitar-slinging kind of guy. Backing just about every blues headliner in Quebec, Rowe's unique laid-back personality combined with his energetic guitar style, complemented any vocalist lucky enough to have Steve fill in the blanks. His biggest influences? "Well... Johnny Winter, Muddy Waters, all the kings," he grins. "And you can't forget Eric. I got to jam with Buddy Guy once and that was cool. "Led Zeppelin got me into the blues at first, but when I was 15, my dad brought me to see Reverend Gary Davis. That guy was amazing! I'd just started to play guitar, and then I see this guy in his 80s playing blues, and it blew me away. I thought, I want to do that at his age." One of Rowe's first bands (Skid Rowe) saw lead singer Bob Smith and Steve form a friendship that has remained to this day. Smith, the "lyrics man", provided the words for Steve's first CD. Says Steve of Bob, "Nobody knows me better than Bob. He knows that I have to believe in what I'm singing. That's why we work so well together." Forming his first ensemble in the mid-90s, Rowe opened for the legendary Smokey Wilson in 1997 on Bravo's TV series "Café Campus en Blues". The senior blues man shook Steve's hand and proclaimed, "You're an honest bluesman." Those words have stuck with Steve, and that's what he has become known as, an honest bluesman. Since becoming a regular feature on the Quebec blues scene, Steve has played every major festival in the province. One comment overheard at the 2002 Montreal Jazz Fest was, "Oh, Steve Rowe's playing? He's always good!" And if the audience is not talking about his guitar playing, they could be referring to his tongue-in-cheek humor which comes through in songs like Lost Remote Blues, or Yes, Honey on his debut CD, to If My Cat Could Talk on the second release. Rowe's approach is simple. "If I'm going to play blues," he says, "it has to mean something to me. The music has to suit the words, like Same Old Song has sexy lyrics. So we put a Latin-style rhythm to it. "I decided on the new CD that I really wanted everything to sound like it does when I play live. Kevin, my producer, is a punk guy. He gave us 16 tracks and no punch-ins. We had to be ready. It felt like the way the first bluesmen had to record. I like that. And I really like being in a studio. After the band was finished with the basic tracks, I got to add my lead guitar. It was Kevin and me. "And we never did more than two takes," he adds with an obvious source of pride. From listening to Steve, it sounds like he and his band had fun putting the new CD together. "Oh yeah, we had a great time. Alec McElcheran is one of my newest writing partners and my bass player. After he writes a song, he lets me play with it. We must have spent three months working at it in my living room. Me, Alec, and my cat, Dennis. We still have a lot of songs that we couldn't fit into this CD. Maybe we'll see them on the next. "Lorraine (vocals producer and director Lorraine Baldwin) was a big influence. She did the background vocals for Driving the Blues Away. On this one, she was involved from the song writing stage to the studio. She got me to try things I didn't know I could do. "Then you put Alec and Dave Neil, the drummer, together and they're so tight. Pedro Ullmann, our Hammond B-3 player, has been performing R&B since the 60's. We even went to another studio just have a real grand piano for David Findlay. It's probably the best rhythm section I've ever had. And I get to play screaming solos on top of them," Steve says with a smile. "Ozone, our distributor, and I are going to officially launch the new CD in the spring. Right now, I'm just doing concerts so that people get to know my new stuff. But I'll sell from the stage, no problem. Hey, I'm just trying to make a living like everyone else," he says with a laugh. "Also, I've got a new website at www.SteveRowe.com where you can buy my CD's. You can hear some of the songs there and find out where I'm playing next. The two guys responsible were James St-Laurent, who did all the photos and artwork on the latest CD, and our new web designer, Stephen Fairweather, who lives in New Brunswick. They've done a great job putting all that together." When asked about the significance of the web to musicians, Steve replies, "The web changes everything. I get e-mails and requests for my CDs from all over the world. It's how I met Baron and Andie from Canadian Blues. We're getting airplay in Australia, Spain, France, Japan, well, there's a lot. We just got a radio station from Argentina asking about me. With my new website, I can show what I do without leaving home. It's been amazing! Every musician should have a web site." Steve will be showcasing his new tunes at The Café Campus in Montreal on November 20, 2002. No Refund, No Return is an original and fresh approach to the blues. His sound and style are truly his own. So as he makes his way across Canada with the upcoming tour, remember this... if you love the blues, then Steve Rowe is a performer you don't want to miss. © 2002 Feature by Steve Adams. © http://www.canadianblues.ca/musician-features/rowe-steve-5.html