Get this crazy baby off my head!


Fra Lippo Lippi

Fra Lippo Lippi - Light And Shade - 1987 - Virgin

Let's celebrate a brand new day," proclaims vocalist Per Oystein Sorensen on "Crazy Wisdom," and that statement easily sums up Fra Lippo Lippi's surprisingly smooth evolution from gothic rock to reflective, jazzy pop on Light and Shade. Fra Lippo Lippi already began shedding their black clothes on Songs, but Light and Shade has the breezy air and sunny disposition of a walk in the park. Released during a decade wherein yuppies stressed the importance of work and money over love and leisure, Light and Shade mainly focuses on life's simple pleasures. It is an uplifting, stylish LP that swings like a pendulum between joy and sorrow. The fetching "Angel" soars with a sad yet hummable chorus; it features some of Fra Lippo Lippi's most charming piano work. "Some People" recalls the Beatles with its singalong melodies. Much of Light and Shade resembles the late '80s efforts of China Crisis, especially its relaxed, mellow grooves and touches of jazz. The lyrics unfold like short stories. In the moving "Beauty and Madness," Sorensen sings about a homeless man and wonders if anybody will ever see his inner worth. Sorensen manages to avoid being either saccharine or preachy because of the sincerity and soulfulness in his voice. On Light and Shade, Fra Lippo Lippi part the curtains and let the sunshine beam through the window. © Michael Sutton, All Music Guide

Light and Shade was recorded in Los Angeles, California and produced by Steely Dan's Walter Becker. Following the success of Fra Lippo Lippi's 1985 album Songs, Virgin had the band work on "Light And Shade" hoping to achieve success Stateside. The first single "Angel" received moderate airplay in Los Angeles. However, during this time, the U.S. arm of Virgin Records dropped several artists including Fra Lippo Lippi. Frustrated by the album's commercial failure to capture the U.S.the band left Virgin Records in 1988. Later that year the title track "Beauty and Madness" became immensely popular in the Philippines, prompting the band to visit the country and perform sell-out concerts there.


A1 Angel (5:07)
A2 Freedom (5:25)
A3 Don't Take Away That Light (4:32)
A4 Beauty And Madness (4:16)
A5 Home (4:43)

B1 Light And Shade (4:46)
B2 Some People (4:25)
B3 Crazy Wisdom (4:33)
B4 Stardust Motel (4:46)
B5 Indifference (5:37)

All tracks composed by Rune Kristoffersen & Per Øystein Sørensen except "Crazy Wisdom" and "Indifference" by Rune Kristoffersen


Walter Becker - Guitar
Tim Weston - Guitar
Dean Parks - Guitar
Rune Kristoffersen - Bass
Jimmy Haslip - Bass
James Johnson - Bass
Abe Laborial - Bass
Per Øystein Sørensen - Keyboards, Vocals
Mark Morgan - Keyboards
Robbie Buchanon - Keyboards
Leroy Clouden - Drums
Claude Pepper - Drums
Jeff Porcaro - Drums
Carlos Vega - Drums
Paulinho Da Costa - Percussion
Tom Scott - Saxophone
Mark Isham - Trumpet

Produced by Walter Becker. Roger Nichols - Engineer and Chief Mixer


The Norwegian band Fra Lippo Lippi swam in the depths of despair before diving into pop and jazz. Per Oystein Sorensen (vocals, synthesizer, keyboards), Rune Kristoffersen (guitar, bass, keyboards, piano), and Morten Sjoberg (drums, keyboards) formed Fra Lippo Lippi in 1978. Fra Lippo Lippi enveloped their first album, In Silence, with ominous bass lines, death-march percussion, pensive keyboards, and sinister, indecipherable vocals. However, by 1983's Small Mercies, Sorensen's pop background helped the group to become increasingly melodic. In 1985, Fra Lippo Lippi signed with Virgin Records in the U.K., releasing their third album, Songs. Fra Lippo Lippi jettisoned the gloom of their earlier efforts on Songs, experimenting with synth-pop and romantic balladry powered by Kristoffersen's piano. The transformation enabled the group to achieve minor chart success in England and Canada, but in the Philippines many of their singles became staples on the country's new wave radio stations. Tracks such as "The Distance Between Us" and "Come Summer" topped request lines. When the jazz-inflected Light and Shade was released in 1987, Fra Lippo Lippi had become superstars in the Philippines, much to the band's surprise. Largely unknown throughout most of the world, Fra Lippo Lippi performed to sold-out audiences of thousands in Manila, Philippines, in 1989. Fra Lippo Lippi released two more albums, 1989's The Colour Album and 1991's Dreams, before the lack of commercial success forced the group into indefinite hiatus. Since Fra Lippo Lippi's departure from the recording studio, Kristoffersen released two instrumental albums, Elephant Song and Monolight, and started his own label, Rune Grammofon. Sorensen has worked with fellow Norwegian artist Trine Rein. © Michael Sutton, All Music Guide

BIO Per Øystein Sørensen (WIKI)

Per Øystein Sørensen is best known as the vocalist of the New Wave/synth pop band Fra Lippo Lippi. Per Øystein Sørensen raised the bridge for Fra Lippo Lippi to cross from desolate goth rock to a piano-laden amalgam of new wave and light jazz. When Fra Lippo Lippi formed in Norway in the late '70s, the group seemed obsessed with the droning rhythms and morose lyrics of Joy Division. In fact, Fra Lippo Lippi's debut album In Silence was so bleak that it could've been mistaken for a Joy Division record. However, by Fra Lippo Lippi's second LP, Small Mercies, Sørensen's sweet tooth for pop began to brighten the band's somber mood. While Small Mercies was still a sad album, hooks and melodies started to penetrate the group's initially impermeable wall of gloom. On Songs, Sørensen found his voice -- and so did the band. No longer limiting himself to the ominous tones of Joy Division's Ian Curtis and Bauhaus' Peter Murphy, Sørensen's vocals became more soulful on Songs, equally capable of expressing joy ("Come Summer") or emotional resignation ("Coming Home"). The lyrics gained clarity as well. Fra Lippo Lippi ceased recording in the early '90s. However, in 2000, Fra Lippo Lippi performed in the Philippines, a country where the band landed numerous hits during the '80s. Sørensen has also worked with Trine Rein.

BIO Rune Kristoffersen (WIKI)

Rune Kristoffersen is the guitarist of the Norwegian band Fra Lippo Lippi. Rune Kristoffersen spent the eighties playing bass in Norwegian pop outfit Fra Lippo Lippi, signed to Virgin Records and had an album produced by Walter Becker from Steely Dan in LA. As Fra Lippo Lippi's popularity waned in the nineties, he returned to Norway to teach primary school children, before embarking on a career as a label owner of Rune Grammofon.


Randall's Island (Elliott Randall Related)

Randall's Island - Rock and Roll City - 1972 - Polydor

For most of his life, Elliott Randall has been involved in record production, composition, electronic research and development, lectures and teaching, and performing and recording with artists including Steely Dan, The Doobie Brothers, Carly Simon, Seatrain, The Blues Brothers, Carl Wilson, Peter Wolf, Peter Frampton, Richie Havens, and many others. Other credits include working as music consultant for NBC Saturday Night Live and Oliver Stone, and projects with producers like Jerry Wexler, David Kershenbaum, Steve Lillywhite, Eddie Kramer and Gary Katz. His guitar solos on Steely Dan's "Reelin' In The Years" and the movie, "Fame" are now regarded as some of the greatest guitar solos ever recorded. In the '70's Randall's Island toured with John Mayall among others, and played music for the Broadway production of Jesus Christ Superstar. 'Prediscovery' is a good track and the album contains a lot of decent blues rock throughout. Some tracks are reminiscent of PG&E. However there is a lot of dated extraneous post psychedelic "jabberwocky" on the album. It doesn't spoil the musicianship, and this pseudo-psychedelic nonsense was typical of many albums of this period. Pink Floyd used this kind of stuff to better effect on DSOTM.The band includes bassist Gary King, Ten Wheel Drive's drummer Allen Herman, saxophonist Paul Fleisher and Pot (Phillip Namanworth) on piano and organ. Check out other Elliott Randall/Randall's Island releases on this blog. Find info on Pot (Phillip Namanworth) @ http://phillipnamanworth.com/ [Tracks @ 224-320 Kbps: File size = 84.3 Mb]


A1 ROCK 'N' ROLL CITY - Pot (Phillip Namanworth)
A2 NEON NEW YORK - Elliott Randall & Paul Fleisher
A3 OIL ON THE WATER - Pot (Phillip Namanworth)
A4 ENUF IS ENUF - Benjamin, Pot (Phillip Namanworth)
A5 BRER' FOX BOOGIE - Pot (Phillip Namanworth)
A6 ONE DAY AT A TIME - Elliott Randall, A. Herman, Pot (Phillip Namanworth)

B1 EARTH AND WATER - Pot (Phillip Namanworth)
B2 SURRENDER YOUR AGENDA - Paul Fleisher & Pot (Phillip Namanworth)
B3 KANGURU - Paul Fleisher
B4 PREDISCOVERY - Elliott Randall
B5 KING KONGQUISTADOR - Elliott Randall & Paul Fleisher


ELLIOT RANDALL - Acoustic Guitar, Electric Guitar, Kazoo, Vocals
GARY KING - Electric Bass, Vocals
POT - (Phillip Namanworth) - Electric Piano, Piano, Organ, Vocals
ALLEN HERMAN - Drums, Percussion, Vocals
PAUL FLEISHER - Baritone, Soprano & Tenor Saxophone, Flute, Wind, Vocals


Denny Freeman And The Cobras

Denny Freeman And The Cobras - Denny Freeman And The Cobras - 1991 - CrossCut Records

This Dallas native and Austin fixture was co-lead guitarist in the Cobras with Stevie Vaughan, before joining Angela Strehli (cutting two solo LPs during his stint with the songstress), contributing to Big Guitars from Texas, and recording with Lou Ann Barton. More original and out-on-a-limb than most textbook-blues players, he co-wrote "Baboom/Mama Said" on the Vaughan Brothers' Family Style and played guitar and piano on tour with Jimmie Vaughan following the latter's Strange Pleasure. © Dan Forte © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/p12992/biography

These guys were the hottest thing around Austin prior to the "Thunderbirds"(circa 1976). It would get six stars if Paul Ray were singing. A good example of the live music, outside of the "Cosmic Cowboy" scene, that helped develop Stevie and Jimmy. Good live recording showcasing Denny Freeman and Joe Sublet. Wished there were more recordings of this band. By & © A Customer February 2, 2000 © 1996-2011, Amazon.com, Inc. or its affiliates http://www.amazon.com/Denny-Freeman-Cobras/dp/B000001XXM

Recorded live at the "Continental" club Austin, Texas, on January 26th, 1981 by the ex co-lead guitarist in Cobras with SRV, & Antone's house band member, Denny Freeman. This is a great soul/blues/R&B album from a very underrated musician and his band. Listen to Denny's "Out of the Blue" album


1 Tomcat - Denny Freeman, Joe Sublett 5:15
2 Harlem Shuffle - Relf, Nelson 6:39
3 First To Let You Know - Larry Williams 5:56
4 Blow, Joe Blow (Crazy 'Bout A Saxophone) - Buddy Johnson 3:38
5 Learn To Treat Me Better - Cornelius Green, J. West 4:56
6 Checkin' Up On My Baby - Rice Miller 3:01
7 House Party - George Kelly, Julian Desh, Louis Jordan, MaCoy Rose 4:06
8 I Smell Trouble - Deadric Malone 5:48
9 See See Baby - Freddy King, Sonny Thompson 4:15
10 I'll Go Crazy - James Brown 2:55
11 Gangster Of Love - John Watson 5:18
12 Playboy Hop - Paul Williams 4:45
13 Mary Sue - Rodney Craig 3:05
14 That's How Strong My Love Is - Jamison 2:32
15 Further On Up The Road - Joe Medwick Veasey 4:06
16 Peter Gunn - Henry Mancini 2:59


Denny Freeman - Guitar
Lee Parks - Bass
Rodney Craig - Drums
Joe Sublett - Tenor Saxophone
Luke MacNamee - Baritone Saxophone
Junior Williams - Vocals


Denny Freeman (born Dennis Edward Freeman, August 7, 1944, Orlando, Florida) is an American Texas and electric blues guitarist. Although he is primarily known as a guitar player, Freeman has also played piano and electric organ, both in concert and on various recordings. He has worked with Stevie Ray Vaughan, Jimmie Vaughan, Bob Dylan, Angela Strehli, Lou Ann Barton, James Cotton, Taj Mahal, and Percy Sledge amongst others. Freeman spent his adolescence in Dallas, Texas in the late 1950s and played in a rock group called "The Corals" while in high school. He went to college in North Texas, and had a brief stay in Los Angeles, before relocating in 1970 to Austin, Texas. He was co-lead guitarist in the Cobras with Stevie Ray Vaughan, then in 1972, became a founding member of Southern Feeling, along with W. C. Clark and Angela Strehli. He later recorded with Lou Ann Barton. Freeman lived and played with both Jimmie and Stevie Ray Vaughan throughout the 1970s and 1980s. He played piano on Jimmie Vaughan's first solo tour, and on a James Cotton album. At Antone's nightclub in the early 1980s, Freeman was a member of the house band and backed Otis Rush, Albert Collins, Buddy Guy, Junior Wells, and Lazy Lester. After touring with Jimmie Vaughan in the mid 1990s he toured with Taj Mahal until 2002. A songwriter on his five mainly instrumental albums, Freeman lived again in Los Angeles from 1992 until 2004. Freeman played with Bob Dylan's backing band between 2005 and 2009. Dylan's album, Modern Times was recorded with Dylan's then touring band, including Freeman, Tony Garnier, George G Receli, Stu Kimball, plus multi-instrumentalist Donnie Herron. During a 2006 interview with Rolling Stone, Dylan spoke about his current band: "This is the best band I've ever been in, I've ever had, man for man. When you play with guys a hundred times a year, you know what you can and can't do, what they're good at, whether you want 'em there. It takes a long time to find a band of individual players. Most bands are gangs. Whether it's a metal group or pop rock, whatever, you get that gang mentality. But for those of us who went back further, gangs were the mob. The gang was not what anybody aspired to. On this record (Modern Times) I didn't have anybody to teach. I got guys now in my band, they can whip up anything, they surprise even me". Bob Dylan, August 2006, Rolling Stone. Clem Burke played the drums on Freeman's latest solo offering, Twang Bang (2006).


As an adolescent and young teen in Dallas, Texas in the late1950's, Denny Freeman heard on the radio the radical new sounds of people like Little Richard, Fats Domino, Ray Charles, and Chicago and Louisianna blues artists like Muddy waters and Slim Harpo. Freeman would go to concerts that featured folks like Jimmy Reed, Bo Diddley, Ruth Brown, and the Clovers. In the 60's there was Jimi Hendrix and Cream, and the wonderful jazz of the time. All of it contributed to the music that Freeman would come to play. Primarily a guitar player, he has played piano and organ on his own and other folks records and gigs over the years. Jennifer Warnes has him playing piano on one track (The Well [Reprise]) on her latest release. His piano playing also appears on James Cotton and Jimmie Vaughan albums. He toured on Jimmie Vaughan's first solo outing as the piano player. Denny has been the main writer on the songs on his four, mostly instrumental albums, and teamed up with Kathy Valentine of the GoGos and Clem Burke of Blondie, to submit music to Deborah Harry for the Blondie "No Exit" album. Deborah wrote the lyrics, and "Boom Boom in the Zoom Zoom Room" was born. He also co-wrote "BaBoom (Mama Said)" with Jimmie and Stevie Vaughan for the Vaughan Brothers' "Family Style" album. After touring for a year and a half with Jimmie Vaughan in the mid nineties, he toured w/ Taj Mahal and the Phantom Blues Band until late 2002, playing guitar. It was during this period that Taj' Grammy winning CD, "Shoutin' in Key" was released. "Playing with an American icon like Taj Mahal was a real honor for me. We went all over Europe and to Japan, and it seems that there are Taj fans in every nook and cranny, all over the planet." After growing up in Dallas, going to college in north Texas, and a brief sojourn in L.A., Freeman moved to Austin, Texas in 1970. Jimmie Vaughan, Doyle Bramhall, and Stevie Vaughan soon followed. If you were a musician, a part of the sub culture, or just had long hair, Austin was the place to be in that part of the world, at that time. It wasn't so much of a music town, Freeman observes. " It was the kind of place that musicians in the early 70's found hospitable. Lots of pretty girls, cheap rent, a laid back atmosphere, those things were especially helpful, in those days." The word got around and musicians are still moving there, today, although things have changed, like everywhere else, and cheap rent is certainly a thing of the past. The main thing, though, that these folks had in common, was that they came ready to play blues. Unhappy with the direction rock was heading after the demise of Cream and Jimi Hendrix, blues was the only thing that appealed to these and a few other people. But still it was a struggle. Of course, Jimmie, w/ his Fabulous Thunderbirds, and Stevie finally found some commercial success. Freeman lived and played with Jimmie and Stevie off and on through the 70's and 80's. There just weren't many players interested in playing blues, so the pool was small. "I first heard Jimmie Vaughan play in Dallas, when he was 16, and Stevie a few years later, in Austin, when he was around 17. It was obvious, even then, that we would be hearing from these guys. It took a while, but eventually most fans of guitar, the world over, came to know about them, too. We became friends, roommates, bandmates. Stevie still owes me $30 rent." In 1975, the world famous Antones Night Club opened up. At first, the T Birds were the house band, providing backing for the famous Chicago, and other, blues artists that were booked. In the early 80's, another house band was formed, and Freeman had guitar and piano duties, backing up blues giants like Otis Rush, Albert Collins, Buddy Guy, Jr. Wells, Jimmy Rogers, Eddie Taylor, Lazy Lester, and many, many more. "It was beyond anything I could have imagined. I never thought I'd see most of these guys, much less get to play with them. Some of the shows were recorded, so I'm even on records with my heros." In spite of Freeman's work with Austin blues bands and blues artists in L.A., where he lived from1992 until late 2004, he doesn't consider himself a "blues guy". "I'd rather think of myself as a guitar player." The compositions on his four albums display a love of three chord rock n' roll, soul jazz, blues and old school r&b and soul music. "I'll always love listening to my old blues records, and trying to play it (blues), but I don't want to be stuck in that bag. I like to go out on a limb, sometimes. I also love ballads." Clem Burke plays drums on his latest CD, "Twang Bang." Some of Freeman's early recordings (late 80's) ended up in low budget, mostly horror films. One, "Mortuary Academy", featured Paul Bartel and Wolfman Jack. He recently was in the studio (eraly 2004), playing on the new Percy Sledge album, "Shining Through the Rain", which includes a Denny co-write (w/ Fontaine Brown), "Love Come and Rescue Me", as well as his own new project. In October (2004), he was in the studio, with C.C. Adcock, and Scott Nelson and Mike Keller, working on Doyle Bramhall's forthcoming album, "Is It News?". (Spring release). Denny played in the Bob Dylan Band from 2005 until August 2009, and plays on the Bob Dylan album, "Modern Times". Since the autumn of 2009, Denny has been playing in Austin, Texas a lot, mostly at the Continental Club, Antones, and The Gallery, and in DFW area clubs, and is preparing to record. © 1995-2011 eBay Inc. All Rights Reserved http://www.ebay.com/itm/DENNY-FREEMAN-AND-COBRAS-LIVE-CD-STEVIE-RAY-VAUGHAN-/270627785020?pt=Music_CDs&hash=item3f02ac493c

Dar Williams, Lucy Kaplansky & Richard Shindell

Dar Williams, Lucy Kaplansky & Richard Shindell - Cry Cry Cry - 1998 - Razor & Tie

This is an album of folk-rock covers performed by the Big Three singer/songwriters of the most recent folk revival, and it works well, if not perfectly. It starts off with the most risky number, a shimmering version of R.E.M.'s "Fall on Me." Dar Williams doesn't quite have the right voice for this song, but the band arrangements and backing vocals work nicely and the track ends up being very pretty in its way. The rest of the program is more of what you'd expect: story-songs by songwriters admired by the three performers, including James Keelaghan (whose "Cold Missouri Waters" is a harrowing firefighting tale), Robert Earl Keen ("Shades of Gray"), and Greg Brown ("Lord, I Have Made You a Place in My Heart"). Lucy Kaplansky, who has the best voice of the three, sings the heartbreakingly sweet "Speaking with the Angel," and there's a very interesting a cappella version of Leslie Smith's "Northern Cross," sung here in wide-open, medieval-sounding harmony. A couple of tunes rock out in a country-ish sort of way, and there's a nice version of Richard Shindell's "Ballad of Mary Magdalene." At times it sounds like the group members are still trying to figure out how best to work together, but fans of these artists won't be disappointed. © Rick Anderson © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/cry-cry-cry-r379274/review


1 Fall On Me - Michael Stipe, Bill Berry, Peter Buck, Mike Mills
2 Cold Missouri Waters - James Keelaghan
3 Speaking With The Angel - Ron Sexsmith
4 The Kid - Buddy Mondlock
5 Shades Of Grey - Robert Earl Keen Jr.
6 Lord, I Have Made You A Place In My Heart - Greg Brown
7 By Way Of Sorrow - Julie Miller
8 Memphis - Cliff Eberhardt
9 Northern Cross - Leslie Smith
10 Down By The Water - Jim Armenti
11 I Know What Kind of Love This Is - Nerissa Nields
12 The Ballad of Mary Magdalen - Richard Shindell


Larry Campbell - guitar, acoustic guitar, lap steel guitar, mandolin, fiddle
Alan Williams - electric guitar, organ, percussion
Jon Herington, Cliff Eberhardt - guitar
Billy Masters - electric guitar
Richard Shindell - acoustic guitar, vocals,vocal harmony
Chuck Parrish - acoustic guitar
Richard Gates - bass
Jeff Hill - upright bass
Michael Rivard - upright bass, fretless bass
Doug Plavin, Jay Bellerose - drums, percussion
Stephanie Winters - cello
Dar Williams, Lucy Kaplansky - vocals, vocal harmony

Elliott Randall

Elliott Randall - Still Reelin' (EP) - 2007 - Private Collection Records

The making of this EP CD has been a musical journey lasting a half dozen years [...and what a long strange trip it's been] – I started the ‘roadmap’ for my new interpretation of REELIN’ before the turn of the century. I’ve always heard a ‘different spin’ on this great tune – from the moment Donald and Walter played me the unfinished track, I heard the 2 harmony guitars in the interludes, knowing that one day I’d interpret those phrases using the Celtic instruments they were meant for. My quest took me to Bill Whelan (composer of Riverdance), who introduced some of Ireland’s finest trad players to the mix. And finally, here it is. I recruited my bandmates Bernard Purdie and Chuck Rainey from the ‘Royal Scam’ LP – I grew up with them in the studios, and just knew that they were the perfect players for this track. I traveled a lot in the process of putting all these fine musicians together – New York for Purdie and Marc Quiñones, Texas for Rainey, Ireland for some of the wonderful Celtic playing, London for the brilliantly subtle piano of Wayne Brown and the dulcet tones of Hamish Stuart… and finally to the great North of England for the topping – Tasmin Archer singing lead. I finally feel that my ‘painting’ of an already great song is complete, and it gives me great pleasure to share it with you. MANHATTAN ATTITUDE and WINDOW are 2 very differing instrumental visions of mine, very different moods, and some lovely musical interactions. We end this mini-trip paying tribute to Bill Withers’ tune, which was written to leave a smile of the face of the listener. LOVELY DAY gets a fresh vocal makeover courtesy of JAG (not to mention loads of subtle ER ol’ school synthesis as the piece builds.) Here’s to you! - ER © 2011 Elliott Randall http://elliott-randall.com/cds/#post-112

A short 4 track EP from ex-Steely Dan guitarist, Elliott Randall. It's arguable as to whether the "Celtic touch" enhances "Reelin' In The Years". The track would have sounded ok with just Tasmin Archer's beautiful vocals. However, Elliott himself has said that he's "always heard a ‘different spin’ on this great tune", and that "from the moment Donald and Walter played me the unfinished track, I heard the 2 harmony guitars in the interludes, knowing that one day I’d interpret those phrases using the Celtic instruments they were meant for."The guy obviously has a deep relationship with the song. His "Manhattan Attitude" and "Window" demonstrate Elliott's guitar ability better. Bill Withers and Skip Scarborough's classic "Lovely Day" is covered with sweet soulful lead vocals from Jagdeep. This is a good EP, and is not a showcase for Elliott Randall's brilliant guitar skills, but it's not intended to be. Some of the musicians on this album include Bernard "Pretty" Purdie on drums, Chuck Rainey on bass, Hamish Stewart on vocals, and Al Kooper, on Hammond B-3 [All tracks @ 128 Kbps] Buy the original for better SQ


1 Reelin' In The Years - Walter Becker & Donald Fagen (Celtic intro composed by Elliott Randall) 5:26


Elliott Randall, Guitars
Bernard Purdie, Drums
Chuck Rainey, Bass
Wayne Brown, Piano
Tasmin Archer, Lead Vocal
Hamish Stewart, Elliott Randall, Tasmin Archer, Vocals
Declan Masterson, Uilleann Pipes
Robbie Harris, Bodhrán
Zoë Conway, Fiddle
Marc Quiñones, Latin Percussion
Peter Fish, Synclavier
Steve Donnelly, Acoustic Guitar
Simon Hanhart, Jon Fausty, "Pappy" Middleton, Rob Mounsey, John Arias, Philip Begley, Elliott Randall, Recording Engineers
Godfrey Diamond, Mix Engineer
Scott Hull, Mastering Engineer

2 Manhattan Attitude - Elliott Randall 3:41


Elliott Randall, Electric Guitar
Andy Treacey, Drums
Darrell Nutt, Drums
Al Kooper, Hammond B-3 Organ
Wayne Brown, Clavinet
Stefan Redtenbacher, Bass
Frank Shaefer, Cello
Clive Ashley, Soprano Sax
Elliott Randall, Recording & Mix Engineer
Andy Scarth, Mix Engineer
Scott Hull, Mastering Engineer

3 Window - Elliott Randall 2:42


Elliott Randall, Electric Guitar
Steve Donnelly. Acoustic Guitar
"Level" Neville Malcolm, Bass
Wayne Brown, Keyboards
Andy Treacey, Drums
Jagdeep, Percussion
José Joyette, Percussion
Frank Schaefer, Cello
Elliott Randall, Recording & Mix Engineer
Andy Scarth, Mix Engineer
Scott Hull, Mastering Engineer

4 Lovely Day - Bill Withers & Skip Scarborough 3:43


Elliott Randall, Electric Guitar, Synthesizers
Andy Treacey, Drums
José Joyette, Drums
Stefan Redtenbacher, Bass
Wayne Brown, Keyboards
Jagdeep, Vocals
Clive Ashley, Tenor Sax
Frank Schaefer, Celli
Elliott Randall, Recording & Mix Engineer
Andy Scarth, Mix Engineer
Scott Hull, Mastering Engineer


Eric Sardinas And Big Motor

Eric Sardinas And Big Motor - Eric Sardinas And Big Motor - 2008 - FridayMusic

Playing sizzling slide guitar and dobro is only part of the equation. Writing good songs is the other, and that's where Eric Sardinas has come up short on his previous three releases. While the tunes on his fourth won't revolutionize the blues boogie genre where it seems he intends to reside for his career, they are better and more intricately arranged than in the past. The slashing slide shenanigans that get the shredder's pulses racing are slathered over the tracks as before, but there is greater emphasis on subtlety "this time" out. Credit guest keyboardist David Schulz and a pair of female backing singers for bringing a gospel feel to the music, also adding a touch of class that nicely balances the grinding groove. Surely nobody would confuse Sardinas' gritty voice for a soul singer, yet there is a newfound confidence to his approach that is certainly soulful. Tunes such as "Gone to Memphis" and "This Time" sport memorable choruses that are some of the guitarist's finest. Covers of the Elvis standard "Burning Love" and Tony Joe White by way of Rory Gallagher's "As the Crow Flies" don't add much to the originals but are far from embarrassments either. Stompers such as "Find My Heart" and "Just Like That" are reminiscent of the glory days of Southern rock, specifically Black Oak Arkansas, Lynyrd Skynyrd, and Molly Hatchet, but with hotter, better delineated guitar. Sardinas moves into '70s hard rock territory with the Free/Bad Company influenced "Door to Diamonds" yet the arrangements are spacious enough to include his crunchy slide lines without sounding exaggerated. Those looking for a ballad to lighten the mood will need to search elsewhere because once Sardinas revs up his engine, there is no slowing down. Sturdy bass and drums from his Big Motor backing duo do their job and stay out of the way allowing the guitarist freedom to do his thing. Sardinas keeps the songs concise and tight, reins in the solos, and hugs the curves of this material with far more nuances than in the past. That makes this his finest effort yet and shows that he's a rugged blues-rocker with brains and brawn. © Hal Horowitz © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/eric-sardinas-and-big-motor-r1335684/review

A great slide guitarist in the Delta Blues tradition, influenced by legends such as Muddy Waters, and Elmore James. Eric is becoming more prominent outside the US. A guy like this who sticks to tradition and puts his real love of the blues before commercialism, similar to the late, great Rory Gallagher, deserves to be heard by more people. Buy his great 1999 debut album, "Treat Me Right", and help keep the blues alive! Listen to Eric Sardinas and Big Motor's "Sticks And Stones" album [All tracks @ 320 Kbps: File size = 113 Mb]


1. All I Need
2. Ride
3. Find My Heart
4. Gone To Memphis
5. It's Nothin' New
6. This Time
7. Just Like That
8. Burning Love
9. Wonderin’ Blues
10. Door To Diamonds
11. As The Crow Flies

All songs composed by Eric Sardinas except "Burning Love" by Dennis Linde, and "As the Crow Flies" by Tony Joe White


Eric Sardinas - Slide Guitar, Vocals
Levell Price - Bass Guitar, Background Vocals
Dave Schulz - Organ, Piano
Patrick Caccia - Drums
Stacy Plunk, Gia Ciambotti - Background Vocals


The term "blues-rock" brings with it a connotation of a blues artist "selling out" in order to make more money or a rock band blaring heavy riffs with a thinly veiled strain of blues. A worse offense is that many of these rock artists have little or no knowledge of the blues in its historical context or its mythological roots. That is certainly not true in the case of Eric Sardinas. At six, his first love was Delta blues, as it "was the thrill of hearing one person playing the guitar and generating the energy of five - I loved the sheer strength and heart of a single player." Just as unusual was citing his first influences as Barbecue Bob, Charley Patton, and Bukka White, then Elmore James, Muddy Waters, and Big Bill Broonzy. He exclusively concentrates on slide guitar, employing his cherished Dobros, some that are customized to play by Edison's power. Sardinas listens to 78s, then couples these influences with modern sounds. He moved around the country, landing in Los Angeles in 1990. Like the early blues folk, he played acoustic for a living on the street, then formed the Eric Sardinas Project (ESP) by hooking up with bassist Paul Loranger at a jam session. Loranger had the ideal sound that Sardinas wanted, a bassist who had exceptional playing ability on upright and electric and could work the upright in a blues-rock context. Two years later, drummer Scott Palacios joined them. It took ESP six years of experience of performing nearly 300 shows annually, playing from acoustic gigs in coffeehouses to sharing the bill with rock bands at Hollywood clubs. Musical-instrument companies sent them gigging at showcase concerts, which led the band to a gig as the opening act for a West Coast swing of a Johnny Winter's tour. Word got around, receiving the attention of Evidence Records. Blues discoverer Dick Shurman produced Sardinas' 1999 debut, Treat Me Right. In 2000, Sardinas released a three-song single spotlighting his burning take on J.B. Hutto's "Angel Face." Devil's Train, his second full-length album, followed in 2001 and featured more of Sardinas' trademark blues-rock. © Char Ham © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/eric-sardinas-p365480/biography


Eric Sardinas is an American blues-rock guitarist born in Fort Lauderdale, Florida in 1970. He is noted for his use of the electric resonator guitar and his powerful live performances. Sardinas began to play the guitar at age six and leaned toward vintage recordings by such Delta bluesmen as Charlie Patton, Bukka White, Big Bill Broonzy, Elmore James and Muddy Waters. Although he was left-handed, he eventually started to play right-handed and his impressive style may be due to this fact. "The rawest, most emotional music is what sparked my excitement for the blues," Eric says. "I still listen to music from the 20s and 30s on a daily basis. That's where it all began." He is currently signed to Steve Vai's Favored Nations record label and was the opening act for Vai's The Real Illusions Tour 2005 around the world.

Joe Moss

Joe Moss - Monster Love - 2003 - 212 Records

The older brother to Nick Moss -- who already had some well-received albums under his belt when this was released in late 2003 -- Chicago guitarist Joe Moss sizzles on his debut. A veteran of Buddy Scott's band as well as a sideman to Magic Slim, Billy Branch, and other Windy City luminaries, the older Moss sounds confident and mature on his first album as a leader. Although there is plenty of straight-ahead blues, Moss aims for a more R&B-laced approach, helped immensely by the addition of organ (no less than three musicians fill the keyboard slot) on most tracks and horns to a few others. He also possesses a low-key but potent voice, similar to Jimmie Vaughan, and delivers these songs with enthusiasm and a tough determination. The organ is an integral part of the sound, and songs like "Ain't Got No Money," with its extended solo, succeed in large part due to the Jimmy Smith jazz/funk feel of the keyboards. Moss' guitar style is clean, sharp, and free of extraneous effects. Reminiscent of Mike Bloomfield, his leads are biting yet fluid and easily adapt to jazz, funk, blues, and even the Delta style he displays on the album's unaccompanied closing "Train Tracks." Moss brings a Booker T. & the MG's feel to the Memphis-styled groove of "Lost My World" and "Mad, Mad, Mad," and seems as comfortable with that as with the traditional Elmore James shuffle of B.B. King's "Please Love Me," one of the album's two covers. His lean playing dispenses with the rock-oriented histrionics that clutter much new blues, especially from white artists. He capitalizes on this style as his lines punctuate the verses of the soul and subtle funk that remain at the heart of his approach. It makes this long-awaited debut a perfect introduction to one of the finest of the new-generation Chicago bluesmen. Joe Moss has learned from his predecessors, even as he creatively takes the basics of blues and shifts them into a more soulful stew that is just as moving. © Hal Horowitz © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/monster-love-r663265/review

When Joe was a kid in Chicago, a friend played him a Led Zeppelin album, and when Joe heard Joe Robert Plant singing "I Can't Quit You Baby", he told his friend he'd heard the song before, and that it was an Otis Rush tune. When Joe learned guitar and started playing his own music, he naturally played blues R&B, soul, rock and funk in the style of artists he'd listened to as a kid, people like B.B. King, Stevie Wonder, James Brown, and Albert King. Joe said. "I grew up with my mother listening to and all kinds of stuff. My dad was into Jimmy Reed and my uncle turned me on to rock 'n' roll". Joe Moss first made his name in the Chicago blues scene in the late 1980s with Buddy Scott, whose band was a regular on the city's west side. He then became a popular session guitarist. Ward Meeker, of Vintage Guitar magazine said, "He's a real good Chicago blues guy, true to the form. He's pretty well known in that realm." Joe formed his own band in the mid-1990s, and was a regular player at Buddy Guy's Legends, and the House of Blues venues. Joe said his band plays three or four straight-ahead blues songs per set, then does its own material. Joe says, "I play blues, but blues isn't necessarily a format like a lot of people think it is," he said. "The way I look at it is Hank Williams was playing blues, even though he was a country artist. You can listen to Mozart and hear blues, as far as I'm concerned. I don't really concern myself with what it is exactly. You can just hear where it's coming from." "Blues is all over the place," he said. "You have elements of it in just about everything. Every guitar player you've ever heard, you were hearing blues. You literally can't pick up the guitar and play a lick without quoting someone like B.B. King, Otis Rush, T-Bone Walker …" The band's style crosses the boundaries of traditional genres, but Joe reckons said that's unavoidable. To him, blues is rock is country is blues. Joe said that "There seems to be two different mindsets in blues. One is to present a case for music that was played in the past, and stay strict to those forms. The other, which I like to introduce to people, is trying to create something new out of the influences that are already existing, but add a little of yourself to those influences. That's the category I fall in. We're not trying to be a copy of the past, even though we show all those influences". "Monster Love" will demonstrate exactly what Joe is saying. Speaking about the future of the blues, Joe has said that "he hopes there's a place in there for guys like him". Try and listen to the band's great "Drive Time - Live at Chans" album, and listen to Joe Moss' "Maricela's Smile" album. The Joe Moss Band's s/t album can be found @ JOMOS/S-T [All tracks @ 256 Kbps: File size = 115 Mb]


1 Monster Love - Moss 3:13
2 Love My Baby - Hooker, Moss, Parker, Phillips 4:52
3 Mad, Mad, Mad - Moss 5:00
4 Have You Ever Loved a Woman - Myles 6:10
5 Oh Sandra '03 - Moss 4:35
6 Need Your Love - Moss, Nielsen, Petersson 5:34
7 Please Love Me - Bihari, King, Taub 4:29
8 Lost My World - Moss 4:59
9 Life Is Funny - Moss 4:02
10 So Scared - Moss 4:28
11 King Swing - Moss 2:50
12 Ain't Got No Money - Miller, Moss 5:32
13 Train Tracks - Moss 4:55


Joe Moss - Guitar, Vocals
John Sefner - Bass on Tracks 1,2,3,4,6,8,9,12
Todd Fackler - Bass on Tracks 5,7,10,11,13
Bill LeClaire - Keyboards on Tracks 5,7,10,11
Eric Michaels - Organ on Tracks 1,6,9,12
Dave Christiansen - Organ on Tracks 2,3,4,8
Ricky King - Drums on Tracks 1,6,9,12
Kenny Smith - Drums on Tracks 2,3,4,5,7,8,10,11,13
Dez Desormeaux - Horns on Tracks 1,2,3,4,5,7,8,9,10,11,12


Few up and coming young blues performers walk the walk to the degree of Chicago-based guitarist/bandleader JOE MOSS. One of the hardest-working performers on the Windy City circuit, Moss routinely works up to 28 gigs a month. His sound, a winning mix of blues and R&B flavors paired with original songwriting vision, can be heard blasting out of Chicago venues like Buddy Guy's Legends and House of Blues on a regular basis. His stinging guitar and accomplished vocal style have won him fans citywide. His debut CD "The Joe Moss Band" (212 Records) gives ample proof to the rest of the world of what Midwest blues fans have known for some time: JOE MOSS is for real. A guitarist since the age of 15, Moss was given his passport into the blues world by Buddy Scott, who noticed Moss at a jam session at Rosa's Blues Lounge on Chicago's west side. Soon, Moss was playing seven nights a week as a member of Buddy's Rib Tip band. In 1992, Joe toured Spain with Buddy and also recorded "Bad Ave." with him as well. The record was released on Polygram's Verve Gitane Blues label. Moss' guitar skills quickly became notorious on the local scene and made him an in-demand sideman. He played countless gigs with nearly every bluesman and -woman in the city. Some of his past employers include Zora Young, Charles Wilson, Lil' Smokey Smothers, Syl Johnson, Big Time Sarah, Barkin' Bill Smith, Lefty Dizz, Magic Slim, A.C. Reed, Billy Branch, and Little Mack Simmons. Not merely a local hotshot, Joe has backed these artists in places like Canada, Turkey, Switzerland, Holland, Belgium, France, and Germany as well as in Chicago. Not content to remain on the side, Joe felt the pull to be his own man and lead his own band. This desire led to the birth of both The Joe Moss Band and the CD of the same name. Moss is finally able to do things his way and express the music he has been writing. Original tunes like "Coldhearted," "Good Lovin' Groove," and "Jealous" are sure to win over fans of blues, blues/rock, and R&B. Not one to be media-shy, either, Joe has been featured in Gig Magazine, Vintage Guitar, Living Blues, the Chicago Tribune, the Kenosha News, and In The Mix Magazine. He has also received airplay on WLUP 97.9 FM, WXRT 93.1 FM, and WCBR 92.7 FM. JOE MOSS is one representative of the future of the blues. Not just an imitator of the music's glorious past, he strives to find his own sound and material within the styles he chooses to play. His band features some of Chicago's finest blues musicians and Joe himself is a consistent and entertaining performer. Blues fans would be wise to check out JOE MOSS and his band as soon as they can. Any worries about this music surviving in the new millennium will surely be put to rest. © 2003-2011 Joe Moss http://www.joemossband.com/bio.html


Lesley Duncan

Lesley Duncan - Everything Changes - 1974 - GM Records

Born 12 August 1943 in Stockton-on-Tees, England. Died 12 March 2010 in Scotland on the Isle of Mull, Scotland. Lesley Duncan was a pioneering singer-songwriter best known for her composition "Love Song", which was recorded by various artists including Elton John, Peggy Lee, David Bowie, Olivia Newton John and Dionne Warwick. Born in Stockton on Tees, she came to London in the mid-1960s and became one of the first female singer song writers of the pop era. Her early recordings, on labels such as Parlophone, Mercury and RCA, and including "Tell Me" and "See That Guy", attracted positive attention within the industry but failed to generate meaningful sales. During this time and throughout the next two decades she worked with other female artists and friends such as Dusty Springfield, Madeleine Bell, Kay Garner, Vicky Brown and Kiki Dee as a successful session singer. This close-knit group evolved a new type of American-influenced backing vocals for each other's recordings and for leading artists of the day. Lesley's distinctive vocals can be heard on many hit records throughout the '70s and '80s, including Elton John's Madman Across the Water, Pink Floyd's Dark Side of the Moon, Black Flower by the original Nirvana and Ringo Starr's Goodnight Vienna. Public recognition came in the early '70s when Elton John, whom she had known and worked with for many years, recorded her "Love Song" on his Tumbleweed Connection album with Duncan singing harmonies. Signing to CBS she released the albums Sing Children Sing and Earth Mother, working not only with Elton John but with other leading musicians such as Chris Spedding, Tristan Fry, Andy Bown, Terry Cox and her producer and first husband Jimmy Horowitz. Duncan was a gregarious, thoughtful and intelligent woman, her lyrics demonstrating her commitment to social-action issues, conservation and spiritual beliefs, including a strong interest in Buddhism and the peace movement. Earth Mother was dedicated to Friends of the Earth and reflected her passionate belief in preserving nature and the environment. Also buried within the lyrics of several of her compositions were more hidden references to close friends and to her much-loved sons Sam and Joe. Three subsequent albums – Everything Changes, Moonbathing and Maybe it's Lost – continued to build a cult following but lacked big commercial sales. Duncan's own interest in the music industry faded in favour of a more normal life in the countryside with her second husband, Tony Cox, in Cornwall, Oxfordshire and later Scotland. Cox – himself a highly regarded musician and producer – encouraged her on a couple of special projects such as a reworking of the Bob Dylan number "Masters of War" and a powerful version of "If I Could Change Your Mind" on the Alan Parson album Dammed if I Do. In 1979 she agreed to re-record "Sing Children Sing" with Kate Bush, Phil Lynott and Pete Townsend for the International Year of the Child. It generated considerable airplay and made it to the fringes of the charts. Duncan's heart, however, was firmly rooted in her new life in the countryside, including her voluntary work for Oxfam, photography and dedicated walking of the entourage of dogs she and Cox accumulated. Her warm-hearted nature, great sense of humour and generous spirit endeared her to a wide array of friends around the world. Life in her final home on the Isle of Mull generated a whole new network of friends largely unaware of her past existence in the pop world – or her still considerable worldwide following on numerous websites dedicated to her music. She was aware and appreciative of this constant and continued interest in her work but was never tempted to capitalise on it. © Richard Stanley - from [Lesley Duncan: Singer and songwriter who worked with Elton John and Pink Floyd Monday - Obituary from The Independent 12 April 2010] © independent.co.uk http://www.independent.co.uk

Active from the 1960s well into the 1980s, the late Lesley Duncan recorded several solo releases and sang backing vocals on recordings by many great artists including the Dave Clark 5, Donovan, Tim Hardin, Alan Hull, Ringo Starr, and Dusty Springfield. Both Lesley and Liza Strike sang backing vocals on Pink Floyd's "The Great Gig In The Sky" from the DSOTM album. As a songwriter she was best known for "Love Song", recorded in 1970 by Elton John. She is still a relatively obscure artist, and "Everything Changes", her 3rd album is a really good "undiscovered" album. The LP was never released in the US, although it did lead to her signing with MCA records in 1976. "Everything Changes" is full of good tuneful, soulful, mellow and melodic songs sung by a lady who was a wonderful songwriter with a truly unique vocal style. "The Serf" or "Watch the Tears" are great songs and worth mentioning. Her first husband, record producer and keyboardist Jimmy Horowitz gathered some of the top studio musicians in England to record on Lesley’s albums. Peter Frampton plays guitar on the album. Try and listen to her "Moonbathing" album [All tracks @ 320 Kbps: File size = 79.9 Mb]


A1 My Soul 3:25
A2 Broken Old Doll 3:50
A3 The Serf 3:54
A4 Hold On 3:30
A5 Everything Changes 3:43

B1 Love Melts Away 3:40
B2 Sam 2:55
B3 You 4:23
B4 Watch The Tears 4:20
B5 We'll Get By 4:43

All songs composed by Lesley Duncan except "Love Melts Away" and "Watch The Tears" by Lesley Duncan & Jimmy Horowitz


Lesley Duncan - Guitar, Mandolin, Vocals
Peter Frampton, Bob Cohen - Guitar
Andy Bown, Larry Steele - Bass
Jimmy Horowitz - Keyboards
Barry DeSouza - Drums
Liza Strike, Sue Glover - Vocals


One of England's top session vocalists, Lesley Duncan sang on recordings by Elton John, the Dave Clark Five, Pink Floyd, the Alan Parsons Project, Michael Chapman, and Joyce Everson and the soundtrack of Jesus Christ Superstar. Her songs have been covered by Elton John, Olivia Newton-John, and Long John Baldry. Although her debut 1963 single, "I Want a Steady," credited to Lesley Duncan & the Jokers, was a commercial failure, Duncan found success six years later when Elton John included her tune "Love Song" on his album Tumbleweed Connection. The song's popularity led to a recording contract with CBS/Columbia. Her debut eponymously titled album, produced by her husband and keyboard player, Jimmy Horowitz, included her song "Sing Children Sing," featuring John on piano. Duncan and John continued to collaborate on Duncan's 1976 album, Moonbathing, which included a live duet version of "Love Song." While her vocals and songwriting brought her respect from the British music press, Duncan was unable to break through as a soloist. Dropped by MCA in 1976 due to poor album sales, she continued to work with producer Tony Cox as a singles artist until 1986. Her last album vocal appearances came in 1979 with "If I Could Change Your Mind" on the Alan Parsons Project album Eve and in 1980 with "Hold on to Love" from the album Exiled by the Bob Mitchell/Steve Coe Mysteries. Duncan's early albums, Sing Children Sing and Earth Mother, were released on CD in the early 2000s. During her latter years Duncan continued to perform with Jimmy Horowitz on keyboards and Chris Spedding on guitar. She died from cerebrovascular disease at age 66 on March 12, 2010, on the Isle of Mull in Scotland. © Craig Harris © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/lesley-duncan-p17178/biography


Born August 12, 1943; Died March 12, 2010. Lesley Duncan, who has died aged 66, was Britain’s first hit-making female singer-songwriter. She maintained she only bluffed her way into the business after knocking up a couple of songs in her head. She was waitressing in a Bayswater coffee bar and living in a bedsit when her brother, Jimmy, fresh out of Wormwood Scrubs, announced he was going to become a songwriter. Thinking anyone could do that, she composed two songs, without any instruments, and promptly sang them unaccompanied to the head of a music publisher she had arranged to meet. The pair of diminutive kids with thick Teeside accents were immediately offered a retainer and her future was sealed. The company was Francis Day and Hunter, now part of EMI, and her career, collaborating with rock and pop glitterati from David Bowie to Elton John, Pink Floyd and Dusty Springfield, was about to take off. Hundreds of artists, including Elton John, Dionne Warwick, Peggy Lee, Topol and Barry White, have since recorded her best known composition, Love Song. It’s not bad for a girl who thought she “wasn’t much of a singer” and had no great ambition. Duncan was born in Stockton-on-Tees to a Scottish father, Ranald Duncan, from Cluny, Aberdeenshire, who left her mother, Kathleen, while she was expecting their daughter. She and her late brother were raised by their mum, a bit of a good-time girl, according to Duncan, who was a fine pianist and played in clubs, often leaving the children at home at night. Despite the lack of parental support she made it to grammar school but left before her 15th birthday. She later made up for that by reading intensely. She waitressed in north of England hotels before moving to London, aged 16, and making the leap into the music business. She and her brother won their retainers in 1963: he got £10 a week, she was on £7. “On Friday I was a waitress, and on Monday I was in showbusiness,” she once said, adding: “It was all bluff really, I was just bluffing.” Within weeks Duncan was in the movie business, winning a part in the pop film What A Crazy World, with Joe Brown, Susan Maughan and Marty Wilde, and later a recording contract with Parlophone Records, the same label as The Beatles. Although she then did not have any huge success recording her own songs – nice but naive affairs – she was well known as a backing singer. She worked with Dusty Springfield, Madeline Bell and Kiki Dee, all singing on each other’s records. It was not until Elton John, with whom she worked together on sessions, recorded Love Song on his Tumbleweed Connection album that she got an album deal. Her songwriting had matured and she produced Sing Children Sing, on which Elton played, and appeared on Top of the Pops. She released her album Earth Mother in 1972, dedicating it to Friends of the Earth, of which she was an enthusiastic member. By that time she had married record producer Jimmy Horowitz and went on to have two sons with him, Sam and Joe. Although their profes­sional creative relationship went well, the marriage broke up and in 1976 she dropped out and went to live in Cornwall. It was there she got to know her second husband, Tony Cox, also a record producer and music arranger. They had previously met when she was doing session work. “I recall thinking she was a rather stroppy, difficult little woman,” he said. “She later said she thought I was a pretty weird guy – views which we never entirely let go of in 30 years.” They hit it off better in Cornwall in 1977 and married the following year. They later spent 11 years in Oxford, where Duncan worked at Oxfam’s HQ and helped to promote fundraising concerts with up and coming acts, including Stephen Fry and Hugh Laurie. In 1979, she released Sing Children Sing again as a fundraiser for Oxfam for Year of the Child. During her career she released a number of albums and also sang on the Alan Parson’s Project release Eve, the Jesus Christ Superstar album, Pink Floyd’s Dark Side of the Moon, Elton John’s Madman Across the Water and with Ringo Starr, Donovan and the Dave Clark Five. Never comfortable with being on the road or performing, and taking her duties as a mother seriously, she was happiest in the recording studio. Duncan, who latterly suffered from cerebrovascular disease, never officially retired but her last record was released in 1986. The couple moved to Tobermory on Mull in 1996 where her illus­trious music career was unknown to many of the locals but where condolences arrived from Elton John and David Bowie. She died in the island’s hospital with her husband at her side, just as Love Song, playing in the background, came to a close. [Published on 25 Mar 2010 by & © www.heraldscotland.com]


Various Artists (Beatles Related)

Various Artists - Here, There & Everywhere: The Songs Of The Beatles (A Windham Hill Collection) - 1999 - Windham Hill

Wikipedia states that "New Age music is broadly defined as relaxing, even "meditative", music that is primarily instrumental. Unlike relaxing forms of classical music, New Age music makes greater use of electronica and non-Western instrumentation. There is some debate on what can be considered "New Age music", for example several musicians in Celtic music or Smooth jazz have expressed annoyance at being labeled "New Age musicians." For more on that debate, see the article on New Age music (http://en.wikipedia.org/wiki/New_Age_music). In addition, several musicians object to the label because they fear it implies a connection to the New Age movement." It is pointless discussing definitions where music genres are concerned. "New Age" generally encompasses a very broad spectrum, including artists like Enya, Peter Gabriel, Carlos Santana, Edgar Froese, Liquid Tension Experiment, Pat Metheny, Mike Oldfield, and Tangerine Dream. Much of this music can be "relaxing" and/or "meditative", keeping within the broad definition described by Wiki. A great deal of "New Age" music is regarded by many lovers of rock and pop music as boring and throwaway, and it is true that many "New Age" artists are pretentious, dull, and compose downright boring, monotonous music. However artists previously mentioned like Peter Gabriel, Tangerine Dream, and Pat Metheny have composed some superb music and have released many classic albums. "New Age" like every musical genre throws up good and bad music. The Windham Hill label usually specializes in New Age, folk, and acoustic music. You will usually find "Here, There & Everywhere" in record shops under the "New Age" category, but somebody made the great point that "when you’re covering the Beatles, how much can you screw up? Their song arrangements are virtually indestructible". If you like The Beatles (Who doesn't?), you may be interested in these Windham Hill arrangements. Most of the covers work very well, and this album is not a "throwaway", but genuinely worth listening to. [ All tracks @ 256 Kbps: File size = 90.3 Mb]


1 W.G. Snuffy Walden - You Won't See Me
2 Tuck & Patti - I Will
3 Wayne Johnson - Eleanor Rigby
4 Liz Story - Here, There and Everywhere
5 Michael Hedges - If I Needed Someone *
6 George Winston - Martha My Dear
7 Doyle Dykes - Girl
8 The Angels of Venice - Within You, Without You *
9 Sean Harkness - Blackbird
10 Tracy Silverman - Here Comes the Sun *
11 Lisa Lynne - Lucy in the Sky With Diamonds
12 Free Klassic - Mother Nature's Son
13 Liz Story - The Long and Winding Road

* Composed by George Harrison. All other songs by Lennon & McCartney


The Jazz Ministry

The Jazz Ministry - Another Night At The Baked Potato 2005 - 2005 - LMNOP

Recorded @ The North Hollywood Baked Potato on March 11th, 12th, and April 8th 2005. This a powerful and stunning fusion statement by four master musicians. The band plays entirely instrumental jazz grooves with plenty of improvised jamming. Greg Mathieson plays keyboards and is joined by the brilliant Michael Landau on guitar, and Abe Laboriel on bass. Abraham Laboriel Jr. plays drums. Greg has said that "The rules for this band were no rehearsals and no sound checks. Just show up to the gig and count it off! So with those rules the band played with freedom, joy and abandon, and that made for some really great moments. As a musician there have been so many great moments that have not been recorded, and that's why I'm so grateful that these were". This album is VHR by A.O.O.F.C. N.B: Greg Mathieson, Abraham Laboriel Sr., Michael Landau, and Vinnie Colaiuta previously played this venue in June, and July 2000. The concert was recorded and released as the album "Mathieson, Laboriel, Landau & Colaiuta Live At The Baked Potato 2000" in 2001. You will find that album @ http://overdoseoffingalcocoa.blogspot.com/2011/08/mathieson-laboriel-landau-colaiuta.html Listen to Abe Laboriel, Jr playing snare drums on Scritti Politti's great "Anomie & Bonhomie" album. Check out Abraham Laboriel Sr.'s "Guidum" album. Greg Mathieson's "For My Friends" is a great album, as is Michael Landau's "Renegade Creation" album. The Michael Landau Group's "Live" album is @ MICHLAND/LIVE [All tracks @ 160 Kbps: 2 x rar files: Pt.1 = Disc 1[89.2 Mb], & Pt.2 = Disc 2 [87.5 Mb]


1 The Sauce 16:32
2 Goyo 15:48
3 Song For My Grandfather 13:07
4 MB 7:35
5 Q T π 17:02


1 I Don't Know 15:12
2 Slow Glide 17:17
3 Greg's Groove 16:32
4 HB "A Nice Place To Live" 8:32
5 LMNOP 19:00

All tracks composed by Greg Mathieson except "Q T π" by Greg Mathieson & Abraham Laboriel


Michael Landau - Guitars
Abraham Laboriel Sr. - Bass
Greg Mathieson - Keyboards
Abraham Laboriel Jr. - Drums


Judy Collins

Judy Collins - Bohemian - 2011 - Wildflower

Released to coincide with the iconic folksinger's 2011 memoir, Suite Judy Blue Eyes, Bohemian finds Judy Collins revisiting the late-'60s California music scene. Driven by her signature effortless soprano, the album features four new original cuts ("Morocco," "Wings of Angels," "In the Twilight," and "Big Sur") along with seven covers, including "Pure Imagination" from Willy Wonka and the Chocolate Factory and Joni Mitchell's "Cactus Tree," the latter of which finds the seemingly ageless Collins sharing vocal duties with Shawn Colvin. Elsewhere, Collins deftly tackles the Woody Guthrie workers ballad "Pastures of Plenty" and Jimmy Webb's lively "Campo de Encino," and offers up a lovely and austere rendition of the traditional lullaby "All the Pretty Horses." © James Christopher Monger © 2011 Rovi Corporation. All Rights Reserved www.allmusic.com/album/bohemian-r2346888

A great folk flavoured album from the legendary songstress. It's great these days to find a beautiful "wildflower" in the midst of a gigantic musical cesspool. Judy has nothing to prove, and on "Bohemian" she sings songs by Joni Mitchell, Michael Veitch, Woody Guthrie, Jimmy Webb, and others. She also includes four new self composed tunes. This album is HR by A.O.O.F.C. Listen to Judy's "Who Knows Where the Time Goes" and "True Stories & Other Dreams" albums and search this blog for more of Judy. [All tracks @ 192 Kbps: File size = 55.9 Mb]


1. Morocco 4:38 - Judy Collins
2. Cactus Tree 4:48 - Joni Mitchell
3. Pure Imagination 2:43 - Anthony Newley & Leslie Bricusse
4. Wings of Angels 4:12 - Judy Collins
5. Veteran's Day 3:53 - Michael Veitch
6. The Desperate Ones 3:00 - Gérard Jouannest & Jacques Brel
7. Pastures of Plenty 3:07 - Woody Guthrie
8. All The Pretty Horses 2:45 - Trad.
9. Campo De Encino 3:59 - Jimmy Webb
10. In The Twilight 6:11 - Judy Collins
11. Big Sur 4:35 - Judy Collins


Judy Collins - Piano, Vocals
Dave Cleveland - Electric & Steel Guitar
Russ Walden - Guitar, Nylon String Guitar, Keyboards, Organ, Piano, Synthesizer Horn, Synthesizer Strings
Larry Campbell - Acoustic Guitar
Tony Levin - Bass, Electric Cello
Mark Hill - Bass
Jason Webb - Organ
Steve Brewster - Drums, Percussion
Yoed Nir - Cello
Olabelle - Vocals on "Morocco"
Kenny White - Vocals on "Veteran's Day"
Shawn Colvin - Vocals on "Cactus Tree"


Singer Judy Collins was, along with Joan Baez, one of the two major interpretive singers to emerge from the folk revival of the late '50s and early ‘60s. Like Baez, she began singing traditional folk songs, then moved on to popularize the work of contemporary singer/songwriters, even writing her own songs occasionally. Unlike Baez, she used her classical music training to evolve into being a singer of art songs and show tunes, sometimes employing semi-classical arrangements. In a career that began at the end of the 1950s and was still going strong more than 50 years later, she consistently performed 50-80 concerts a year, and she recorded extensively, her commercial success reaching its apex from the late ‘60s to the mid-‘70s, as six of her albums from the period achieved gold or platinum sales. Although she was primarily an albums artist, she also enjoyed a few hit singles, notably her Top Ten, Grammy-winning cover of Joni Mitchell's "Both Sides Now," which helped establish Mitchell as a songwriter; an a cappella version of the hymn "Amazing Grace"; and the show tune "Send in the Clowns," which led to a Song of the Year Grammy for its composer, Stephen Sondheim. Judith Marjorie Collins was born on May 1, 1939, in Seattle, WA, the first of five children of Charles Thomas ("Chuck") Collins, a local radio singer and MC, and Marjorie (Byrd) Collins. In the summer of 1943, the family moved to Los Angeles, where Collins' father had gotten a job at NBC. She exhibited an early interest in music and began taking piano lessons before her fifth birthday. In 1949, her father took a job in Denver, and the family moved there. The following year, just before she turned 11, Collins became a piano student of Dr. Antonia Brico, a noted conductor. Although Brico felt she had the potential to become a concert pianist, Collins gave up her classical studies in her mid-teens as she became infatuated with folk music and took up the guitar. After she graduated from East High School in Denver in 1957, she began attending MacMurray College in Illinois, but she dropped out in 1958 to marry Peter Taylor, a student at the University of Colorado, and the following year gave birth to a son, Clark Taylor. At the suggestion of her husband that she help the young family make ends meet by singing, Collins took an engagement at Michael's Pub in Boulder, CO, arranged by her father, beginning on March 2, 1959. Soon, she was performing there five nights a week, and over the next year she appeared in other clubs around Colorado, including the Exodus club in Denver, where she made an informal recording that was sold locally. Her husband graduated in June 1960 and was awarded a teaching fellowship at the University of Connecticut; on their way east, the family stopped in Chicago, where Collins spent six weeks as an opening act at the prestigious folk club The Gate of Horn. Based in Storrs, CT, as of the fall of 1960, Collins began commuting into New York to appear at such venues as Gerdes Folk City, and she also performed up and down the East Coast. In 1961, she was signed to the independent folk label Elektra Records as its answer to its rival Vanguard's popular female folksinger Joan Baez. She recorded her debut Elektra album, A Maid of Constant Sorrow, in August 1961, and it was released on October 15, 1961. The following year came her second LP, Golden Apples of the Sun. Both albums featured traditional folk songs that she sang over simple acoustic instrumentation. Collins' increasing success in her career put a strain on her marriage, and she and her husband separated at the end of the summer of 1962; they divorced in 1964. In October 1962, coincident with the release of her second album, she opened for Theodore Bikel at Carnegie Hall, her first appearance in a venue where she would come to perform annually. Her third album, Judy Collins #3 (January 1964), included politically oriented songs by Bob Dylan, Woody Guthrie, and Pete Seeger, among others, along with traditional material; it became her first recording to reach the charts. On March 21, 1964, she made her concert debut as a headliner at Town Hall in New York, and Elektra recorded the performance for The Judy Collins Concert (October 1964), an unusual live album in that it consisted almost entirely of previously unrecorded songs, among them compositions by Dylan and Tom Paxton. Collins began to perform internationally, appearing in Poland and the Soviet Union in 1965 and in Europe and Asia in 1966. Meanwhile, she released Judy Collins' Fifth Album (November 1965), on which she sang more songs by Dylan along with ones by Eric Andersen, Richard Fariña, and Gordon Lightfoot; the album was her first to reach the Top 100. For her sixth album, In My Life, Collins hired arranger/conductor Joshua Rifkin to create chamber pop settings for a collection of songs including show tunes (a suite drawn from the off-Broadway show Marat/Sade, Bertolt Brecht and Kurt Weill's "Pirate Jenny" from The Threepenny Opera) and two songs by Canadian poet and novelist Leonard Cohen, "Suzanne" and "Dress Rehearsal Rag." Released in November 1966, In My Life helped establish Cohen as a singer/songwriter; it also reached the Top 50, eventually going gold, and spawned Collins' first chart single in a cover of Fariña's "Hard Lovin' Loser." Wildflowers (November 1967) did even better. Although it took Elektra nearly a year to recognize the significance of Collins' cover of "Both Sides Now" and release it as a single, the result was that both it and the LP made the Top Ten at the end of 1968, with Wildflowers becoming her first gold album and "Both Sides Now" winning her the 1968 Grammy Award for Best Folk Performance. Meanwhile, she had gone on to record the more pop/rock-oriented Who Knows Where the Time Goes (November 1968), which made the Top 30, went gold, and spawned the chart single "Someday Soon" (by Ian Tyson). Collins included more traditional material on her ninth album, Whales & Nightingales (November 12, 1970), although the arrangements could be unusual, including a tape of whale sounds to accompany "Farewell to Tarwathie." Her choral treatment of "Amazing Grace" became a surprise hit, reaching the Top 20, as did the gold-selling LP. Living (November 2, 1971) was, like The Judy Collins Concert, a live album consisting mostly of songs she had not recorded before; along with the million-selling hits compilation Colors of the Day: The Best of Judy Collins (May 8, 1972), it filled a gap in new recordings while Collins took time off to write, formed her own company, and began working on a documentary film about her mentor, Dr. Antonia Brico. She returned with her 11th album, True Stories & Other Dreams (January 18, 1973), which featured five of her own compositions, although the hit single was Valerie Carter's "Cook with Honey," which reached the Top 40; the LP reached the Top 30. Antonia: A Portrait of the Woman, which Collins co-directed, opened in 1974 to positive reviews and went on to earn an Academy Award nomination for best documentary. On her 12th album, Judith (March 24, 1975), Collins took more of a pop approach, employing arranger Arif Mardin and recording Sondheim's "Send in the Clowns" from the 1973 Broadway musical A Little Night Music. The result was her biggest-selling regular album, with "Send in the Clowns" initially making the Top 40. When the song was included on her two-LP compilation So Early in the Spring (July 19, 1977), it was re-promoted as a single and hit a new peak in the Top 20. Meanwhile, Collins had followed Judith with Bread & Roses (August 25, 1976), a typically eclectic set that reached the Top 30. In the mid-‘70s, Collins took time out from her career to settle personal and professional issues. In October 1977, she underwent successful laser surgery to repair her vocal cords. In April 1978, she spent time in a treatment facility to overcome alcoholism. The same month, she met industrial designer Louis Nelson, who became her life partner and, 18 years later, on April 16, 1996, her second husband. There was thus a break of two and a half years between Bread & Roses and her 14th album, Hard Times for Lovers (February 20, 1979), which reached the Top 100. Running for My Life (March 28, 1980) barely made the charts, and Times of Our Lives (January 22, 1982) was another modest seller. By this time, Elektra had gone from being an independent folk label to a division of a major label, Warner, and Collins was not a priority. The label initially rejected the next album she submitted, then agreed to release it with the inclusion of an added song, "Home Again," a duet with country singer T.G. Sheppard that made the Country and Adult Contemporary charts in the fall of 1984. The LP, also called Home Again, did not chart, however, and Collins and Elektra parted ways after more than two decades at the end of the year. Collins contracted with the British Telstar label for an album of inspirational material named after a re-recording of "Amazing Grace" (which had been a huge hit in the U.K.), and it made the charts in Great Britain in December 1985. When she signed to the startup label Gold Castle in 1987, she used some of this material and a few new tracks to assemble Trust Your Heart (April 13, 1987), released to coincide with the publication of her autobiography of the same title. She followed it with a live album, Sanity and Grace. In 1990, she signed to Columbia Records and released Fires of Eden (October 9, 1990). On January 15, 1992, Collins' 33-year-old son Clark Taylor committed suicide, a devastating event for her that she eventually dealt with by studying and writing about suicide in a series of books including Singing Lessons: A Memoir of Love, Loss, Hope and Healing (1998) and Sanity and Grace: A Journal of Suicide, Survival, and Strength (2003). Meanwhile, she continued to make occasional recordings, as Geffen Records released Judy Collins Sings Dylan…Just Like a Woman (November 20, 1993). In 1995, she simultaneously published a novel, Shameless, set in the music industry, and released an album of the same title featuring all-original songs. After the release of Classic Broadway on Platinum Records in 1999, she launched her own label, Wildflower Records, which issued concert recordings (Live at Wolf Trap [2000], Judy Collins Wildflower Festival [2003]), re-packagings of older recordings (Maids and Golden Apples [2001], Judy Collins 3 & 4 [2004]), and new albums (Portrait of an American Girl [2005], Judy Collins Sings Lennon & McCartney [2007]). She also continued to perform regularly. On February 13, 2007, she made her debut as a cabaret artist at the prestigious Café Carlyle in New York, launching an annual engagement there; her fourth stint ran from May 4 to June 12, 2010, and coincided with the release of a new album, Paradise. © William Ruhlmann © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/judy-collins-p1949/biography


Isaac Guillory

Isaac Guillory - Isaac Guillory - 1974 - Atlantic

The late Isaac Guillory's first album was recorded after the Chicago native had moved to England and established himself as an impressive young gun on the singer/songwriter scene of the early '70s. Most notable was his slick fingerpicking, evident from the opening cut "St. Peter" onward. With spare accompaniment (a little bass and drums here and there, touches of electric guitar, and even tablas), it's very much Guillory's show and he presents it with aplomb. His voice was as strong as his fretwork, and his songs could veer from flowing verse to a halt before taking off into a chorus. "Staying Awhile" is reminiscent of James Taylor, but without any saccharine factor in the road song (and a lovely piece of electric guitar work from Guillory). There's a melancholic quality to much of the material, and a constant sense of travel and looking back at his homeland ("Sidewalks of America" remains as relevant as it was when first written). He can be flashy on the acoustic -- the blues-based "Carbondale Strut" is an exercise in how to pick -- but it's generally in the service of the song, although "El Jadida" (whose inflections are more Indian than Middle Eastern) gives him a chance to try a few tricks. Where there's a sense of adventure it's very much in tune with the period, all patchouli and pot smoke. But there's still a relentless New World energy about the disc that means it holds up very well. © Chris Nickson © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/isaac-guillory-r39579/review

Although all great guitarists are unique in their playing styles and techniques, the late Isaac Guillory was unusual in his "hybrid picking" style, where he would sustain a bass line with a plectrum held between his thumb and first finger, whilst picking chord and melody lines with his second and third fingers". This is an obscure and very underrated folk album with some progressive rock influences from a brilliant acoustic guitarist. "Guillory came to earn the reputation as one of the best guitarists ever. Many guitarists today emulate techniques Guillory evolved in the early 70's while living in the south of Spain. Having studied Classical Guitar in his younger years, Guillory would often incorporate quasi-classical techniques into his playing and on occasions would even throw in some pure classical guitar pieces, merging them into various songs as a medley". Think of the great Roy Harper, early James Taylor and Joni Mitchell, with jazz, classical, Baroque, and blues elements, and you will have some idea of Isaac's sound. There is minimal surface noise on this vinyl album, but enough enough to mar your listening experience. Some of the covers on this album you may not have heard before like the Chicago folk blues singer Virginia Klemens' "Staying Awhile", Chicago band's Saturday's Children vocalist and bassist Jeff Boyan's "Sidewalks Of America", and Jefferson Airplane's lead guitarist Jorma Kaukonen's " Ice Cream Phoenix". This s/t album is HR by A.O.O.F.C. Try and track down Isaac's "Live" and "Solo" albums [All tracks @ 192 Kbps: File size = 43 Mb]


1. St. Peter - Isaac Guillory
2. Staying Awhile - Virginia Klemens
3. Brusselles - Isaac Guillory
4. Steamboat - Isaac Guillory
5. Sidewalks Of America - Geoff Boyan
6. The Carbondale Strutt - Isaac Guillory
7. Movin' On - Isaac Guillory
8. Ice Cream Phoenix - Jorma Kaukonen & Charles Cockey
9. El Jadida - Isaac Guillory
10. Karma Blues - Jim Carey


Isaac Guillory - Guitar, Bass, Keyboards, Mellotron, ARP, Vocals
Jim Fairs - Acoustic Guitar on "Sidewalks Of America" & Electric Guitar & Dulcimer on "Ice Cream Phoenix"
Johnse Holt - Electric Guitar on "Ice Cream Phoenix"
Jim Cole - Bass on "Ice Cream Phoenix" & "Karma Blues" : Vocals on "Karma Blues"
Fred Gandy - Bass on "St.Peter", "Sidewalks Of America", & "Movin' On"
Jim Carey - Drums on "Staying Awhile", "Ice Cream Phoenix", & "Karma Blues"
Pete Gavin - Drums on "St.Peter"
Roger Pope - Drums on "Sidewalks Of America"
Cathy Hall - Flute on "Ice Cream Phoenix"
Sam Gopal - Tablas on "Movin' On", "Ice Cream Phoenix", & "El Jadida"
Mox - Harmonica on "St.Peter" & "Movin' On"


Isaac Guillory (February 27, 1947 – December 31, 2000) was an American folk guitarist. He wrote over 70 songs during a career that spanned 30 years. Born at the Guantanamo Bay Naval Base, Cuba, his parents were Easton Joseph Guillory, an American sailor who was from a Jewish American family, and Victoria Ojalvo, of Jewish, Spanish and Turkish origin. His maternal grandparents were Turkish immigrants who met and married by arrangement only 10 days before they sailed for Cuba. He attended the Conservatory of Music, Havana, where he studied classical piano at the age of six. Guillory's mother, a professional musician taught him to play guitar. When he was 11, Guillory moved to Tallahassee, Florida. At age 14, he moved again to Gainesville, then finally settled in Palatka. By age 14, after enroling in University of Florida's swimming program, he became an assistant swimming intructor. He was a student at St. Johns River State College, at the time named St. Johns River Junior College, in Palatka, Florida. There he studied the cello and saxophone. He married twice, first to the English model Tina Thompson (divorced 1990), mother of Jace and British actress and model Sienna Guillory, then in 1993, to Victoria McMillan, mother of Jacob and Ellie. Guillory died on New Year's Eve 2000. His death was attributed to complications from cancer that had gone undetected for some time. Guillory first began performing in 1965, while still attending St. John's River Junior College where he became a member of 'The Illusions', eventually becoming lead guitarist. While studying music at Roosevelt University in Chicago during 1965 to 1969, he recorded two albums with The Cryan' Shames as bass player. Towards the end of 1965, Guillory moved to Chicago where he studied guitar at the Chicago School of Music. He then attended Wright Junior College for three years where he played with 'The Revelles. The group played with Chicago DJ, Art Roberts, of WLS. He then played with 'The Flock', and The Cryan' Shames. During 1970 to 1976 Guillory performed at the Shakespeare's Head Folk Club in Carnaby Street, London. After active resistance to the Vietnam War, Guillory left the USA in November 1970, acquired a Martin D-35 and lived throughout Europe. He worked as an acoustic solo performer and settled in the United Kingdom. Guillory came to earn the reputation as one of the best guitarists ever. Many guitarists today emulate techniques Guillory evolved in the early 70's while living in the south of Spain. A particular signature technique that he developed was 'hybrid picking', where he would sustain a bass line with a plectrum held between his thumb and first finger, whilst picking chord and melody lines with his second and third fingers. Having studied Classical Guitar in his younger years, Guillory would often incorporate quasi-classical techniques into his playing and on occasions would even throw in some pure classical guitar pieces, merging them into various songs as a medley. His soft American accent always went down well with British audiences and Guillory would exploit this with his witty on-stage bantor between songs. Throughout his career, Guillory sought to encourage younger musicians at every opportunity and would often allow them to play as a 'floor-act' before he came on stage. He was widely known for insisting on carrying his own PA sound system with him from gig to gig. This allowed him to reproduce the exact sound he wanted night after night regardless of the venue. This was quite rare at the time with solo singer/guitarists on the folk circuit and certainly helped him to communicate his renowned performing skills to his audiences without having to fear the usual technical blips that can occur using a venue's house PA. He always concentrated on live solo performances (which put him up-close with more intimate small audiences) and sharing his understanding of music; touring, creating his own online guitar school. After an initial recording deal with Atlantic Records published five more CDs on his own independent label, Personal Records. As a performer he was dedicated to sharing his gift with both audience and fellow musicians, and as a teacher he never hesitated to share in a manner that others could understand. He performed frequently as a guest artist for recordings and films with, among many others, Al Stewart, Donovan, Mick Jagger, Buggles, Barbara Dickson, Nick Heyward and Elkie Brooks. Guillory released Isaac Guillory, a self-titled album in 1974. For a while he delved into jazz fusion and recorded with Pacific Eardrum. Isaac lectured at the Guildhall School of Music in London. His music can be heard on 'A' Net Station, a web radio station that he helped found, where his website continues to be available. He also wrote The Guitar Hand Book with friend, Ralph Denyer, which became the foundation for the BBC TV series Rock School. In his later years, he performed on the folk club circuit in Great Britain. His virtuoso guitar playing made him popular with audiences and ensured a steady stream of work as a performer and teacher. His final album, The Days of '49, recorded on tour during late 1999 and released in early 2000, included a number of solo compositions as well as arrangements of some folk standards. His tribute to the British guitarist John Renbourn, "Dear John", is one of the highlights of an outstanding album.

Luca Colombo, Andrea Braido & Giorgio Cordini

Luca Colombo, Andrea Braido & Giorgio Cordini - Here Comes The Sun - Acoustically The Beatles - 2007 - Unknown

Some issues of the album contain 18 tracks. (Listed at bottom). All the artists are relatively well known as brilliant guitarists, and the album itself contains 13 fabulous renditions of the Beatles classic songs, all played in either a jazz or Spanish/Latin guitar style. Described on one site as "Luca Colombo, Andrea Braido & Giorgio Cordini playing songs by The Beatles in `easy listening' guitar instrumental way. Great music if you want to set a fine mood, and relax". SQ is also excellent. There are references to a similar album @ http://www.racksandtags.com/al3xand3r91/444008/Luca-Colombo,-Andrea-Braido-_-Giorgio-Cordini-Here-Comes-The-Sun---Acoustically-The-Beatles, http://gewdlooks.multiply.com/journal?&page_start=100, and there's a photo of a similar album on Flickr @ http://www.flickr.com/photos/carriechow/68673464/ where a caption says that "The Beatles - Here Come The Sun (Acoustically), bought from Singapore! featuring Luca Colombo, Andrea Braido & Giorgio Cordini on acoustic guitars". All these references are speaking about an 18 track album. The post here with 13 tracks sounds too good to be a boot. In fact, the "dubious" cover art refers to HCCD. A great album and HR by A.O.O.F.C. More info on this album would be appreciated, including cover artwork [All tracks @ 256 Kbps: File size = 91 Mb]


1 Here Comes The Sun (03:02) *
2 And I Love Her (04:45)
3 Michelle (04:35)
4 Hey Jude (04:03)
5 Let It Be (04:20)
6 Here, There And Everywhere (04:21)
7 The Long And Winding Road (05:07)
8 Nowhere Man (04:08)
9 Lucy In The Sky With Diamonds (04:02)
10 Can't Buy Me Love (02:54)
11 Drive My Car (03:28)
12 A Hard Day's Night (04:16)
13 Yesterday (03:58)

* Composed by George Harrison. All other songs by Lennon & McCartney

This album was also released with the following tracks

1. 3:03 Here Comes The Sun 2. 3:08 Blackbird 3. 4:46 And I Love Her 4. 4:04 Hey Jude 5. 4:21 Let It Be 6. 4:22 Here, There And Everywhere 7. 3:32 Norwegian Wood 8. 4:09 Nowhere Man 9. 4:03 Lucy In The Sky With Diamonds 10. 2:55 Can't Buy Me Love 11. 3:36 Day Tripper 12. 4:06 Lady Madonna 13. 4:36 Michelle 14. 4:04 Something 15. 5:08 The Long And Winding Road 16. 3:29 Drive My Car 17. 4:17 A Hard Day's Night 18. 3:57 Yesterday


Jan Akkerman & Curtis Knight

Jan Akkerman & Curtis Knight - Blues Root - 1998 - UPC

This CD came together accidentally on purpose. It was my good fortune to have known some of the musicians prior to the formulation of the idea to record this CD. Keith Dunn, (harmonica) is someone that I knew and I was very aware of his talent. Dino Walcott, (Bass) have played many gigs together, so I knew he would be the best bass player I could find for this project. In fact it was Dino who introduced me to Jan Akkerman. I had the privilege of playing with Jan at a Blues Festival, so I was aware of his great international reputation, and I had some first hand experience playing with him. I was very happy when he consented to produce and play on this CD. Larry Wil'Rice (Drums) and I have played gigs together so he was my obvious choice as drummer. He gives this CD a definitive prospective, with all of his international experience. Sam Mitchell (slide guitar and Dobro) is internationally famous, and highly respected in his field. I met him by chance at a Blues festival and invited him to be a part of this project. The result speaks for itself. - Curtis Knight

This is a dirty old blues album with Jan showing that he can play the blues with some scorching solos which would leave Clapton's jaw wide open. Curtis Knight used to record with Jimi Hendrix and met Jan through Dino Walcott (who was in Jan's band some years back). A collection of new songs and some old classics like 'Little Wing' and Robert Johnson's 'Cross Road Blues' as well as a great instrumental track called 'Just Jamming'. This album sounds like these guys just turned up at the studio and 'went for it' as it sounds raw and live. If you like the blues then you will like this album. © http://www.focuscollection.com/listings/l0123.html

This is Curtis Knight's final recording before his death and he couldn't have picked a better musical crew. Great blues rock with a little soul, with the guitar giant Jan Akkerman playing on nine tracks. Slide guitarist Sam Mitchell is also superb on "Little Wing and "Cross Road Blues". There has been some criticism of the late Curtis Knight's "weak" vocals on this album, and some people are of the opinion than Jan Akkerman is at his best playing instrumental music without vocals. Jan Akkerman, whether playing solo, or with other musicians/singers has always been a magnificent guitarist, and since when were bluesmen renowned for being great vocalists. Curtis passed away in 1999, and was certainly in ill health when this album was recorded. Check out Jimi Hendrix & Curtis Knight's "Strange Things" album, and Jan Akkerman's classic "Tabernakel" album, and don't forget Focus' extraordinary "Live At The Rainbow" album. Check this blog for more Jan Akkerman releases [Tracks @ 256-320 Kbps: File size = 126 Mb]


1. Flat Back Sue - Curtis Knight (Lyrics), & Sam Mitchell (Music)
2. Daughter Of Misfortune - Curtis Knight
3. Now Is The Time - Curtis Knight
4. Driving Wheel - Riley King
5. Blues Root Blues - Curtis Knight
6. Don't Accuse Me - Curtis Knight
7. Little Wing - Jimi Hendrix
8. I Would If I Could - Curtis Knight
9. Just Jamming - Jan Akkerman, Sam Mitchell, Dino Walcott, Keith Dunn, Larry Wildrice
10. Cross Road Blues - Robert Johnson


Jan Akkerman - Guitar (except 'Fat Back Sue')
Sam Mitchell - Slide Guitar, Dobro
Dino Walcott - Bass (except "Little Wing", & "Cross Road Blues")
Larry Wildrice - Drums (except "Little Wing", & "Cross Road Blues")
Keith Dunn - Harmonica (except "Daughter Of Misfortune", "Little Wing", & "Cross Road Blues")
Curtis Knight - Vocals (except "Just Jamming")
Tyra (Thea Van Seijen) - Background Vocals


Jan Akkerman was born on Christmas Eve 1946 and first picked up a guitar aged 5. Legend has it that he played accordian aged 3, and was entirely self-taught on the guitar, but in actual fact he took classical guitar lessons, studied at Amsterdam Music Lyceum for 5 years and won a scholarship. His father was a guitarist, and his mother played the accordian. He took a keen interest in group music-making, joining local bands The Friendship Sextet and The Shaking Hearts. In 1961, aged 15, he recorded his first single with his current band, Johnny & The Cellar Rockers, which also featured Pierre Van der Linden. The Cellar Rockers became the Hunters, and the first hit was scored with a cover of "Mr Tambourine Man", but an even bigger hit came from an original song called "The Russian Spy and I", inspired largely by the Shadows, but with a notable guitar solo from Akkerman. During the mid 1960s, Akkerman visited England, where he saw the guitarist Julian Bream performing Mediaeval lute music. This was an inspiration that was never to leave Akkerman. In the late 1960s, he formed Brainbox, with his old friend Van der Linden on drums, who negotiated a signing to Parlophone. During a recording session, Akkerman, who was fond of jamming and session playing, hooked up with the embryo Focus, and was ejected from Brainbox as a result. Brainbox's first (and only) album is regarded as a Dutch Prog Rock classic in some circles. Not to be deterred, he recorded his own material, assisted by his friends from The Hunters; a solo album called "Talents for Sale", and joined Focus for recording the backing music to the musical "Hair", and their debut album "In And Out Of Focus". In 1971, Akkerman's old sparring partner Van der Linden is taken into Focus on drums, and "Moving Waves" is recorded. Despite the international success of this album, Akkerman relentlessly carried on recording his own material with the albums "Profile" and 1974's "Tabernakel", which features Akkerman's playing his newly acquired lute, and carries a Mediaeval flavour. Following "Moving Waves" and "Focus 3", Akkerman was pronounced best International guitarist by Melody Maker, in a poll that put him above Clapton, Beck and Page. In 1978, Akkerman's contract with Atlantic was ended due to the high costs involved with his insistence of hiring full symphony orchestras and low record sales, and Akkerman went off to persue other musical avenues, pausing only to attempt a Focus re-group. The album of this year "3" is an unusually funky album with very little ecelcticism. This didn't work out, so Akkerman carried on working, attempting to reform Focus once again in 1984, producing the rather raw "From the Basement". In 1989 he had a more successful collaboration with Miles Copland resulting in the successful "Noise of Art". His collaborations and various projects from then until now are too numerous to mention one by one, including work with B.B. King, Mike Kenealy, Alan Price, Charlie Byrd and Ice-T, but 1999's "Passion" is particularly notable. On February 16th 2005, Akkerman was awarded with a Golden Harp award at the Harpen Gala, proving that he is still not only going strong, with his favourite annual Dutch and UK tours, but still impressing with his skills. © Prog Archives, All rights reserved http://www.progarchives.com/artist.asp?id=2091


Curtis Knight (b. Mont Curtis McNear, 9 May 1929, Fort Scott, Kansas - 29 November 1999) was an American music artist and band leader who is known for his connection to Jimi Hendrix. Knight was an artist in the 1960s Harlem music scene, usually fronting his own band "The Squires". This band gigged in clubs in New York City, and other surrounding areas. It was through Knight that Hendrix got involved with Ed Chalpin, a record producer who signed the future superstar to a contract which Hendrix soon forgot about and left for England to form "The Jimi Hendrix Experience". Both Knight and Chalpin would later claim that they were trying to make Hendrix a "star", which has some validity as his first label credit was on the first single he recorded with Knight as "arranger", and the second single (both sides instrumentals) had him as co-composer with he producer Jerry Simon (a common finacila ploy at the time to recompense the producer). They weren't doing a very good job though as that's as far as it got, before Chas Chandler stepped in. Chalpin had him sign a contract that gave Hendrix 1% of any royalties that his recordings earned. Which was actually very favourable in comparison to the percentage the individual members of the Beatles and the Who were getting at that time, apart from the fact that neither of the two records sold much. The sum of "one dollar" in the contract was merely a formalised legality common to most artist contracts at that time, misconstrued by many who appear to think Hendrix was "bought" for a dollar. Meanwhile, Chas Chandler, who when tipped off by Rolling Stone Keith Richards girlfriend, Linda Keith,(who had recognised his genius and was trying to find someone to further his career), took along his then manager (soon to be business partner/co-manager) Mike Jeffery, and "discovered" Hendrix in Greenwich Village while he was fronting his first band 'The Blue Flame'(often later referred to as 'The Blue Flames' which is influenced by Jimi's alias at that time 'Jimmy James', Junior Parker's Blue Flames and a popular band of '60's London 'Georgie Fame's Blue Flames'. This has subsequently become the legend 'Jimmy James and the Blue Flames'). It was only after Chalpin read music trade papers that he realized that Hendrix had made it successfully across the Atlantic in the "Psychedelic" and "Flower Power" period, and began to pursue legal action against Hendrix, his management and record companies, with Knight as his main witness. During the legal battles, Chalpin released some of his Hendrix records: [check http://en.wikipedia.org/wiki/Curtis_Knight for list - A.O.O.F.C]. Some of these tracks were actually recorded during a "jam session" that occurred after Hendrix gave Knight a call and then visited him in 1967 between the Monterey Pop Festival and the Monkees tour that the Experience participated in. All songs from this session were released with pictures of Hendrix that were post-Squires, and stated that Knight played a big part in Hendrix's style. These tracks were used on a CD/LP release entitled The Summer of Love Sessions. During the 1970s, after Hendrix's demise, Knight moved to London, England where he formed the group "Curtis Knight, Zeus", and toured throughout Europe, relying on his "Hendrix" connection for many years. Among the musicians enlisted was "Fast" Eddie Clarke who went on to fame as part of the line up which made Motörhead famous on such records as "Bomber" and "Ace of Spades" during the late 1970s and early 1980s. Knight wrote the book Jimi: An Intimate Biography of Jimi Hendrix, published in 1974 by Praegar Publishers, New York. The book includes A Jimi Hendrix Discography, compiled by John McKellar. Knight was also a competitive table tennis player who played in some local tournaments while living in New York.