Get this crazy baby off my head!


David M'ore

David M'ore - From The Other Side Of The River - 2009 - David M'ore

A mystical guitar man from a bygone era, David M’ore arrived to L.A in the early 90’s committed to alter the musical scene. Club goers and musicians begin to talk about the new kid with the virtuoso aggressive guitar style, raspy vocals, and his high energy fueled Blues-Rock tunes. With his first solo album “ Seventy Times Seven” David M’ore managed to take his guitar pyrotechnics to a different level of instrumental majesty. Performing on a custom made Strat carefully modified to his specifications, M’ore demonstrated his acclaimed six string technique on both originals and cover tunes. “I love to pay tribute to those who influenced me.” “But at the same time I like to be true to who I am,” says M’ore, whose influences include Hendrix, Blackmore, Satriani, J. Winter, Gary Moore, Albert King, and other guitar monsters. From the beginning, traditional Blues and British Neoclassical Hard Rock played a very important role in the evolution of David M’ore style. Born in Argentina, he picked up an old guitar that his godfather bought him for his eighth birthday and immediately began to explore vintage records. “The aggressive sound of the guitar drove me emotionally insane,” David says.” “I still listen to those old records from Johnny Winter”. That’s where it all began. A born troubadour, Mr. M’ore moved frequently around the world as well as in the U.S.A before finally settling in Hollywood in 1990. After the separation of his band “Blind Hole” and refusing to accept the change of the grunge movement, he escaped to Sacramento in 1993 where he obtained a music award. Back then David shared the stage with local Blues players including the legendary Johnny Guitar Knox and Arbess Williams. Today you can hear his chops in the San Francisco area with his new powerful trio offering an explosive blues riffs attack. If you are looking for Passion, Blood, and Fire you must check this Hot Powerblues Trio!!! Don’t miss it! © http://www.davidmore.net/html/biography.htm

David M'ore's second album From the Other Side of the River has a release date of 2009. The music is sure to please guitar fans. Most songs are originals, but David does include a Kenny Wayne Shepherd and a Jimi Hendrix cover. His band is a trio and the rhythm section consists of bass and drums, laying a foundation for David to lay down tasty guitar riffs. I spun the disc numerous times and it gets better each listen. A few blues shuffle type songs are included and are among my favorites on the the album. The first of them is "Seafood Soup," which has an in your face guitar solo with elements of Stevie Ray Vaughan, Eric Clapton, and even Ritchie Blackmore. Another blues shuffle is "Come Home" that showcases speed.The two cover tracks are both very, very good. The Hendrix cover "Foxy Lady" is arranged (and spelled) differently than the original. Instead of just running through Jimi's version M'ore adds his own signature in the introduction, instrumental section, and conclusion. The jam section is nicely done with a good a rhythmic pattern, feedback, and soloing. Even more to my liking is David's rendition of "Shame Shame Shame." A nice slow blues number with string bending that penetrates through the body to the bone. An impressive song is one three instrumentals, which is the title track, "From the Other Side of the River." David explores several different moods. One of things I liked about this song is that it is clear reflection of David's guitar style. He demonstrates his handle on both lead guitar and rhythm guitar, his originality tied in with retro-rock tendencies, along with his ability to play clean straight forward guitar, and then shifting to wild wah-wah and vibrato. Another instrumental song, "Going High," is a solid hard rocking guitar workout.If you're a fan of excellent guitar playing, enjoy hard rock that strays towards the blues rather than heavy metal, then you'll cherish David M'ore's expressive and explosive guitar attack. David gives plenty of workout to his vibrato bar, and wah-wah with excellent results. That's what From the other Side of the River is all about. David M'ore, a man and his guitar - by & © Barry Small © http://www.cdbaby.com/cd/DavidMore

Good retro to modern style hard blues rock from the talented Argentinian born guitarist David M’ore. A very good album from David who is influenced by greats like SRV, Jimi Hendrix, Ritchie Blackmore, Johnny Winter, and Alvin Lee. This guy will get better. Watch out for future releases, and promote real music [All tracks @ 320 Kbps: File size = 95.7 Mb]


1 The Sun Ain't Shining 3:35
2 Foxy Lady 6:19
3 Seafood Soup 3:19
4 Right Back On You 4:49
5 From The Other Side Of The River 4:53
6 Come Home 3:29
7 Shame Shame Shame 5:41
8 Going High 4:08
9 You Are Not Good (Bonus Track) 3:02

All songs composed by David M'ore except "Foxy Lady" by Jimi Hendrix and "Shame Shame Shame" by Kenny Wayne Shepherd


David M'ore - Guitar, Vocals
Kirk Bowman - Bass
Edgard San Gabriel - Bass on "Foxy Lady"
Alex Diaz - Bass on "Going High"
Wade Olson - Drums


Mark Ford & Garth Webber

Mark Ford & Garth Webber - On the Edge - 1994 - Blue Rock'it Records

Garth Webber, known as Garth "Take no Prisoners" Webber, is a brilliant guitarist, but still remains in relative obscurity. A large part of his career was spent in the San Francisco Bay area, and his talents were eventually noticed by a few prominent musicians. In 1988 he recorded and toured with the Ford Blues Band, and from there his career kicked off. You may have listened to recordings by Boz Scaggs, Gregg Allman, Miles Davis, John Lee Hooker, and Mose Allison just to name a few, and been unaware that some of the incredible guitar work you heard was by this guy. Speaking of Miles Davis, Garth Webber has gone on tour to South America and Europe with Davis. This alone is a great testament to Garths talent. He is a terrific blues guitarist with an amazing technique. He is one of the most versatile guitarists in the business, and can play anything that blues, jazz, and rock can throw at him, and more, and still remains unknown by far too many people. This crack session musician is continually in demand by some of the world's finest jazz and rock artists. The youngest of the three Ford brothers, Mark Ford's voice is very similar to Robben's, slightly deeper, but less soulful. When it comes to harp playing, he's in a league of his own. "On the Edge" contains some good laid back modern soul jazz blues with a good shot of funk. Guitar from Garth is superb but there could be more. Mark supplys some stupendous catchy harp licks. Myron Dove plays some great bass. Mark penned seven of the album's tracks with Garth composing four. There is also a cover of Sarah Baker's "Grace". Buy Garth's amazing 1994 album, "On the Edge," which demonstrates his guitar wizadry far better than this album, and check out Mark Ford & The Blue Line's s/t album. Keep the blues alive [All tracks @ 320 Kbps: File size = 137 Mb]


1. It's A Feeling 3:18
2. Lookin' For You 4:21
3. Passionate Armenian 5:50
4. Talk To Me 4:59
5. Low Moon 9:17
6. Hot And Cold Eh 4:27
7. Black Hearted Woman 5:03
8. Let It Go 4:11
9. Grace 5:43
10. I've Got My Feet On The Ground 3:30
11. Treat Me Like A Man 5:12
12. Pink Time (This One's for Mom) 4:20

Tracks 1,3,4,6,8,11,12 composed by Mark Ford: Tracks 2,5,7,10 composed by Garth Webber: Track 9 composed by Sarah Baker


Garth Webber - Guitar: Vocals on Tracks 2,5,7,10
Myron Dove - Bass
Frank Martin - Keyboards: Organ on Track 4
Tony "Macaroni" Lufrano - Organ
John Mader - Drums
Mark Ford - Harmonica, Harp: Vocals on Tracks 1,4,6,8,11


Tonto's Expanding Head Band

Tonto's Expanding Head Band - Tonto Rides Again - 1996 - Viceroy

Tonto's Expanding Head Band's first album, Zero Time, was released in 1971 on the U.S. Embryo label (distributed by Atlantic Records) and attracted a lot of attention. Stevie Wonder in particular was impressed enough to subsequently feature TONTO in his albums starting with Music of My Mind and continuing through Talking Book, Innervisions, Fulfillingness' First Finale and Jungle Fever; all projects which listed Margouleff and Cecil as associate producers, engineers and programmers (and winning them an engineering Grammy for Talking Book). Writing in Keyboard Magazine in 1984, John Diliberto asserted that: "... this collaboration changed the perspectives of black pop music as much as The Beatles' Sgt. Pepper altered the concept of white rock". "Tonto Rides Again" combines all of Zero Time plus all of the tracks from It's About Time except "Beautiful You". The tracks are re-mastered, and the tracks taken from TEHB's second "It's About Time" album are re-titled, and re-edited. In the liner notes to the re-release, Mark Mothersbaugh wrote: "Once upon a time, TONTO represented the cutting edge of artificial intelligence in the world of music - Robert and Malcolm are the mad chefs of aural cuisine with beefy tones and cheesy timbres, making brain chili for those brave enough and hungry enough. Consequently, back in the cultural wasteland of the Midwest, the release of Tonto's Expanding Head Band was an inspirational indicator for starving Spudboys who had grown tired of the soup du jour. It was official - noise was now Muzak, and Muzak was now noise. So with TONTO "riding again" and the orb-of-sound resurrected, expect a healing. The masses are asses who need TONTO's glasses. Lookout, here comes TONTO!" Also, Stevie Wonder said: "How great it is at a time when technology and the science of music is at its highest point of evolution, to have the reintroduction of two of the most prominent forefathers in this music be heard again. It can be said of this work that it parallels with good wine. As it ages it only gets better with time. A toast to greatness... a toast to Zero Time... forever."

Early to mid '70's electronica music was always going to be limited as regards exploring new musical ideas. Analogue and multi-tracking techniques were limited. Nevertheless,Tonto's Expanding Head Band have always had a cult following and the band's first two albums are regarded by many as landmark albums in the electronica genre. "Tonto Rides Again" is not groundbreaking synth music but is still streets ahead of many today's excuses for electronica, so this album is HR by A.O.O.F.C [All tracks @ 320 Kbps: File size = 149 Mb]


1 Cybernaut (4:31)
2 Jetsex (4:12)
3 Timewhys (4:56)
4 Aurora (6:47)
5 Riversong (7:58)
6 Tama (5:16)
7 Ferryboat (4:59)
8 Pyramodal (2:09)
9 Cameltrain (3:54)
10 Judgementor (4:40)
11 Freeflight (2:23)
12 Tontomotion (5:48)
13 Tranquillium (5:56)

All music composed by Malcolm Cecil and Robert Margouleff except "Riversong" by Malcolm Cecil and Robert Margouleff with lyrics by Tama Starr


Robert Margouleff And Malcolm Cecil - Expanded Series III Moog Synthesiser aka TONTO (The Original New Timbral Orchestra)
Armand Habdurain - Percussion on "Ferryboat"
Michael Cembalo - Guitar Interface on "Cameltrain"
Tama Starr - Voices on "Riversong"


TONTO'S EXPANDING HEAD BAND is an innovative project by electronic composers and sound-engineers Malcolm Cecil and Robert Margouleff, having an influence on different other references or an diverse artists. The innovation is the instrument itself, "The Original New Timbral Orchestra", which is the first multitimbral polyphonic analog synthesizers and still the largest, design print of Malcolm Cecil (who had serious engineering background) and, since Robert Margouleff sold him the ownership, private owner of it and its performance. The project of the entire instrument system started back in '69 or '68 by Margouleff's MoogIIIc and Moog modules, then with New Timbers and modularly transformed, Serge, Oberheims and Arps, polyphonic instruments, finishing mostly in 1970. Recent additions include SEMs and EMS gear, finally to go on digital sequencers Vocoders. The sounds and sensations of its effective instrumentality are considered, up to date, imposible to replicate from newer midis, digitals and samplers. Malcolm Cecil was awarded one or two times with Grammy for engineering performance, as was also Robert Margouleff. The duo set on the early 70s with the applauded effor tof "Zero Time" (1971), drewing the style of warmness and musicality, advancing already in the generation. Steve WONDER can be considered the main artist which was influenced, then involved with TONTO on later works ("Music of My Mind"," Talking Book","Innervisions","Jungle Fear"), Cecil and Margouleff being associate producers and programmers. TONTO stopped existing for themselves after a second album, in 1975, "It's About Time", still co-featured or collaborators or a large scale of projects, going onto pop (Quincy JONES, Bobby WOMACK) or white rock (Steve HILLAGE), into the concept's changing (Dave MASON) layers or the notes of improvisation (WEATHER REPORT). The synthesizer system got used in "Phantom Of The Paradise", a film by Brian De Palma. For the most recent attitude, the duo came bag with an album re-discovering and re-interpreting the "Zero Time" album and passages from "It's About Time" (a great move mainly considering the out of print originals). The modern interest somehow arouses at times, festivals including the repertoire of their music, dedications towards their style, art pieces even full invitations of TONTO performances ("Virtual TONTO live" in August 2006) In music, TONTO has the indisguisable effect of experimentalism and open "samplitudes". The result of the 1971 album is actually different that the main music the electronic range (or disambiguation, for that matter) went over back them (just to think of heavy ecclecticism of void, heavyness and experimental trips going on by major reprezentatives of the decade's early years maturity). Rough metallic or easy droning, New York technology, soft censured or creativy act of art, the anvengure of "Zero Time" jumps, indeed, ahead of anything too particular or too disoriented. Late or hidden psychs in colors of force and debundancy. The 1975 creation is even more plastic. The albums are mainly a gesture of interpretative forms taken experimentality...and, as alluded, expanded. Though sparrowly active on the progressive electronic movement and motivation and with keen other acts on other styles, more technically, influencialy mentioned for instrumental pioneering and awarded loosely for unprecedented capabilities, that actually in-music focused, TONTO'S EXPANDING HEAD BAND deserves a place in the style and the reflection of electronic history. © Ricochet (Victor "Philip" Pãrãu) © Prog Archives, All rights reserved

Mighty Mike Schermer Band

Mighty Mike Schermer Band - First Set - 1999 - Fine Dog

"Mighty Mike Schermer's joyful spirit and love of the blues shines through in every note he plays. He's one of the most extraordinary guitarists of the new generation." - Paul Liberatore Marin Independent Journal

"Schermer, widely known for his work with the likes of Maria Muldaur and Charlie Musslewhite, demonstrates through this album that he's quite accomplished at writing and singing his own songs...a solo act of depth and
vitality...immense talent...classic playing...infused with the high energy of young and creative hands." - John Aiello The Electric Review

"...one of the most underrated guitarists playing the west coast these days, but probably not for long." - Mac McDonald, Monterey Herald

"...on any given night Mike Schermer can hold his own against any electric blues guitarist in the world. His CD First Set is a mind-blowing compendium of his prowess and a damned-impressive intro to a young man who just can't miss. Five Stars!" - Joseph Jordan, Southland Blues

"I've been telling everyone about this CD and playing it just about every week on my radio show...I receive many, many, CDs as a DJ and for talent consideration at the Festival. Most sound the same, and when I'm playing them at work I don't even get out of my chair to see which disc I have on. Well, this one really does make me get out of my chair--and dance! Really a stand-out." - Connie "Crash" Humiston, Kansas City Blues and Jazz Festival Blues DJ KKFI 90.1 FM

"When I heard The Mighty Mike Schermer Band live for the first time I immediately wanted my money back...for all the other blues bands I had heard that year!" - Terry Buck KUNI Radio, Cedar Falls IA

"A wonderful guitarist" - Dorothy Hill, Jazz Now/Blues and Boogie

Blues guitar master Mighty Mike Schermer and his band have been a fixture in the Bay Area live music scene for over twenty years, and have performed alongside Elvin Bishop, Bonnie Raitt, Charlie Musselwhite, Maria Muldaur, Howard Tate and dozens more. Mike has many fans around the world, and has won many awards from various music magazines and websites. This is a very good guitar-driven electric blues and often New Orleans inspired R&B and soul album or "Bluesicana" as some people are labelling Mike's kind of music. There are five good original songs composed by Mike Schermer or with bassist Steve Ehrmann plus six blues standards. Terrific guitar playing with help from the brilliant Keyboardist, Jim Pugh on seven tracks. Buy the Mighty Mike Schermer Band's "Live Set" album and support great roots blues and real music [All tracks @ 320 Kbps: File size = 102 Mb]


1 Lonesome Whistle Blues - King 4:19
2 Annabelle - Schermer 4:58
3 I Want A Little Girl - Mencher, Moll 4:19
4 No Harm Done - Schermer, Ehrmann 3:49
5 Mopina - Schermer 3:24
6 Keep Talkin' - McDuff 3:15
7 Kiss and Make Up - Lupine 2:38
8 Need Somebody - Schermer, Ehrmann 3:38
9 Amy - Schermer 3:47
10 Cool Struttin - Clark 4:36
11 Evil Ways - Oden 4:26


Mike Schermer - Guitar, Vocals
Steve Ehrmann - Bass
Jim Pugh - Keyboards on Tracks 1,3,5,6,9,10,11
Austin Delone - Keyboards on Tracks 2,8
Danny Beconcini - Keyboards on Tracks 4,7
June Core - Drums
Terry Hanck - Tenor Saxophone on Tracks 2,9,10
Mark Whitney - Baritone Saxophone on Tracks 6,9
Andy Santana - Harmonica on Track 11
Angela Strehli - Vocal on Track 7


Brian Auger's Oblivion Express

Brian Auger's Oblivion Express- Straight Ahead - 1974 - RCA

Disappointing release compared to its predecessor, Closer to It. Still, side one kicks off nicely with a typical Auger groove on "Beginning Again," then glides into a smooth, lyrical version of Wes Montgomery's "Bumpin' on Sunset." The album has a nice sound, but the material is inferior to previous Oblivion Express albums. © Jim Newsom © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/straight-ahead-mw0000175820

"Auger never achieved either the commercial success of some of his former bandmates like Jimmy Page or Rod Stewart nor the critical success of some other jazz rock pioneers like John McClaughlin. But this reissue stands the test of time, however, mostly due to Auger's prowess with a Hammond B3. Highlight's include Wes Montgomery's "Bumpin' On Sunset" and Auger's own "Beginning Again."" © 1996 - 2012 CD Universe

"Straight Ahead" is a very good vintage album which I call it as simple as classic jazz rock music. Why? It's because the music is blend of classic rock and jazz. Try the opening track "Beginning Again" (9:22). You will find the nice flow of music with percussion giving textures in its rhythm section and the music flows beautifully in ambient mood backed with very nice keyboard work. The vocal quality is also nice. I really enjoy the part where the keyboard provides solo work - it's so nice. The next track "Bumpin' On Sunset" (10:51) is an instrumental and more on R&B in the beginning and it reminds me to the music of another vintage band EL CHICANO. Any of you know El Chicano? This track has a mellow style with unique keyboard solo which moves gradually into faster tempo and returns back into mellow style. The third track "Straight Ahead" (5:04) is a very nice song that has inspired new artists like Jamiroquai or The Leon Haines Band, I believe. The music is more on R&B style with jazzy keyboard solo by Mr. Auger - it's so stunning! The percussion still provides its textures in the rhythm section. "Change" (8:10) starts with guitar rhythm section followed by percussion and drum, continued nicely with guitar work that accompanies nice vocal line of Brian Auger. In a way it reminds me also to the music of Santana. "You'll Stay In My Heart" (3:44) starts with basslines followed with vocal harmonies. The music is typical with previous tracks. I find full joy in playing the CD of this album by vintage musician because the music flows beautifully from opening track to end. I highly recommend to those of you who appreciate vintage sounds and this album by Brian Auger is one of them that I believe you will enjoy it very mush as I do. All tracks are good and entertaining. Keep on proggin' ..! Peace on earth and mercy mild - GW Review by & © Gatot Posted Thursday, February 07, 2008 © Prog Archives, All rights reserved http://www.progarchives.com/album.asp?id=17033

Brian Auger, the "Grandfather of Acid Jazz", came out of the British Blues scene playing with artists like John Mayall. He was strongly influenced by organ players like Groove Holmes, Charles Earland, Jimmy Smith, Jack McDuff, Don Patterson, and many others. However, in his own right, Brian is equally as talented as any of these artists. In his early career, during the mid '60's in England, Brian was a "straight up jazz player". Later in his career he was accused by many music critics and fans of selling out, after he veered his music in a more R&B/jazz direction. At various times, he played with artists like Passport, the Average White Band and Les McCann and Eddie Harris. "Brian Auger is one of the best B-3 artists I have ever heard in my life. His technique is awesome and the amount of energy he generates is unparalleled and relentless. He is a tremendous talent with a wonderfully warm and compassionate personality, a combination that is hard to beat. He deserves all the accolades."- Herbie Hancock: "My Favorite rock artists are Van Morrison, Bonnie Raitt, Brian Auger and Loudon Wainwright."- Mose Allison: "Straight Ahead" has been dismissed by some critics as lacking energy and originality, but it is still a great jazz rock album full of great probing grooves. The rhythms are great throughout. Brian Auger has never played better and all the tracks are laid back and funky. Brian Auger has always tried to embrace the musical zeitgeist and even his so called "commercial pop/jazz rock" has always contained brilliant musicianship and thrown up something new. His music remains original and captivating, and he is one of the world's greatest keyboard players. The album is HR by A.O.O.F.C. Listen to Julie Driscoll/Brian Auger & The Trinity's "Streetnoise" album, Brian Auger's Oblivion Express' "Reinforcements" album, and Karma Auger's great "Blue Groove" album. Search this blog for related releases [All tracks @ 320 Kbps: File size = 82.9 Mb]

N.B: A little note for Steely Dan fans. One of Brian Auger's favourite musicians is the late English multi-instrumentalist, Victor Feldman, who played on at least five Steely Dan albums, and one of Brian's favourite albums is "Aja".


A1 Beginning Again - Brian Auger 9:22
A2 Bumpin' On Sunset - Wes Montgomery 10:57
B1 Straight Ahead - Barry Dean 5:09
B2 Change - Lennox Laington 8:10
B3 You'll Stay In My Heart - Barry Dean 3:44

N.B: Some CD issues contain the bonus track, "Straight Ahead" recorded live in Denver, Colorado in 1975


Jack Mills - Guitar
Barry Dean - Bass Guitar
Brian Auger - Organ, Electric Piano, Piano, Synthesizer [Moog & Freeman String Machine], Vocals
Steve Ferrone - Drums
Mirza Al Sharif - Timbales, Percussion
Lennox Laington - Congas


Brian Auger was raised in London, where he took up the keyboards as a child and began to hear jazz by way of the American Armed Forces Network and an older brother's record collection. By his teens, he was playing piano in clubs, and by 1962 he had formed the Brian Auger Trio with bass player Rick Laird and drummer Phil Knorra. In 1964, he won first place in the categories of "New Star" and "Jazz Piano" in a reader's poll in the Melody Maker music paper, but the same year he abandoned jazz for a more R&B-oriented approach and expanded his group to include John McLaughlin (guitar) and Glen Hughes (baritone saxophone) as the Brian Auger Trinity. This group split up at the end of 1964, and Auger moved over to Hammond B-3 organ, teaming with bass player Rick Brown and drummer Mickey Waller. After a few singles, he recorded his first LP on a session organized to spotlight blues singer Sonny Boy Williamson that featured his group, saxophonists Joe Harriott and Alan Skidmore, and guitarist Jimmy Page; it was Don't Send Me No Flowers, released in 1968. By mid-1965, Auger's band had grown to include guitarist Vic Briggs and vocalists Long John Baldry, Rod Stewart, and Julie Driscoll, and was renamed Steampacket. More a loosely organized musical revue than a group, Steampacket lasted a year before Stewart and Baldry left and the band split. Auger retained Driscoll and brought in bass player Dave Ambrose and drummer Clive Thacker to form a unit that was billed as Julie Driscoll, Brian Auger and the Trinity. Their first album, Open, was released in 1967 on Marmalade Records (owned by Auger's manager, Giorgio Gomelsky), but they didn't attract attention on record until the release of their single, "This Wheel's on Fire," (music and lyrics by Bob Dylan and Rick Danko) in the spring of 1968, which preceded the appearance of the song on the Band's Music from Big Pink album. The disc hit the top five in the U.K., after which Open belatedly reached the British charts. Auger and the Trinity recorded the instrumental album Definitely What! (1968) without Driscoll, then brought her back for the double-LP, Streetnoise (1968), which reached the U.S. charts on Atco Records shortly after a singles compilation, Jools & Brian, gave them their American debut on Capitol in 1969. Driscoll quit during a U.S. tour, but the Trinity stayed together long enough to record Befour (1970), which charted in the U.S. on RCA Records, before disbanding in July 1970. Auger put together a new band to play less commercial jazz-rock and facetiously called it the Oblivion Express, since he didn't think it would last; instead, it became his perennial band name. The initial unit was a quartet filled out by guitarist Jim Mullen, bass player Barry Dean, and drummer Robbie McIntosh. Their initial LP, Brian Auger's Oblivion Express, was released in 1971, followed later the same year by A Better Land, but their first U.S. chart LP was Second Wind in June 1972, the album that marked the debut of singer Alex Ligertwood with the band. Personnel changes occurred frequently, but the Oblivion Express continued to figure in the U.S. charts consistently over the next several years with Closer to It! (August 1973), Straight Ahead (March 1974), Live Oblivion, Vol. 1 (December 1974), Reinforcements (October 1975), and Live Oblivion, Vol. 2 (March 1976). Meanwhile, Auger had moved to the U.S. in 1975, eventually settling in the San Francisco Bay area. In the face of declining sales, he switched to Warner Bros. Records for Happiness Heartaches, which charted in February 1977. Encore, released in April 1978, was a live reunion with Julie Tippetts (née Driscoll) that marked the end of Auger's association with major record labels, after which he dissolved the Oblivion Express and recorded less often. In 1990, he teamed up with former Animals singer Eric Burdon, and the two toured together during the next four years, releasing Access All Areas together in 1993. In 1995, Auger put together a new Oblivion Express. As of 2000, the lineup consisted of his daughter, Savannah, on vocals, Chris Clermont on guitar, Dan Lutz on bass, and his son Karma on drums. This group issued the album Voices of Other Times on Miramar Records one week before Auger's 61st birthday. © William Ruhlmann © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/brian-auger-mn0000625014


Joe Bonamassa

Joe Bonamassa - North Sea Jazz Festival 2009 - 2009 - Muz

The first edition of the North Sea Jazz Festival took place in 1976 in the Nederlands Congresgebouw in The Hague, and is now a major international jazz event held at Ahoy, Rotterdam, The Netherlands. North Sea Jazz presented over three days in July is renowned worldwide for it's many different musicians and musical genres. Now you can hear everything from traditional New Orleans jazz, swing, bop, free jazz, fusion, avant-garde jazz and electronic jazz to blues, gospel, funk, soul, R&B, hip hop, world beat and Latin. For three days the past, the present and the future of jazz music are presented, all under one roof. The festival has played host to many, many artists over the years. This recording by Joe Bonamassa and his band was recorded live on 10th July, 2009 at the festival at Ahoy. Joe is one of todays blues guitar greats and there are seven great tracks here. SQ is not perfect but very listenable and the album is very enjoyable. Buy Joe's great "Black Rock" album and support great blues rock [All tracks @ 320 Kbps: File size = 99.9 Mb]


1 Further On Up The Road - Joe Medwick
2 Sloe Gin - Bob Ezrin, Michael Kamen
3 Great Flood - Joe Bonamassa
4 Lonesome Road Blues - Joe Bonamassa
5 Your Funeral And My Trial - Sonny Boy Williamson
6 Blues Deluxe - Jeff Beck, Rod Stewart
7 Just Got Paid - Dazed and Confused - Billy Gibbons, Bill Ham / Jake Holmes


Joe Bonamassa - Guitar, Vocals
Carmine Rojas - Bass
Rick Melick - Keyboards
Bogie Bowles - Drums


Born: May 8, 1977 in Utica NY. Blues-rock guitarist Joe Bonamassa came of age at a strange time for blues music. Bonamassa was one of three talented teenage guitar wunderkinds - the others being Jonny Lang and Kenny Wayne Shepherd - to emerge from the long shadow of the legendary Stevie Ray Vaughan during the 1990s. While both Lang and Shepherd would release their debut albums in 1995, Bonamassa didn't release his solo debut until 2000 (although it could be argued that the self-titled 1994 Bloodlines album was his coming out party). Since unleashing his acclaimed debut on unsuspecting blues fans, however, Bonamassa has certainly been more prolific than his peers, and he has showed an ambition to improve his craft in every area. Of course, when you have no less than B.B. King singing your praises, you're on the right track. Six-String Blues Prodigy: Call it providence, or maybe fate, but six-string blues guitar prodigy Joe Bonamassa was born on what would have been blues great Robert Johnson's 66th birthday. Destined, perhaps, for a life in music, Bonamassa began playing guitar at the age of four on a small instrument given him by his father, a guitar player and dealer. By the age of seven, young Joe had moved up to a full-size guitar and was working out on Stevie Ray Vaughan songs. Bonamassa began playing gigs in upstate New York at the age of ten, when he would be discovered by the blues great B.B. King. Recognizing the young guitarist's talents, King said "this kid's potential is unbelievable. He hasn't even begun to scratch the surface. He's one of a kind." By the age of 12, Bonamassa was touring with the likes of King, Buddy Guy, George Thorogood, and Robert Cray, among others. King was so impressed that he asked Bonamassa to open the shows of his 80th birthday celebration tour in 2005. Joe Bonamassa's Bloodlines: Joe Bonamassa's recording career began during the early-1990s when, after meeting Berry Oakley, Jr. - the son of the late Allman Brothers bassist - the two formed the band Bloodline. Other members of the band included Waylon Krieger (son of the Doors' keyboardist Robby) and Erin Davis (son of jazz great Miles Davis). Bloodline released a single self-titled album of hard-edged blues-rock in 1994 that featured Bonamassa's scorching guitarwork. After the band's break-up, Bonamassa went back to his solo career. Bonamassa made his solo debut in 2000 with the rock-oriented, Tom Dowd-produced album A New Day Yesterday, named for a classic Jethro Tull song covered by the guitarist. Alongside Bonamassa's original songs, the album also included versions of material from Rory Gallagher, Free, Al Kooper, and Warren Haynes, and included guest appearances by musician friends like Gregg Allman, Rick Derringer, and Leslie West of Mountain. The album would subsequently hit number nine on Billboard magazine's blues chart. Number One On The Blues Charts: Bonamassa followed his debut with 2002's So It's Like That, which would become the guitarist's first number one album, and released A New Day Yesterday, Live, a document of his 2001 tour, the following year. To honor the "Year of the Blues" in 2003, Bonamassa released Blues Deluxe a collection of three original tunes and nine classic blues numbers from artists like John Lee Hooker, Albert Collins, Robert Johnson, and Elmore James, among others. Blues Deluxe would also hit number one on the blues charts, a feat that Bonamassa would accomplish with three of his four following studio albums, as well as 2008's Live From Nowhere In Particular. Rock, Soul & Blues: With 2006's You & Me album, Bonamassa recorded with Jason Bonham, son of Led Zeppelin drummer John "Bonzo" Bonham and a seasoned rock music veteran in his own right. With the following year's album, Sloe Gin, Bonamassa played more acoustic guitar and the song's feature the guitarist's warm, maturing vocals along side a typical mix of rock, soul, and blues originals and covers. Sloe Gin proved to be one of Bonamassa's most popular albums, spending nearly three months on the blues charts. Over the course of better than two decades of performing and recording, Joe Bonamassa has built a loyal and still-growing fan base that appreciates his enormous six-string talents, maturing songwriting skills, and dynamic live performances. Bonamassa has also earned the respect of the blues industry. He was the youngest-ever member of the Memphis-based Blues Foundation's Board of Directors, and Bonamassa is heavily involved with the Foundation's Blues In The Schools program, which educates students across the country of the legacy and influence of the blues. Bonamassa was also a popular DJ on Sirius satellite radio, hosting his own blues show. Recommended Albums: Bonamassa's acclaimed debut, A New Day Yesterday, is highly recommended but his 2009 album The Ballad of John Henry displays the full range of the artist's guitar, vocal, and songwriting skills. Bonamassa further stretched his blues-rock muscles with 2011's Dust Bowl, while 2011's acclaimed Don't Explain is an exceptional collection of soul covers recorded with talented L.A. singer Beth Hart. Classic rock fans may enjoy the guitarist's tenure with the classic rock "supergroup" Black Country Communion. By & © Reverend Keith A. Gordon, About.com Guide © 2012 About.com. All rights reserved http://blues.about.com/od/artistprofiles/p/JoeBonamassa.htm


Marianne Faithfull

Marianne Faithfull - Loveinamist [Japan Bonus Tracks] - 2002 - Decca (USA)

Faithfull's final album of the 1960s (she would do one more single, in 1969) was a confused, patchy effort that seemed indicative of musical directionless. There was overblown, orchestrated straight pop (the cover of the Beatles' "Yesterday"), numbers where she seemed to be attempting to be a British Edith Piaf of sorts, and covers of contemporary folk-rock tunes by Donovan and Tim Hardin. Also, a couple of the better songs ("This Little Bird" and "Counting") had long been available on singles, from 1965 and 1966, respectively. This would have been categorized as "eclectic" rather than "directionless" if the material had been better, the arrangements more inspired, and the singing more commanding, but that wasn't the case on any of those counts. There are still some enjoyable bits, like the cover of "Young Girl Blues," and particularly the version of Jackie DeShannon's moody "With You in Mind." At the time, it was likely seen as something to fill in the gaps in the absence of better material. No one suspected, probably, that Faithfull would be diverted by other professional activities and personal calamities, and really wouldn't return to high visibility as a recording artist for a dozen years. The 1988 CD reissue on London U.K. has a couple of worthwhile bonus tracks in previously unreleased covers of Tim Hardin's "Hang Onto a Dream" and the Kinks' "Rosie, Rosie" (titled "Rosy Won't You Please Come Home" when it appeared on the Kinks' Face to Face album), both of which were recorded in September 1966. © Richie Unterberger © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/love-in-a-mist-mw0000374789

"Loveinamist" was Marianne's fourth LP and her last studio album until 1977 when she released "Dreamin' My Dreams". "Loveinamist" is a good mix of pop and folk, with great tracks like Tim Hardin's "Reason To Believe and Donovan's "In The Night Time. The album was completely overlooked on it's release in 1967. The media in the "swinging sixties" were more concerned with other aspects of Marianne's life. In fact much of her early music has been neglected for many years now. This Japanese bonus issue is a good chance to hear the '60's Marianne Faithfull's beautiful voice and a great choice of covers by writers that include Lennon & McCartney, Jackie DeShannon, Donovan, Tim Hardin, Ray Davies and many more. Listen to Marianne's "Broken English" album, a critical success of which Rolling Stone writer Greil Marcus said, "Fifteen years after making her first single, Marianne Faithfull has made her first real album." Also listen to Marianne's underrated "Strange Weather" album. Read all you need to know about Marianne @ http://www.martinfrost.ws/htmlfiles/april2009/marianne-faithfull.html N.B: Has anybody out there got a full list of musicians' credits for this album? [All tracks @ 320 Kbps: File size = 111 Mb]


1. Yesterday - Lennon & McCartney
2. You Can't Go Where the Roses Go - J. DeShannon
3. Our Love Has Gone - C.Andrews
4. Don't Make Promises - T.Hardin
5. In the Night Time - D.Leitch (Donovan)
6. This Little Bird - John D. Loudermilk
7. Ne Me Quitte Pas - Michel Legrand
8. Counting - Bob Lind
9. Reason to Believe - T.Hardin
10. Coquillages - Marcel Stellman
11. With You in My Mind - J. DeShannon
12. Young Girl Blues - D.Leitch (Donovan)
13. Good Guy - D.Leitch (Donovan)
14. I Have a Love - L. Bernstein, S.Sondheim
15. Hang on to a Dream - T.Hardin [Bonus]
16. Rosie, Rosie - Ray Davies [Bonus]
17. Monday, Monday - John Phillips [Bonus]

N.B: Some issues of this album have a different track list than the original Decca UK version of this album. In fact, there are many versions of this album. However, Tracks 1-14 on this post were on the original UK Decca 1967 mono pressing of the album


Few stars of the '60s have reinvented themselves as successfully as Marianne Faithfull. Coaxed into a singing career by Rolling Stones manager Andrew Loog Oldham in 1964, she had a big hit in both Britain and the U.S. with her debut single, the Jagger/Richards composition "As Tears Go By" (which prefaced the Stones' own version by a full year). Considerably more successful in her native land than the States, she had a series of hits in the mid-'60s that set her high, fragile voice against delicate orchestral pop arrangements: "Summer Night," "This Little Bird," and Jackie DeShannon's "Come and Stay with Me." Not a songwriter at the outset of her career, she owes more of her fame as a '60s icon to her extraordinary beauty and her long-running romance with Mick Jagger, although she offered a taste of things to come with her compelling 1969 single "Sister Morphine," which she co-wrote (and which the Stones later released themselves on Sticky Fingers). In the '70s, Faithfull split up with Jagger, developed a serious drug habit, and recorded rarely, with generally dismal results. This occurred until late 1979, when she pulled off an astonishing comeback with Broken English. Displaying a croaking, cutting voice that had lowered a good octave since the mid-'60s, Faithfull had also begun to write much of her own material, and addressed sex and despair with wrenching realism. After allowing herself to be framed as a demure chanteuse by songwriters and arrangers throughout most of her career, Faithfull had found her own voice, and suddenly sounded more relevant and contemporary than most of the stars she had rubbed shoulders with in the '60s. Faithfull's recordings in the '80s and '90s were sporadic and erratic, but generally quite interesting; Strange Weather, a Hal Willner-produced 1987 collection of standards and contemporary compositions that spanned several decades for its sources, was her greatest triumph of the decade. In 1994, she published her self-titled autobiography; the biography As Tears Go By by Mark Hodkinson is an objective and thorough account of her life and times. Faithfull returned to recording in 2002 with Kissin' Time, an eclectic collection of songwriting collaborations with Beck, Damon Albarn, Billy Corgan, Jon Brion, and Jarvis Cocker, among others. In 2004, Before the Poison was released in the U.K., making its entrance into the U.S. market in early 2005. This album continued in the vein of its predecessor, with songwriting and production contributions from PJ Harvey, Nick Cave & the Bad Seeds, Brion, and Albarn, but with far more consistent results. Faithfull and Willner released Easy Come Easy Go in 2008, an all new collection of typically eclectic covers from the likes of Morrissey, the Decemberists, Billie Holiday, Black Rebel Motorcycle, and Dolly Parton. Faithfull and Willner re-teamed for 2011's Horses and High Heels, a collection of covers and originals recorded at the famed Piety Street studio in New Orleans. The album features the talents of local musicians including renowned guitarist John Porter, as well as cameos by Dr. John, Lou Reed, and Wayne Kramer. © Richie Unterberger © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/marianne-faithfull-mn0000651107


Long before Madonna made reinvention her artistic byword, Marianne Faithfull had resurrected herself many times over. Yet the British singer-songwriter's endeavors have consistently been upstaged by personal scandal and vice. Her early years as a Euro-waif pop singer coincided with a well-chronicled relationship with Rolling Stone frontman Mick Jagger, and her recordings were often overshadowed by the couple's legendary exploits. Faithfull began her musical career while still a teenager with timely, well-packaged singles that never quite achieved their full potential; meanwhile, life among the Stones entourage led to bouts with heroin addiction and alcohol abuse. Faithfull was implicated in a notorious 1967 drug bust involving the band, and her relationship with Jagger came to an end in 1969. She spent much of the 1970s battling her addictions while intermittently acting in theater productions and recording a few overlooked albums. The singer made a dramatic comeback in late 1979 with the release of Broken English, a critical success that prompted Rolling Stone writer Greil Marcus to remark, "Fifteen years after making her first single, Marianne Faithfull has made her first real album." During this incarnation, Faithfull's ability to embody pain and pathos led many to view her and the ultimate survivor/chanteuse—a rock version of Marlene Dietrich. Subsequently, she recorded several albums during the 1980s, like Broken English, that were lauded by critics for their searing vocals and choice backing musicians. More importantly, after a serious confrontation with her addictions she also regained some ballast in her life, which resulted in renewed faith in her abilities. Early Fame Linked to Rolling Stones: Faithfull was born on December 29, 1946, in Hampstead, London, to an Austrian baroness and a British intelligence officer who had met in Vienna during World War II. Her father, a devotee of Utopian social schemes, relocated his family to a communal farm in Oxfordshire in 1950, but after two years the Faithfulls' marriage disintegrated and Marianne and her mother moved to Reading, England. Living in rather reduced circumstances, Faithfull's girlhood was marred by bouts with tuberculosis and her charity-boarder status at the local convent school. Despite these early hardships, Faithfull emerged as a fashionable, vivacious teenager and soon began partaking in London's exploding social scene. In early 1964 she attended a record-industry party with John Dunbar—an art student she later married—and there a chance meeting with Andrew Loog Oldham, the Rolling Stones' manager, led to a contract with Decca Records. Her first single, "As Tears Go By"—a reworking of an old English lyrical poem—was written by Oldham, Jagger, and Stones guitarist Keith Richards; it reached number nine on the British charts and number 22 in America by the fall of that year. A colorful spark-plug of the swinging London scene, Faithfull was a few months short of her eighteenth birthday. Faithfull became an overnight Top 40 sensation, known for her ethereal, whispery vocals and angelic face. Artistic differences led to a falling out with Oldham, but the teenager continued to record singles for Decca over the next few years, including covers of Bob Dylan's "Blowin' in the Wind" and the Beatles' "Yesterday." She had her biggest successes in 1965 with Jackie DeShannon's "Come and Stay With Me" and "This Little Bird." Her first full-length album, Marianne Faithfull, appeared in April of 1965, followed by Go Away From My World in November of the same year and Faithfull Forever in 1966. Drugs Ruined Early Promise: Faithfull's dramatic personal life matched the fast-paced lifestyle her high-profile career demanded. In between appearances on such American rock music shows as Shindig and Hullabaloo, she had a son with Dunbar in November of 1965, but the couple separated shortly thereafter. By then she and Jagger had become an item, and their subsequent drug-fueled, jet-set exploits made her a household name for all the wrong reasons. In 1967 a party at Richards's fourteenth-century manse was raided by English law enforcement authorities, and Jagger and Richards were brought up on drug-related charges. Headlines proclaimed that Faithfull was in attendance wearing nothing but a fur rug. In an interview 27 years later with A. M. Homes for Details, Faithfull discussed her wilder days and admitted that the drug bust-fur rug incident had ravaged her personal life: "It destroyed me. To be a male drug addict and to act like that is always enhancing and glamorizing. A woman in that situation becomes a slut and a bad mother." The young singer's recording career never fulfilled its early popstar promise, but the ready availability of drugs and alcohol offered some temporary solace. In 1969 she cut her last single for Decca, "Something Better," a record more notable for its B-side, "Sister Morphine." Faithfull had cowritten this song—a harrowing tale of heroin addiction—with Jagger and Richards but didn't receive official credit for it until 1984. Another version of the song appeared on the Stones' 1971 album Sticky Fingers, along with the cut "Wild Horses." The latter is considered to be Jagger's lyrical parting tribute to Faithfull, written around the time their relationship was disintegrating in 1969; the break-up was apparently precipitated by her suicide attempt in an Australian hotel room during Jagger's filming of the movie Ned Kelly. Faithfull also played a small part in the genesis of "Sympathy for the Devil," released on the 1968 Stones album Beggar's Banquet and considered by some critics to be one of their most noteworthy compositions. Jagger penned the lyrics to the song after Faithfull encouraged him one night to read an obscure novel written by early-twentieth-century Russian writer Mikhail Bulgakov entitled The Master and Margarita. For the Record …: Born Marianne Evelyn Gabriel Faithfull on December 29, 1946, in Hampstead, London, England; daughter of Robert Glynn (a university lecturer) and Eva Sacher-Masoch (Baroness Erisso) Faithfull; married John Dunbar (an art dealer), May 1965 (divorced, 1970); married Ben Brierly (a musician), June 1979 (divorced); also married briefly to Giorgio della Terza (a writer); children: (first marriage) Nicholas. Singer, songwriter, actor, and author. Recorded several pop singles and albums for Decca Records, 1960s; appeared in film and theater productions, beginning in 1967; recorded Broken English, Island, 1979; published Faithfull: An Autobiography, 1994; recorded critically acclaimed albums for RCA, 1997, 1998; recorded the Vagabond Ways LP for Instinct, 1999; recorded Kissin' Time album with Beck and Billy Corgan of Smashing Pumpkins, 2002; Fourth Estate released her second book, Marianne Faithfull's Diaries, 2003; narrator for the film, A Letter to True, 2004. Addresses: Record companies—EMI-Capitol Records, 1750 N. Vine St., Hollywood, CA 90028; Island Records, 825 Eighth Ave., New York, NY 10019, website: http://www.universalchronicles.com. Film and Television Actress: Despite her continuing drug problems, Faithfull harbored ambitions for greater things than cutting Top 40 records. In 1967 she appeared in two films, I'll Never Forget Whats is name and the racy Girl on a Motorcycle, the latter with French actor Alain Delon. Two years later she made her stage debut at London's Royal Court Theatre in Anton Chekhov's Three Sisters and the following year played Ophelia in a film version of Hamlet. In the early 1970s Faithfull's heroin addiction led to intermittent hospitalization, and at one point she registered with Britain's National Health Service as an addict in order to receive a regular ration of the drug for free. Small royalties from "Sister Morphine" were sometimes her only source of income. She produced little in the way of recording, and the attempts made were disastrously ignored, such as 1975's country-and-western-inspired Dreaming My Dreams and Faithless, released in 1978. By the late 1970s things were beginning to look better for Faithfull. She had put together a band and began touring British clubs, and the gigs led to a deal with Island Records. In June of 1979 she married punk bassist Ben Brierly, and a few months later her new label released Broken English, a fierce comeback that garnered critical acclaim. In a raspy, harsh voice light years away from her whispery teenage vocals, Faithfull sang of despair, jealousy, rage, and redemption. Her backing band included Brierly and guitarist-songwriter Barry Reynolds. Faithfull cowrote the title track as well as two other songs, but the album earned special praise for her covers of John Lennon's "Working Class Hero" and Shel Silverstein's "Ballad of Lucy Jordan." In a Rolling Stone review, Greil Marcus looked back at the long road the singer had traveled since her 1964 debut, calling Broken English "a stunning account of the life that goes on after the end, an awful, liberating, harridan's laugh at the life that came before." The profanity-laden track "Why D'Ya Do It?," a terrifying rant against a faithless lover based on a poem by Heathcote Williams, contributed to a decision by EMI—Island's British distributor—to boycott the record, although it did manage to reach number 57 on the British charts and number 82 in the United States. "I'm so, so strong," Faithfull told Debra Rae Cohen of Rolling Stone a few months after the release of the album. "People have no clue." Her pride in Broken English was apparent: "I've never worked very hard at anything before; it's the first time musical demands have been made on me." In his review Marcus termed the album "a perfectly intentional, controlled, unique statement about fury, defeat and rancor.... It isn't anything we've heard before, from anyone." Despite her newfound success, Faithfull continued to battle the twin demons of heroin and alcohol. A disastrous appearance on Saturday Night Live was blamed on too many rehearsals, but it was suspected that drugs had caused her vocal cords to seize up. A second album for Island, Dangerous Acquaintances, was released in 1981 and featured a more upbeat mood and a track written by Steve Winwood, formerly of the Spencer Davis Group, Traffic, and Blind Faith. The album just missed breaking the top 100 in the United States but reached number 45 in the United Kingdom. "Faithfull fairly revels in her newfound strength," wrote Parke Puterbaugh in Rolling Stone. "Dangerous Acquaintances quakes with a darkly luminescent power, as the singer meditates on the transience and intransigence of affairs of the heart." During the 1980s Faithfull moved between London and New York, her heroin addiction helping to obliterate the reality of her sometimes squalid living conditions and equally squalid acquaintances. Her third LP for Island, A Child's Adventure, was released in 1983 but achieved only scant commercial success. Though he praised the musicianship of the record, Rolling Stone's Puterbaugh mused that Faithfull had perhaps "overextended her poetic license, for the allusions are far too vague, the protagonist of these living nightmares too swollen with her own suffering." During the mid-1980s Faithfull's chemical addictions began to catch up with her—in a chemical-induced stupor she took a bad fall down a flight of stairs, and in another incident her heart actually stopped. Extensive rehabilitation, including a stint at the famed Hazelden facility, helped her overcome her demons by the time Strange Weather was released in 1987. The album of covers was produced by Hal Willner after the two had spent numerous weekends listening to hundreds of songs from the annals of twentieth-century music. They chose to record such diverse tracks as Bob Dylan's "I'll Keep It With Mine" and "Yesterdays," written by Broadway composers Jerome Kern and Otto Harbach. The work also includes tunes first made notable by such blues luminaries as Billie Holiday and Bessie Smith; latter-day beat-virtuoso Tom Waits penned the title track. Made Comeback on Island Records: Coming full circle, the renewed Faithfull cut another recording of "As Tears Go By" for Strange Weather, this time in a tighter, more gravelly voice. The singer confessed to a lingering irritation with her first hit. "I always childishly thought that was where my problems started, with that damn song," she told Jay Cocks in Time, but she came to terms with it as well as with her past. In a 1987 interview with Rory O'Connor of Vogue, Faithfull declared, "forty is the age to sing it, not seventeen." In 1990 Faithfull released Blazing Away, a live retrospective recorded at St. Anne's Cathedral in Brooklyn. The 13 selections include "Sister Morphine," a cover of Edith Piaf's "Les Prisons du Roy," and the controversial "Why D'Ya Do It?" from Broken English. Alanna Nash of Stereo Review commended the musicians whom Faithfull had chosen to back her—longtime guitarist Reynolds was joined by former Band member Garth Hudson and pianist Dr. John. Nash was also impressed with the album's autobiographical tone, noting "Faithfull's gritty alto is a cracked and halting rasp, the voice of a woman who's been to hell and back on the excursion fare—which, of course, she has." The reviewer extolled Faithfull as "one of the most challenging and artful of women artists," and Rolling Stone writer Fred Goodman asserted: "Blazing Away is a fine retrospective—proof that we can still expect great things from this graying, jaded contessa." Faithfull next took a hiatus from performing and lived in relative isolation in Ireland for a few years. She returned to the stage for a 1991 Dublin revival of The Threepenny Opera and played a ghost who comes back to torment her abusive husband in the film When Pigs Fly. She also spent time with writer David Dalton in compiling her 1994 autobiography, Faithfull, and released an album of the same name in August of that year. The book, as expected, is loaded with the singer's forthright reminiscences of being caught up in the orbit of the Rolling Stones and her difficult attempts to break free of those years, recounted "with witty, humorous detachment and in a voice as distinctive as her latter-day rasp," according to Billboard writer Chris Morris. The 1994 album Faithfull, subtitled A Collection of Her Best Recordings, contains Faithfull's original version of "As Tears Go By," several cuts from Broken English, and a song written by Patti Smith scheduled for inclusion on an Irish AIDS benefit album. This track, "Ghost Dance"—suggested to Faithfull by a friend who later died of AIDS—was made with a trio of old acquaintances: Rolling Stones drummer Charlie Watts and guitarist Ron Wood backed Faithfull's vocals on the song while Richards coproduced it. The retrospective album also features one live track, "Times Square," as well as Faithfull's return to songwriting with "She," penned with acclaimed composer and arranger Angelo Badalamenti. Best known for his work scoring projects for filmmaker and Twin Peaks creator David Lynch, Badalamenti teamed up with Faithfull for A Secret Life, her first full-length studio effort since 1987. Vanity Fair writer Cathy Horyn predicted in September of 1994 that this Island Records collaboration, released in March of 1995, "will almost certainly restore this fallen angel to her rightful place: as one of the great interpretive singers of our time." A Respected Icon: Faithful returned to songwriting full-time with the 1999 album Vagabond Ways for Instinct. Co-writing most of the material, she turned in an emotionally resonant performance that cemented her status as both the supreme interpreter of personal torment and contemporary creative force to be reckoned with. At the age of 56, she simultaneously enjoyed the role of a burgeoning art-film actress in such movies as Far From China, and Intimacy, and as the patron saint for a new wave of musicians. Indeed, her 2002 EMI album Kissin' Time featured remarkable collaborations with the likes of such modern day artists as Beck, Blur, Pulp, Dave Stewart, and Billy Corgan of Smashing Pumpkins fame. The result was her finest, most emotionally revealing disc since Broken English, one that won her the admiration of a new generation of discerning music fans, albeit not much action on the mainstream charts. Looking back, which she often asked to do by interviewers, she has only one regret. "I wish I'd never taken heroin," she told told Charles R. Cross of the Seattle Weekly. "It seems to me now, looking back on it, from a long way in time, that it was just a waste of my time." © Carol Brennan and Ken Burke 2005 © 2012. All rights reserved © http://www.encyclopedia.com/topic/Marianne_Faithfull.aspx#1-1G2:3430400020-full


Michael Osborn & the Drivers

Michael Osborn & the Drivers - The Glamorous Life - 2010 - Checkerboard Records

Michael is a very gifted guitarist who know that less often really means more. His playing is imaginative, and his technique is precise. He can play terrific blues guitar without overwhelming the song and never showing off. He can play with a tone and craft without hands flying across the frets trying to play as many notes as possible in as short a time as possible. This album is a tasteful example of playing great blues guitar by stretching notes and adding clever little fills in all the right places. Mike mainly plays traditional blues but always adds something new to the old classics. If you like biting, aggressive and inventive blues guitar in the style of great players like B.B. & Freddy King, you may like this album. See if you can find Mike's 1988 "Cold Hearted Girl" album. Check out Mike's "What Goes Around", "Touch Tone", and "A Case For The Blues" albums on this blog [All tracks @ 320 Kbps: File size = 68.8 Mb]


1. Why Get Up - B.Carter, R.Ellsworth
2. Here She Comes - K.G. Jackson
3. The Glamorous Life - Michael Osborn
4. Needles And Pins - K.G. Jackson
5. Lollipop Mama - Roy Brown, Clarence Samuels, William Clarke
6. Bright Lights Big City - Jimmy Reed
7. Little Suzanne - Michael Osborn, KG Jackson, Dave Mathis, KG Jackson, John Moore, Stu Kinzel


Michael Osborn - Guitar, Vocals
K.G. Jackson - Bass Guitar, Vocals
John Moore - Drums
Dave Mathis - Harmonica, Vocals


Michael Osborn was John Lee Hooker’s lead guitarist for 13 years. After his stint with Mr. Hooker, one of Michael’s songs, “Spellbound”, was featured on John Lee’s 1998 Grammy Award winner for Best Traditional Blues recording, “Don’t Look Back”! Michael has also backed such musical luminaries as Robben Ford (Michael has a song credit on Robben’s “Blue Moon” release), Mark Ford, The Charles Ford Band, Charlie Musselwhite, James Cotton, Brownie McGee, Bill Rhoades, Sista Monica, Annie Sampson and so many others. Mike presently resides in the Portland, Oregon area and has been nominated three times by the Cascade Blues Association for best blues guitarist and once for blues best recording for his CD release of “Touch Tone.” As a member of Bill Rhoades and the Party Kings, he taken home 7 awards for best traditional blues band and was inducted into the CBA Hall of Fame as a member of that band! “Michael Osborn is one of the most authentic blues guitarists around today. His style goes straight to the heart of the blues and he’ll steal your show if you don’t watch out!” ~ Robben Ford

Michael Osborn was John Lee Hooker’s guitarist for 13 years (I do remember seeing him with The Boogie Man at London’s Hammersmith Odeon) and he has a respectable discography himself, with three albums for Blue Rock’It between 1988 and 1996, and now releases on his own Checkerboard label. It certainly shows on this release, which is definitely modern blues but without any of the vacant posturing that term sometimes implies. He began his blues career working with the Ford Brothers and in 1970 was a founding member of the famed Charles Ford Band (who recorded for Arhoolie). That he has got the chops is in no doubt from this straightforward blues set. There are echoes of Hooker’s spikey guitar style (most notably on ‘Needles And Pins’), but for the most part the playing recalls the likes of BB King and Alberts King and Collins, though usually with a little more down-home ambience, thanks to the stripped-down accompaniment of just bass, drums and harp. Lead vocals are shared between Dave Jackson on four songs, KG Jackson on three numbers, and Michael himself on just one, and the occasional use of harmonised lead vocals adds a fine individual sound. Most of the songs are originals but there are a couple of nice surprises. Whilst the opener is best-known from The Fabulous Thunderbirds and is a fine, slightly New Orleans-ish rocking piece, ‘Lollipop Mama’ is an excellent cover of Clarence Samuels’ 1947 Aristocrat recording. I enjoyed this CD a lot – it is pleasing and unpretentious. Mike recalls in his notes that Hooker told him: “You can play a lot of notes and think you’re dazzling them… give them melody and feeling…” On this evidence Mike took note. - Norman Darwen, Blues and Rhythm Magazine, UK

Boy, this CD was a long time in coming. After Michael Osborn put together The Drivers more than a year ago with such a talented line-up, I was heavy in anticipation awaiting the release of new material. Well, I have to say the wait was well worth it. Osborn’s third disc on his own Checkerboard label, The Glamorous Life proves that the band’s name is aptly titled. Because this album just drives the blues home. The Drivers of course are made up of Osborn’s searing guitar work, local harp great Dave Mathis doing his usual blowing the tin off the instrument, K.G. Jackson handling bass superbly and John Moore hitting the skins with the perfect rhythm. Michael, K.G. and Dave alternate between one another on vocals. It’s a traditional blues gem, as they work from covers to originals, all with equal attention that rings true every time. K.G. Jackson has long been an overlooked talent in the Northwest. We’ve seen him front bands of his own in the past, most often playing guitar. But he relents the guitar duties to Michael, rightly so considering Osborn’s past work with such people as Charlie Musselwhite, Sista Monica, The Ford Blues Band and more than a decade leading one John Lee Hooker’s band. But Jackson is more than capable at bass and what’s even more his forte, he’s a great songwriter, contributing three tracks to the album. The only other original being Osborn’s title track. The CD opens with a very nice cover of the song “Why Get Up,” best known for The Fabulous Thunderbirds’ take and this new version holds up well compared to theirs. Also familiar tunes include “Lollipop Mama,” a staple of William Clarke’s songbook that has become an outstanding piece yet again in the hands of Dave Mathis, and the Jimmy Reed classic “Bright Lights, Big City” with the unmistakable harmonica riff handled nicely by Mathis while Osborn provides some tasty guitar additions. The Glamorous Life is a very satisfying CD, with only one problem I can note. At just under 31 minutes in length, it leaves you wishing for more. But what a fantastic 31 minutes it is. Bravo to Michael Osborn & The Drivers on delivering the goods in a big way! - Greg Johnson, Cascade Blues Association, Portland, OR

My secret weight loss program? “Sleep Your Weight Away.” It is based on the fact that even a sleeping person is burning calories, and, most importantly, one is not eating while asleep. Feeling hungry? Take a nap instead of having a snack! “I went to the doctor he said lose some weight / And, if you don’t do it quick we got to operate …. Why Get Up?,” sings Dave Mathis, harmonicist and vocalist for Michael Osborn and the Drivers on Osborn’s latest CD. In the opening track, Mathis makes a convincing case for just sleeping the troubles away as he nails the vocals on this cover of the memorable Fabulous Thunderbirds song, written by Bill Carter and wife Ruth Ellsworth. Mathis, in addition to listing six more reasons to just stay in bed, adds a killer harmonica solo at mid song just after Osborn’s tasty guitar-break licks. And, thus, we have the beginning of another standout set of Blues from Michael Osborn and crew. Thirty minutes is way too short for this CD, but I love the stripped down, real-deal approach of this veteran Bluesman’s quartet: guitar, bass, harp, drums — and no horns! Osborn’s guitar playing is a real highlight. With pleasing tone, he is tasteful in his note spacing, stretching, fills, and runs. Anything but over the top, he is, thankfully, not a string shredder. Osborn’s sixth release is purist pleasing electric Blues across four originals and three covers. My favorite original, “Needles and Pins,” is written by bassist and vocalist K.G. Jackson. This mid-tempo shuffle opens with ear catching single notes from Osborn’s guitar. The rhythm joins, founded by John Moore’s pocket drumming, and then three part harmony vocals cement this song enjoyable and memorable. Melody is what makes this song joyously swing, a trait of the classics one remembers most. I also liked Osborn’s multi-tracked rhythm guitar alongside his lead guitar punctuations at the end of each vocal line. “The Glamorous Life” is a humorous shuffle giving us our first listen to Osborn’s serviceable vocals. After listing a litany of road woes for a touring musician, Osborn sardonically sings, but “…it’s the glamorous life.” This song was also included in Osborn’s previous release, 2008’s “What Goes Around.” Michael Osborn is well known and respected, especially in his home, the West Coast. Michael grew up in Ukiah CA with the Ford brothers, including the great Robben Ford. In 1970, he was one of the founding members of the Charles Ford Band. In 1981, Michael became the lead guitarist and band leader for Blues legend John Lee Hooker. For the next 13 years, Michael toured the world with John Lee. Since then, Osborn has played with Sista Monica, toured Europe with his own band, recorded three CDs on the Blue Rock’it label and three more on his own Checkerboard label. For seven years he’s been an outstanding contribution to Bill Rhoades and the Party Kings in his current home near Portland OR. These four cats are just killer: three part harmonies plus all but Moore take a turn at lead vocals, Mathis deft on diatonic and chromatic harps, Jackson writing in classic style, Osborn playing ripping guitar (even channeling Albert King at one point), and John Moore’s veteran stick work being the band’s heartbeat. Electric Blues fans – this one is a delight! - James “Skyy Dobro” Walker, Blues Blast, IL

Bright juicy album by blues singer and guitar player Michael Osborn and The Drivers. Michael’s first album is a collaboration of four high class musicians, intense, passionate, colorful and in love with the most classic genuine blues, who are Dave Mathis on vocals and harmonica, KG Jackson on bass and vocals and John Moore on drums. Three excellent singers who take leading turns along the album, as they are gifted with a great powerful voice which make them shine like twinkling stars. But as instrumentalist they are also impressive and all them have a fine tasteful technique, which makes them give a personal intense feeling to all songs included. The four musicians have individually won some Cascade Blues Association Muddy Awards in different categories. Michael was also the right hand of the great John Lee Hooker and the rest of musicians were also members of the bands of artists like Albert Collins, William Clarke, Willie Dixon and Robben Ford, among others. Welcome to this big blues party where these musicians are the best possible hosts and actors. GREAT. - Vincente Zumel,” La Hora del Blues”, Barcelona, Spain


Michael Osborn (Guitar/Vocals/Songwriter) was John Lee Hooker’s lead guitarist for 13 years. After his stint with Mr. Hooker, one of Michael’s songs, Spellbound, was featured on John Lee’s 1997 Grammy Award winning “Don’t Look Back”! Michael has also backed such musical luminaries as Robben Ford, Charlie Musselwhite, Bill Rhoades and so many others. Mike presently resides in the Portland, Oregon area and has been nominated three times by the CBA for best blues guitarist and once for blues best recording for his CD release of “Touch Tone.” As a member of Bill Rhoades and the Party Kings, he taken home 7 awards for best traditional blues band and was inducted into the CBA Hall of Fame as a member of that band! K.G. Jackson (Bass Guitar/Vocals/Songwriter) has 25 years of professional experience and has been playing music in the NW since 1990. In 1997 his band “K.G. Jackson and Shakin’ Ground” was a CBA Muddy Award nominee for Best New Act. In 2006 he did a short stint in the band “Double Deuces” which was then nominated for Best New Act. He was also nominated in 2006 by the CBA for Best Vocalist. K.G. is also a prolific songwriter and writes many of the songs the band performs. Dave Mathis (Harmonica and Vocals) has long been a Portland mainstay of the blues with 30 years of professional experience. He had a long stint playing with Kelly Jo Phelps and is featured on Kelly’s recording entitled “Traditional Blues” as well as one cut on “Shine Eyed Mister Zen”. Dave is also a two-time CBA Muddy Award Winner in the Traditional Blues Act category with the band “Sheila and Backwater Blues” for the years of 1996 & 1997. Dave can blaze on the harmonica or play sweet and low with the best of them, and he is also a heartfelt true blues singer. John Moore (Drums/Percussion) has been a mainstay of the Portland/Eugene Blues scene for more than 20 years. He has backed Albert Collins, William Clarke, Bill Rhoades and even George Harrison! He is the heartbeat of the band! © http://www.reverbnation.com/michaelosbornandthedrivers


During the mid-60's Michael Osborn was introduced to blues music through his friendship with Robben and Patrick Ford. Out of this association, Michael began playing bass guitar with the Ford brothers in various blues, rhythm & blues bands over a three-year period, from 1967 thiough 1969. In 1970, Michael (having switched to playing rhythm guitar, joined the first incarnation of the Charles Ford Band featuring Gary Smith on harmonica and Lou Bottoni on bass guitar. After many months of club dates, Pat and Robben left the band to join Charlie Musselwhite. (The Charles Ford Band disbanded until Pat and Robben reformed the following year as a quartet with Mark Ford on Harmonica and Stan Poplin on bass.) In the early 1970's, Michael recorded wlth the Charles Ford Band and Charlie Musselwhite. He also continued to build his guitar chops through the 70's while performing in various blues bands with Gary Smith, Mark Ford, Mixed Nuts (featuring Bonnie Raitt's brother, David Raitt) and an occasional Charles Ford Band reunion. In June of 1981 Michael became lead guitarist for the great John Lee Hooker. He toured all over North America, Europe, Japan and Brazil with John Lee for the next 13 years. During this same period, he backed such people as Robert Cray, Elvin Bishop, Brownie McGee, Willie Dixon, Jarnes Cotton and Charlie Musselwhite. He has also played on stage with such notables as Bonnie Raitt, Johnny Johnson, Albert Collins, Ry Cooder, Carlos Santana, John Hammond, Etta James, Curtis Salgado, and The Nighthawks. Michael has performed at many prestigious venues in the United States and Europe such as Carnegie Hall, Madison Square Garden, The Montreaux Jazz Festival in Switzerland, The North Sea Jazz Festival in Holland, The New Orleans Jazz and Heritage Festival, Newport Jazz Festival, Newport Folk Festival, The Hammersmith Odeon in London, The Monterey blues Festival,etc. Since he left John Lee Hooker's Coast to Coast Blues Band, Michael fronts his own band and also performs with blues singing sensation Sista Monica. He was one of the headliners at the Mountain Winery Summer Series blues Festival '94, and has toured Europe several times, playing festivals and clubs throughout, including Djurs Bluesland Festival in Denmark. He has toured Western Canada, the Pacific Northwest and various Northern California venues (including the Monterey Jazz Festival and the Sacramento Blues Festival) with great success. © Blue Rock'It Records 2001-2007


Larry Carlton

Larry Carlton - Friends - 1983 - Warner Bros.

By the time Larry Carlton recorded Friends, his status as a guitar legend had already been established. In addition to being admired by musicians, he was also loved by Muzak programmers. His blend of happy pop-jazz was the perfect background music for dentist offices. For those who care to listen closer, there is some excellent guitar work being performed. A good example of this would be his creative improvisation on the introduction to "South Town." His duet with B.B. King on "Blues for TJ" is wonderful. It is refreshing to hear two players who are more interested in sharing ideas than showing off. The scat version of "Tequila," courtesy of Al Jarreau, was also interesting. As with most Carlton recordings, there is something here for just about everyone; there's just not enough of it. © Robert Taylor © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/friends-mw0000652429

Larry's guitar solo on Becker & Fagen's "Kid Charlemagne" from the "Royal Scam" album is a work of genius. It would be great if Larry had thrown a few more solos like that into his later albums. The guy often "underplays" on occasions and it would be great to hear an all blues album from Larry where he would shine. Nevertheless, he is one of the guitar greats and one of the world's most in-demand sessionmen, and "Friends" shows off his guitar skills better than some of his later more pop rock and smooth jazz albums. Listen to Larry Carlton and Lee Ritenour's "Larry & Lee" album and Steely Dan's classic "Royal Scam" album [All tracks @ 320 Kbps: File size = 96 Mb]


1 Breaking Ground 4:26
2 South Town 5:25
3 Tequila 4:09
4 Blues For T.J. 5:19
5 Song In The 5th Grade 5:23
6 Cruisin´ 5:19
7 L.A., N.Y. 4:55
8 Friends 5:18

All tracks composed by Larry Carlton except "Tequila" by Chuck Rio, and "Blues For T.J" by Larry Carlton & B.B. King


Larry Carlton - Electric Guitar, Electric Bass - (tracks 3, 5), Fender Rhodes Electric Piano - (track 5), Percussion - (tracks 2, 5)
B.B. King - Electric Guitar - (track 4)
Abe Laboriel - Electric Bass
Brian Mann - Synthesizer - (tracks 1, 3, 5, 6, 7, 8), Organ - (tracks 4, 5)
Joe Sample - Fender Rhodes Electric Piano - (tracks 2, 3), Terry Trotter - Fender Rhodes Electric Piano - (tracks 1, 5, 6, 7, 8)
Don Freeman - Fender Rhodes Electric Piano - (track 3), Acoustic Piano - (track 3), Clavinet - (track 3)
Joe Porcaro - Vibraphone - (track 2), Timpani - (track 1)
Jeff Porcaro - Drums
Alex Acuna - Percussion - (track 6), Paulinho Da Costa, Percussion - (tracks 1, 2, 3, 5)
Michael Brecker - Saxophone - (tracks 3, 7, 8)
Don Menza, Gary Herbig, Gordon Berg, James Horn, Kim Hutchcroft, Larry Williams - Woodwind
Bill Reichenbach, Charles Loper, Dick Hyde, Lew McCreary - Trombone
Charles Findley, Gary E. Grant, Jerry Hey, Larry Hall, Pat Lobinger - Trumpet
Jim Horn - Solo Flute - (track 5)
Al Jarreau - Scat Vocals - (track 3)


Like so many other Los Angeles studio musicians, guitarist and composer Larry Carlton was faced with a choice a number of years back: whether to go solo and develop a name for himself, or to continue the less risky, more lucrative existence of a session guitarist, making good money and recording with prominent musicians. Fortunately for fans of this eclectic guitarist, he chose the former, and has recorded under his own name for Warner Bros., MCA Records, GRP Records, and various other labels since 1978. Carlton's studio credits from the ''0s and early '80s include work with musicians and groups like Steely Dan, Joni Mitchell, Michael Jackson, Sammy Davis, Jr., Herb Alpert, Quincy Jones, Bobby Bland, Dolly Parton, Linda Ronstadt, and literally dozens of others. Among his more notable projects as a session guitarist were Joni Mitchell's critically acclaimed Court and Spark album and Donald Fagen's Nightfly album. For much of the '70s, Carlton was active as a session guitarist, recording on up to 500 albums a year. Although he recorded a number of LPs under his own name as early as 1968's With a Little Help from My Friends (Uni) and 1973's Playing/Singing (Blue Thumb), he didn't land a major-label contract until 1978, when he signed with Warner Bros. Carlton began taking guitar lessons when he was six. His first professional gig was at a supper club in 1962. After hearing Joe Pass on the radio, he was inspired to play jazz and blues. Wes Montgomery and Barney Kessel became important influences soon after he discovered the jazz guitar stylings of Pass. B.B. King and other blues guitarists had an impact on Carlton's style as well. He honed his guitar-playing skills in the clubs and studios of greater Los Angeles while he attended a local junior college and Long Beach State College for a year until the Vietnam War ended. Carlton toured with the Fifth Dimension in 1968 and began doing studio sessions in 1970. His early session work included studio dates with pop musicians like Vikki Carr, Andy Williams, and the Partridge Family. In 1971, he was asked to join the Crusaders shortly after they'd decided to drop the word "Jazz" from their name, and he remained with the group until 1976. In between tours with the Crusaders, he also did studio session work for hundreds of recordings in every genre. But it was while he with the Crusaders that he developed his signature, highly rhythmic, often bluesy style. His credits include performing on more than 100 gold albums. His theme music credits for TV and films include Against All Odds, Who's the Boss, and the theme for Hill Street Blues. The latter won a Grammy award in 1981 for Best Pop Instrumental Performance. Carlton delivered his self-titled debut for Warner Bros. in 1978, shortly after he was recognized for his groundbreaking guitar playing on Steely Dan's Royal Scam album. (Carlton contributed the memorable guitar solo on "Kid Charlemagne.'') He released four more albums for Warner Bros., Strikes Twice (1980), Sleepwalk (1981), Eight Times Up (1982), and the Grammy-nominated Friends (1983), before being dropped from the label. He continued studio session work and toured in between, emerging again in 1986 on MCA Records with an all-acoustic album, Discovery, which contained an instrumental remake of Michael McDonald's hit "Minute by Minute." The single won a Grammy Award for Best Pop Instrumental Performance in 1987. Carlton's live album Last Nite, released in 1987, got him a Grammy nomination for Best Jazz Instrumental Performance. While working on his next album for MCA, On Solid Ground, Carlton was the victim of random gun violence, and was shot in the throat by gun-wielding juveniles outside Room 335, his private studio near Burbank, California. The bullet shattered his vocal cords and caused significant nerve trauma, but through intensive therapy and a positive frame of mind, Carlton completed work on On Solid Ground in 1989. He formed Helping Innocent People (HIP), a non-profit group to aid victims of random gun violence. Despite the tragedy foisted on him in the late '80s after he was shot, with a long period of hospitalization and rehabilitation, Carlton continued his active recording and performing schedule over the next two decades, beginning with a number of albums during the '90s on the GRP label: 1992's Kid Gloves; 1993's Renegade Gentleman; 1995's Larry & Lee (with Lee Ritenour); and 1996's The Gift. Carlton also released the 1995 holiday collection Christmas at My House on MCA. And in 1997 he replaced Lee Ritenour in the popular, contemporary jazz outfit Fourplay, first appearing on the group's 4 album in 1998. The 2000s found Carlton as active as ever, recording live and in the studio as both leader and collaborator for a variety of labels. Two albums on Warner Bros. began the decade, Fingerprints -- including guest appearances by Michael McDonald, Vince Gill, Kirk Whalum, and Vinnie Colaiuta -- in 2000, and Deep into It in 2001. A popular concert draw in Japan, Carlton could be heard as a collaborator on two live recordings from that island country during the decade, Live in Osaka (with Steve Lukather), issued in 2001 on the Favored Nations label, and Live in Tokyo (with Robben Ford) on 335 Records in 2007. Meanwhile, his albums as a leader continued, with Sapphire Blue and Fire Wire released by Bluebird/RCA in 2004 and 2005, respectively, and The Jazz King -- with Carlton leading an all-star band performing music he composed on commission to celebrate the 80th birthday and ascension to the throne of Thailand’s King Bhumibol Adulyadej -- issued by Sony BMG in 2008. In 2009 Carlton appeared as guest guitarist on selected dates during Steely Dan's U.S. summer tour. Always happy to meet with the press, Carlton has a sweet, peaceful personality, and listeners continue to hear it in his unique rhythmic and warm guitar chords and ringing guitar tones. Carlton was featured on and produced vocalist Michele Pillar's holiday album, I Hear Angels Calling, in 2011. © Richard Skelly © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/larry-carlton-mn0000102399


Robben Ford

Robben Ford- Keep On Running - 2003 - Concord Records

On his second album for the Concord Jazz label, guitarist Robben Ford stays pretty much to the formula of Blue Moon from 2001. He concentrates on playing, singing, and covering great songs (and even writes a few) with interesting arrangements, inspired solos, and crisp, clean production that lets the song shine through the players. Much has been made of Ford's eclecticism and that is reflected in his choice of material here, though he never strays from the blues or R&B into jazz or fusion. Ford's selection of session players reflects his divergent interests as well: Edgar Winter appears on saxophone, while John Mayall and Ivan Neville guest along with horn bosses Bob Malach and Dan Fornero and Ford's road band. Opening the set with the title track, written by soul man Jackie Edwards, Ford lays out his formula immediately: a tight horn chart for tenor and baritone saxes, as well as trumpet; a crystal clear, expressive vocal delivery; and Ford's signature stinging guitar in the solo break lifts proceedings off on the up tip. The funky read of the Al Perkins/Otis Rush jam "Homework" features some blistering yet tasteful guitar work and a soulful vocal from Ford. But the two covers that proceed immediately thereafter through the entire album into the winds: first there is a beautiful and reverent version of "Badge" by Eric Clapton and Ford's former boss George Harrison as a tribute to the late guitarist, and a radical read of Nick Lowe's classic "(What's So Funny 'Bout) Peace, Love & Understanding" with Mavis Staples singing a duet vocal. First there is the strange intro, a direct quote from Clapton's "Wonderful Tonight," then there is the slow, shuffling reggae in the main body of the tune while retaining the melody. It is unsettling, to say the least, with only Ivan Neville's chunking chords on the electric piano keeping some of the tune dirty and immediate. But despite its different read, it is full of depth and dimension. The song almost becomes a prayer with Staples echoing each line and Ford sticking very emotionally close to the lyric. Other standouts on this set include Ford's tribute to Freddie King, "Cannonball Shuffle," the lone instrumental on the set; the Gamble & Huff redo "For the Love of Money," with a killer backing chorus of Neville, Terry Evans, and Ray Williams; and the funky, midnight broken-hearted blues of "Bonnie," written with Bonnie Hayes. Ford's been on the scene a long time, made a lot of great music, and has confused his fans and detractors alike. But this role, that of the amiable, street-savvy urban bluesman seems to suit him best judging by Blue Moon first and Keep on Running, but Keep on Running is even more convincing, being so consistently presented and wonderfully, soulfully wrought. © Thom Jurek © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/keep-on-running-mw0000325704

Another great album from the magnificent bluesman/jazzman Robben Ford. Robben is without a doubt one of the world's greatest guitarists. Similar to guitarists like Jan Akkerman, Robben can play any style in any music genre. "Keep On Running" is one of Robben's more blues orientated albums. He is joined by musicians that include John Mayall, Edgar Winter, Jimmy Earl, Mavis Staples, Toss Panos, and more. The album is VHR by A.O.O.F.C. Listen to The Yellowjackets' 1991 album, "Greenhouse" which demonstrates the great jazz playing of Robben Ford as does the great "Jing Chi" s/t album. For some extraordinary blues playing, listen to the Larry Carlton featuring Robben Ford "Live in Tokyo" album [All tracks @ 320 Kbps: File size = 115 Mb]


1 Keep On Running - Jackie Edwards 3:27
Bass – Jimmy Earl
Drums – Toss Panos
Guitar, Vocals, Electric Piano – Robben Ford
Saxophone [Baritone] – Edgar Winter
Saxophone [Tenor] – Bob Malach
Trumpet – Dan Fornero

2 Over My Head - Robben Ford 3:26
Bass – Jimmy Earl
Drums – Steve Potts
Guitar, Vocals, Electric Piano – Robben Ford
Saxophone [Tenor] – Bob Malach
Trumpet – Dan Fornero

3 Homework - Al Perkins, Dave Clark, Otis Rush 3:24
Bass – Jimmy Earl
Drums – Toss Panos
Guitar, Vocals, Electric Piano – Robben Ford
Saxophone [Tenor] – Bob Malach

4 Badge - Eric Clapton, George Harrison 3:56
Backing Vocals – Siedah Garrett
Bass – Jimmy Earl
Drums – Steve Potts
Guitar, Vocals – Robben Ford

5 Peace Love & Understanding - Nick Lowe 5:12
Bass – Jimmy Earl
Drums – Steve Potts
Electric Piano – Ivan Neville
Guitar, Vocals – Robben Ford
Vocals – Mavis Staples

6 Cannonball Shuffle (For Freddie King) - Robben Ford 4:33
Bass – Jimmy Earl
Drums – Toss Panos
Guitar, Piano [Acoustic] - Robben Ford
Saxophone [Alto, Tenor, Baritone] – Edgar Winter
Soloist, Saxophone [Tenor] – Bob Malach

7 Lifetime Thing - Robben Ford 4:16
Bass – Jimmy Earl
Drums – Toss Panos
Electric Piano – Jeff Babko
Guitar, Vocals
Harmonica [Blues Harp] – John Mayall

8 Bonnie - Bonnie Hayes, Robben Ford 4:19
Backing Vocals – Siedah Garrett
Bass – Jimmy Earl
Drums – Steve Potts
Guitar, Vocals, Electric Piano – Robben Ford

9 Me And My Woman - Gene Barge 6:07
Bass – Jimmy Earl
Drums – Toss Panos
Guitar, Vocals – Robben Ford
Harmonica [Blues Harp] – John Mayall
Saxophone [Tenor] – Bob Malach

10 For The Love Of Money - Anthony Jackson, Kenneth Gamble, Leon Huff 4:59
Backing Vocals – Ray Williams
Backing Vocals, Soloist, Vocals [On Bridge] – Terry Evans
Bass – Jimmy Earl
Drums – Steve Potts
Guitar, Vocals, Electric Piano – Robben Ford
Horns – Edgar Winter
Organ, Backing Vocals – Ivan Neville

11 Hand In Hand With The Blues - Jill Freeman, Robben Ford 4:48
Bass – Jimmy Earl
Drums – Steve Potts
Guitar, Vocals – Robben Ford


Robben Ford has had a diverse career. He taught himself guitar when he was 13 and considered his first influence to be Mike Bloomfield. At 18 he moved to San Francisco to form the Charles Ford Band (named after his father, who was also a guitarist) and was soon hired to play with Charles Musselwhite for nine months. In 1971 the Charles Ford Blues Band was re-formed and recorded for Arhoolie in early 1972. Ford played with Jimmy Witherspoon (1972-1973), the L.A. Express with Tom Scott (1974), George Harrison, and Joni Mitchell. In 1977 he was a founding member of the Yellowjackets, which he stayed with until 1983, simultaneously having a solo career and working as a session guitarist. In 1986, Ford toured with Miles Davis and he had two separate periods (1985 and 1987) with Sadao Watanabe, but he seemed to really find himself in 1992 when he returned to his roots: the blues. Ford formed a new group, the Blue Line, and subsequently recorded a couple of blues-rock dates for Stretch that are among the finest of his career. In 1999, he released Sunrise on Rhino and Supernatural on Blue Thumb. Ford signed to the Concord Jazz label in 2002 and released Blue Moon that same year, followed by Keep on Running in 2003 and Truth in 2007. © Scott Yanow © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/robben-ford-mn0000830063


Ford was born in Woodlake but raised in Ukiah, California, and began playing the saxophone at age 10, picking up the guitar at age 13. Robben and his brothers Mark (mouthharp) and Patrick Ford (drums) had a band they named the Charles Ford Blues Band in honor of their father. Ford began playing professionally at age 18 when the Charles Ford Blues Band got a gig backing Charlie Musselwhite. The band also recorded two albums The Charles Ford Band and Discovering the Blues. Next Ford put together a band with Bay Area musicians that became Jimmy Witherspoon's backup band. Ford recorded two albums with Witherspoon, Live and Spoonful'. The Ford Blues Band reunites periodically, and released live albums in the 1980s and 1990s. In the 1970s, Ford began to branch out into Jazz fusion, and joined L.A. Express led by saxophonist Tom Scott in 1974. That same year they backed George Harrison on his American tour. In addition to recording fusion albums, they served as Joni Mitchell's backup band on Hissing of Summer Lawns and her live album, Miles of Aisles. After leaving L.A. Express in 1976, Ford recorded his solo album, The Inside Story with a band that was to become the Yellowjackets. He went on to play a starring role on the first two Yellowjackets albums, although he was listed as a guest artist due to recording contract arrangements. Ford worked briefly with Miles Davis in 1986; he can be heard on Davis' Montreux box set. Ford released his next album, called Talk to Your Daughter in 1988, a return to his blues roots. In 1989 he joined Philippe Saisse, Marcus Miller and J.T. Lewis in the cast of The Sunday Night Band for the second and final season of the acclaimed late-night NBC television musical performance program, Sunday Night. His best work in the 1990s include Robben Ford and the Blue Line, and Tiger Walk. In addition to recording and touring with his own blues band, Ford continued to tour and play with other bands/artists such as Jing Chi (his fusion band), Gregg Allman and Phil Lesh. He has received nominations for four Grammy Awards. Several Ford tribute bands exist, a statement to his artistry and popularity with the cognoscenti. Ford was named one of the "100 Greatest Guitarists of the 20th Century" by Musician magazine. Ford uses Dumble Amplifiers. When travelling abroad he tends to use rented Fender amplifiers along with a Zendrive overdrive pedal by Hermida Audio. Guitar manufacturer Fender used to make a Robben Ford signature guitar, although lately Ford tends to favour Gibson Les Pauls and a custom-made model by Sakashta Guitars. Ford is married to the cabaret singer, Anne Kerry Ford, and collaborated with her on various projects.