Get this crazy baby off my head!


The Kinsey Report

The Kinsey Report - Smoke And Steel - 1998 - Alligator

CMJ (11/09/98, p.25) - "...Smoke and Steel is a powerful blues album from this group of contemporary masters..."

Living Blues (1-2/99, p.50) - "...the effort is largely successful....a welcome improvement..."

With a strong, rock-drenched approach to their brand of blues, the Kinsey Report comes roaring back with their third full length album for the Alligator imprint. The band has matured and, if nothing else, acquits themselves in a thoroughly professional manner like the old-school gospel/blues/R&B veterans they truly are. While the whole thing pulsates and rocks with an almost bludgeoning intensity at times, Donald's blistering guitar is equal parts roadhouse funk and rock volume blues infused with lots of Johnny Winter and Jimi Hendrix with the Kinsey family twist put to it. Brothers Kenny and Ralph hold the bass-drums groove down tight, tight, tight, while guest guitars, keyboards and Lester Davenport on harmonica show up along the way to spice things up. Highlights include the minor-key reggae groove of "This Old City," and the funk flavors on "When the Church Burned Down" and "Can't See the Hook," the soul ballad "Loved Ones," the lowdown mean country romp of John Fogerty's "Rattlesnake Highway" and "Down In the Dungeon," and the slow blues workout on "Code of the Streets." Strong, strong songwriting (Billy Gibbons of ZZ Top co-wrote one of the tunes here) and a varied approach throughout makes this a modern blues album that holds up to repeated listenings. © Cub Koda © 1996 - 2015 CD Universe http://www.cduniverse.com/productinfo.asp?pid=1011988&style=music&fulldesc=T

A very enjoyable funk, blues and rock album. Bassist Kenneth Kinsey and drummer Ralph Kinsey do a great job on John Fogerty's "Rattlesnake Highway" and on "When the Church Burned Down" the band expertly blends country rock and funk. A well above average album worth hearing. Check out the band's great "Midnight Drive" album [All tracks @ 320 Kbps: File size = 137 Mb]


1. Time Is Running Out - Bruce Iglauer / Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
2. Dead In Your Tracks - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
3. This Old City - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / J. White
4. Can't See The Hook - Leslie Doyle / Mike Lawley / Ross Roberts
5. Loved Ones - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
6. Must Be Love - Jerry Lynn Williams
7. When The Church Burned Down - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey
8. Rattlesnake Highway - John Fogerty
9. Down In The Dungeon - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / M. Robinson
10. Fire Down Below - Bob Seger
11. Code Of The Streets - Donald Kinsey / Kenneth Kinsey / Ralph Kinsey / Kinsey Report
12. One Step Back - Billy Gibbons / Jerry Williams


Donald Kinsey - guitar, vocals
Dave Miller - rhythm guitar (1,7,8)
Will Crosby - rhythm guitar (4,5,7,9,10)
Kenneth Kinsey - bass
Roosevelt Purifoy - keyboards (2,3,6,9)
Anthony Space - keyboards (4,5,7,10,11)
Ralph Kinsey - drums, percussion and 2nd lead vocals (2)
"Mad Dog" Lester Davenport - harmonica (9)
The Kinsey Report, Nancy Shaffer, Lasandra Maloney - backing vocals


This family band consists of Donald Kinsey (vocal, guitar), Ralph "Woody" Kinsey (drums), Kenneth Kinsey (bass), and Ronald Prince (guitar). Solidly based in the blues as a result of lifelong training in the Big Daddy Kinsey household, the Kinsey scions are also versed in a broad range of music. Older brothers Donald and Ralph had an early blues-rock trio (White Lightnin') in the mid-'70s, long before they regrouped as The Kinsey Report in 1984 and began to launch new excursions into rock. Donald also recorded and toured with Albert King and with Bob Marley, and the influence of those giants (as well as that of Big Daddy Kinsey, naturally) show through in the music of The Kinsey Report. The band expertly covers all the bases from Chicago blues through reggae, rock, funk, and soul, and their recordings are also distinguished by the songwriting talents and self-contained production approach of The Kinseys. © Jim O'Neal © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/kinsey-report-mn0000100455/biography


Keith Richards

Keith Richards - Main Offender - 1992 - Virgin (Japan)

Main Offender is Keith Richards’ second solo studio album and his third overall. Released in 1992 in between The Rolling Stones’ Steel Wheels and Voodoo Lounge projects, Main Offender remains to date Richards’ most recent offering as a solo artist. Regrouping with his group of musician friends — known publicly as “The X-Pensive Winos” — Richards teamed up with Talk is Cheap collaborator, Steve Jordan, adding Waddy Watchel to the mix both in composing and producing Main Offender.Sessions took place in California and New York City from March to September 1992, with another round of touring scheduled that fall in Europe and early 1993 in North America. When Richards would reunite with Mick Jagger (who was recording Wandering Spirit while Richards was making Main Offender) in mid-1993 to start work on Voodoo Lounge, Jagger would compliment Richards on Main Offender, even using lead single “Wicked As It Seems” as inspiration for The Rolling Stones’ next single, “Love Is Strong”. Released in October 1992, Main Offender received another round of positive reviews, but failed to match the commercial success of Talk is Cheap, reaching #45 in the UK and #99 in the US where it has sold over 200,000 copies. Following the touring commitments in support of Main Offender, Richards would return to recording exclusively with The Rolling Stones and put his solo career on an indefinite hold. - Wiki

Primarily a rock album and second solo album from the great Rolling Stone legend but with some great catchy tunes, smooth grooves and very good riffs. A terrific cast of great musicians help out. HR by A.O.O.F.C. The album arguably rocks better and harder than some of the Stones' more recent albums. Highlights include "Wicked as It Seems," "Eileen," and the searing "999." Listen to Keith's "Talk Is Cheap" album. [All tracks @ 320 Kbps: File size = 156 Mb]


1 999 - K. Richards, S. Jordan, W. Wachtel 5:51
Backing Vocals – Sarah Dash
Backing Vocals, Guitar – Waddy Wachtel
Bass – Charley Drayton
Drums, Backing Vocals – Steve Jordan
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Organ, Clavinet – Ivan Neville

2 Wicked As It Seems - C. Drayton, K. Richards, S. Jordan 4:45
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Charley Drayton
Clavinet – Ivan Neville
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Other [Rattlesnake] – Keith Richards

3 Eileen - K. Richards, S. Jordan 4:29
Backing Vocals – Charley Drayton
Drums, Backing Vocals, Castanets – Steve Jordan
Guitar, Backing Vocals, Piano – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Bass – Keith Richards
Piano – Ivan Neville

4 Words Of Wonder - K. Richards, S. Jordan, W. Wachtel 6:35
Backing Vocals – Bernard Fowler
Backing Vocals, Instruments [Lip Bone] – Babi Floyd
Drums – Charley Drayton
Guitar, Backing Vocals – Waddy Wachtel
Guitar, Backing Vocals, Percussion – Steve Jordan
Lead Vocals, Guitar, Bass – Keith Richards
Piano, Organ, Clavinet – Ivan Neville

5 Yap Yap - K. Richards, S. Jordan, W. Wachtel 4:43
Backing Vocals – Babi Floyd, Bernard Fowler
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar – Waddy Wachtel
Guitar [Baritone] – Charley Drayton
Lead Vocals, Backing Vocals, Guitar, Bass, Percussion – Keith Richards
Vibraphone [Vibes] – Ivan Neville

6 Bodytalks - C. Drayton, K. Richards, S. Dash, S. Jordan 5:20
Backing Vocals – Babi Floyd, Bernard Fowler, Sarah Dash
Bass – Charley Drayton
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Voice [Oh, Lord] – Ivan Neville

7 Hate It When You Leave - K. Richards, S. Jordan, W. Wachtel 4:59
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Ivan Neville
Drums, Backing Vocals, Congas, Keyboards [Farfisa] – Steve Jordan
Guitar, Backing Vocals, Celesta – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Keyboards – Keith Richards
Piano, Organ [Hammond B-3], Backing Vocals – Charley Drayton
Woodwind – Arno Hecht, Crispin Cioe, Jack Bashkow

8 Runnin' Too Deep - K. Richards, S. Jordan 3:20
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Charley Drayton
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Piano – Keith Richards
Piano, Harpsichord – Ivan Neville

9 Will But You Won't - K. Richards, S. Jordan 5:05
Backing Vocals – Bernard Fowler
Bass – Charley Drayton
Clavinet – Ivan Neville
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals, Percussion – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar, Percussion – Keith Richards
Vocals – Babi Floyd

10 Demon - K. Richards, S. Jordan 4:46
Backing Vocals – Babi Floyd, Bernard Fowler
Bass – Charley Drayton
Drums, Backing Vocals, Percussion – Steve Jordan
Guitar, Backing Vocals – Waddy Wachtel
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Piano – Ivan Neville

11 Key To The Highway - McKinley Morganfield 3:21
Backing Vocals – Bernard Fowler
Bass, Backing Vocals – Joey Spampinato
Drums, Backing Vocals – Steve Jordan
Keyboards, Backing Vocals – Bernie Worrell
Lead Vocals, Backing Vocals, Guitar – Keith Richards
Piano – Johnnie Johnson


He's acknowledged as perhaps the greatest rhythm guitarist in rock & roll, but Keith Richards is even more legendary for his near-miraculous ability to survive the most debauched excesses of the rock & roll lifestyle. His prodigious consumption of drugs and alcohol has been well documented, and would likely have destroyed anyone with a less amazing endurance level. On-stage with the Rolling Stones, he epitomized guitar-hero cool as the quiet, stoic alter ego to Mick Jagger's extroverted frontman, a widely imitated image made all the more fascinating by his tightrope-walking hedonism. Yet that part of Richards' mystique often overshadows his considerable musical legacy. Arguably the finest blues-based rhythm guitarist to hit rock & roll since his idol Chuck Berry, Richards knocked out some of the most indelible guitar riffs in rock history, and he did it so often and with such apparent effortlessness that it was easy to take his songwriting skills for granted. His lean, punchy, muscular sound was the result of his unerring sense of groove and intuitive use of space within songs, all of which played a major part in laying the groundwork for hard rock. Never intensely interested in soloing, Richards preferred to work the groove using open-chord tunings drawn from Delta blues, and his guitars were often strung with only five strings for cleaner fingering, which made it difficult for cover bands to duplicate his distinctive sound precisely. For all his rock-star notoriety, Richards was perfectly happy in the confines of a group, and thus was the last Rolling Stone to release a side-project solo album; his 1988 solo debut appeared more than a quarter century after he co- founded the band that earned him the nickname "Mr. Rock and Roll." Richards was born December 18, 1943, in Dartford, Kent, on the southern outskirts of London. When he was just an infant, his family had to be temporarily evacuated from their home during the Nazi bombing campaign of 1944. In 1951, while attending primary school, Richards first met and befriended Jagger, although they would be split up three years later when they moved on to different schools. By this age, Richards had already become interested in music, and was an especially big fan of Roy Rogers; in his very early adolescence, he sang in a choir that performed for the Queen herself, although he was forced to quit when his voice changed. Around that time, he became interested in American rock & roll and began playing guitar, with initial guidance from his grandfather. Behavior problems at school led to Richards' expulsion in 1959, but the headmaster thought he might find a niche as an artist, and Richards was sent to Sidcup Art School. There he met future Pretty Things guitarist Dick Taylor, who at the time was playing in a blues band with Jagger. Discovering their new mutual interest, Richards and Jagger struck up their friendship all over again, and Richards joined their band not long after. Over the next couple of years, that band evolved into the Rolling Stones, who officially debuted on-stage in the summer of 1962 (by which time Richards had left school). The rest was history -- initially a blues and R&B cover band, the Stones branched out into original material penned by Jagger and Richards. The duo took some time and practice to develop into professional-quality songwriters, but by 1965 they'd hit their stride. "(I Can't Get No) Satisfaction" made them superstars in the States as well as the U.K., boasting one of rock's all-time great guitar riffs, which Richards played into a tape recorder in the middle of the night and didn't recall writing when he heard the tape the next morning. With their menacing, aggressively sexual image, the Stones became targets for British police bent on quelling this new threat to public decency, and Richards suffered his first drug bust in 1967 when police raided his residence and found amphetamines in the coat pocket of Jagger's girlfriend, singer Marianne Faithfull. Richards was convicted of allowing the activity on his premises and sentenced to a year in prison, but public furor over the trumped-up nature of the charges and the purely circumstantial evidence prompted a hasty reversal of the decision. The same year, Richards hooked up with bandmate Brian Jones' former girlfriend, model/actress Anita Pallenberg; although the two never officially married, they remained together (more or less) for the next 12 years, and had two children (Marlon, in 1968, and Angela, in 1972). After the death of Brian Jones in 1969, the Stones became a more straightforward, hard-rocking outfit, and Richards' guitar took center stage more than ever before. By this era, he'd taken to calling himself Keith Richard, simply because he thought it sounded better without the s. Privately, the band was sinking further into decadence, clearly audible on its early-'70s masterpieces Sticky Fingers and Exile on Main Street. However, Richards' burgeoning heroin addiction began to affect the consistency of the band's recordings for the next few years. Additionally, he ran into more legal troubles; his French villa was the subject of a drug raid in 1972, as was his British residence the following year. (Rumors dating from this era that Richards had all of his blood replaced in a cleanup effort, while entertaining, were not true.) Over 1976-1977, Richards entered the studio for a few solo sessions, but the only result to see the light of day was the Christmas single "Run Rudolph Run" (issued in 1978). Perhaps the lack of productivity was due to the fact that Richards was in the middle of the most difficult period of his life. In 1976, Richards' infant son Tara, his third child by Pallenberg, died suddenly; the official cause was SIDS, although unsubstantiated rumors about the couple's drug abuse playing a factor circulated as well. In early 1977, Richards was busted for coke, and faced the most serious charges of his life when, in Toronto, he was caught in possession of heroin. He narrowly escaped serving jail time, agreeing to perform a charity concert for the blind and enter drug rehabilitation in the United States. The scare convinced him to clean up, and when the Stones returned in 1978 with Some Girls, it was acclaimed as their strongest, most focused work in years, and helped rejuvenate their popularity as an arena rock attraction. Things went sailing along smoothly for the next few years, and Richards even officially married for the first time in 1983, wedding Patti Hansen, who would bear him two more daughters, Theodora and Alexandra (he and Pallenberg had finally split in 1979). However, around the same time, Jagger decided the Stones should take a new direction more in line with contemporary pop; Richards refused, and Jagger embarked on a solo career that began to take priority over the Stones. It ignited a very public feud between the two, and rumors of the Stones' imminent demise swirled over the next few years. When Jagger refused to tour behind 1986's Dirty Work in order to record his second solo album, Richards retaliated by going out on his own, forming a backing band he dubbed the Xpensive Winos. Richards released his first solo album, Talk Is Cheap, in 1988. Both critically and commercially, it was a far greater success than Jagger's Primitive Cool. Reviews were generally quite complimentary, calling it a solid rock & roll record; plus, buoyed by the minor hit single and MTV favorite "Take It So Hard," Talk Is Cheap went gold. Richards embarked on a supporting tour which produced the concert album Live at the Hollywood Palladium, released three years later, and his success convinced Jagger to return to the fold (of course, the relative failure of his own solo venture helped). Their future thus seemingly assured, the Stones had their biggest success in some time with the 1989 album Steel Wheels and its blockbuster supporting tour. In the early '90s, Richards and Jagger once again began working on solo projects, but this time with the understanding that nothing took precedence over the Stones; Richards' second studio album, Main Offender, was issued in 1992, and again received fairly solid notices, although it didn't get quite the same commercial exposure. Since then, Richards has concentrated on recording and touring with the Stones. © Steve Huey © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/keith-richards-mn0000767068/biography


Talking Heads

Talking Heads - The Name Of This Band Is Talking Heads (Live 2 CD Set Remastered) - 2004 - Rhino

The Name of This Band Is Talking Heads is a double live album by Talking Heads, originally released in 1982. The first album featured the original quartet in recordings from 1977 and 1979, and the second album the expanded ten-piece lineup that toured in 1980 and 1981. The album contains live versions of songs that appear on Talking Heads: 77, More Songs About Buildings and Food, Fear of Music, and Remain in Light. The cassette edition of the album included "Cities" as a bonus track not included on the vinyl edition – this track has been included on the subsequent CD release. The title of the album is a reference both to the group's preference for having no expressed definite article within the band name (as opposed to "The Talking Heads") and to David Byrne's minimalist introductions to songs. The album opens with one such introduction: "The name of this song is New Feeling. That's what it's about." An expanded version of the record, on CD in the United States for the first time, was released in 2004 by Sire/Warner Bros./Rhino. It duplicated the pattern of the original with the first disc featuring the quartet alone, and the second disc a ten-member band. Additional tracks from 1978 are among the eight extra songs on the first disc, and correct running order for the set from the larger band on the second disc. The introduction to the song "Crosseyed And Painless" was edited out on the CD version, however.The remastered & expanded edition of the album currently sits at number fifteen on the Metacritic list of all time best-reviewed albums. – Wiki

Although most people probably think the only Talking Heads live release is Stop Making Sense, the fact is that there's an earlier, better live album called The Name of This Band Is Talking Heads. Originally released in 1982 on LP and cassette, the album chronicles the growth of the band, both stylistically and personnel-wise. The first LP is the original quartet version of the band, recorded between 1977 and 1979, performing excellent versions of tunes (mostly) off 77 and More Songs About Buildings and Food. Also included were the previously unavailable "A Clean Break" and "Love Goes to a Building on Fire," as well as early versions of "Memories Can't Wait" and "Air." The second LP comes from the Remain in Light tour, recorded in 1980 and 1981. In order to present something close to the music on that album, the original quartet lineup was greatly expanded. Added were two percussionists (Steven Stanley, Jose Rossy), two backup singers (Nona Hendryx, Dollette McDonald), Busta Cherry Jones on bass, Bernie Worrell (!) on keys, and a young Adrian Belew on lead guitar. The excitement of this material is palpable, and the muscular band rips into these tunes with more power than the originals in most cases. "Drugs" gets revamped for live performance, and "Houses in Motion kicks into high gear with a great art-funk coda. Belew is absolutely on fire throughout, especially on "The Great Curve" and "Crosseyed and Painless," where his deranged feedback soloing has never sounded better. At this point in their career, Talking Headswere still basically an underground band; it was "Burning Down the House" that really thrust them into the mainstream, and Stop Making Sense documents their arrival as a more or less mainstream act. The Name of This Band Is Talking Heads captures a hungry band on its way up, performing with a fire that was never matched on later tours. Unfortunately, The Name of This Band Is Talking Heads remained unavailable on compact disc for years, which is a shame since it's arguably one of their finest releases. © Sean Westergaard © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/album/the-name-of-this-band-is-talking-heads-mw0000199932

This two-disc set marked the CD debut of Talking Head’s 1982 live double album. While the original tracks are retained (and the discs follow the original's breakdown of 1977-1979 and 1980-1981), an extra 16 tracks are added to the set, including 13 that were never before released in any format. “The Name of This Band Is Talking Heads” is arguably one of the best live albums of all time and is an important, groundbreaking album by a unique band on their way up. Read more about this album @ http://www.discogs.com/Talking-Heads-The-Name-Of-This-Band-Is-Talking-Heads/release/438300 VHR by A.O.O.F.C [1 Rar file containg two CD’s: File size = 331 Mb: All tracks @ 320 Kbps]



"New Feeling" – 3:09 for WCOZ broadcast, Northern Studio, Maynard MA, November 17, 1977
"A Clean Break (Let's Work)" – 5:05
"Don't Worry About The Government" – 3:03
"Pulled Up" – 4:04
"Psycho Killer" (Byrne, Tina Weymouth, Chris Frantz) – 5:31
"Who Is It?" – 1:44
"The Book I Read" – 4:22
"The Big Country" – 5:09 for WXRT broadcast, The Park West, Chicago, August 23, 1978
"I'm Not in Love" – 4:57 for KSAN broadcast, The Boarding House, San Francisco, September 16, 1978
"The Girls Want to Be with the Girls" – 3:44 at The Agora, Cleveland, December 18, 1978
"Electricity (Drugs)" – 3:28
"Found a Job" – 5:35
"Mind" – 4:56 for WBCN broadcast, Berklee Performance Center, Boston, August 24, 1979
"Artists Only" (Byrne, Wayne Zieve) – 3:49 at The Capitol Theater, Passaic NJ, November 17, 1979
"Stay Hungry" (Byrne, Frantz) – 4:05
"Air" – 4:01
"Love → Building on Fire" – 3:47
"Memories (Can't Wait)" (Byrne, Jerry Harrison) – 3:44
"Heaven" (Byrne, Harrison) – 4:31


"Psycho Killer" (Byrne, Weymouth, Frantz) – 5:33 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
"Warning Sign" (Byrne, Frantz) – 5:40
"Stay Hungry" (Byrne, Frantz) – 3:56
"Cities" – 5:00 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980
"I Zimbra" (Byrne, Brian Eno, Hugo Ball) – 3:30
"Drugs (Electricity)" (Byrne, Eno) – 4:41
"Once in a Lifetime" (Byrne, Eno, Frantz, Harrison, Weymouth) – 5:57 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
"Animals" – 4:05
"Houses in Motion" (Byrne, Eno, Frantz, Harrison, Weymouth) – 6:54 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980
"Born Under Punches (The Heat Goes On)" (Byrne, Eno, Frantz, Harrison, Weymouth) – 8:24 at Sun Plaza Concert Hall, Tokyo, Japan, February 27, 1981
"Crosseyed and Painless" (Byrne, Eno, Frantz, Harrison, Weymouth) – 5:58 at Emerald City, Cherry Hill, NJ, November 8, 1980-November 9, 1980; truncated version from original release
"Life During Wartime" (Byrne, Frantz, Harrison, Weymouth) – 4:54 at Central Park, New York City, August 27, 1980
"Take Me to the River" (Al Green, Mabon Hodges) – 6:33
"The Great Curve" (Byrne, Eno, Frantz, Harrison, Weymouth) – 6:42

All songs written by David Byrne except as noted


David Byrne – guitar, vocals
Adrian Belew – guitar, backing vocals
Jerry Harrison – guitar, piano, keyboards, backing vocals
Tina Weymouth – bass, percussion, backing vocals
Busta "Cherry" Jones – bass, guitar
Bernie Worrell – keyboards, backing vocals
Chris Frantz – drums
Dolette McDonald – percussion, backing vocals
Jose Rossy – percussion
Steve Scales – conga
Nona Hendryx – backing vocals


At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks. And they were literally art-school punks. Guitarist/vocalistDavid Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals. For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics. After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release,Talking Heads embarked on another extensive tour, which was captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop albumLittle Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads releasedNaked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions. After its release, Talking Heads were put on "hiatus"; Byrnepursued some solo projects, as did Harrison, and Frantz andWeymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Shortly thereafter, Harrison's production took off with successful albums by Live and Crash Test Dummies. In 1996, the original lineup minus Byrne reunited for the album No Talking Just Head; Byrne sued Frantz, Weymouth, andHarrison for attempting to record and perform as Talking Heads, so the trio went by the Heads. In 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense, and they also performed at the 2002 induction ceremony for their entrance into the Rock and Roll Hall of Fame. Through the 2010s, Byrne released a number of solo and collaborative projects. Tom Tom Club continued to tour, while Harrison produced albums for the likes of No Doubt, the Von Bondies, and Hockey. © Stephen Thomas Erlewine © 2015 AllMusic, a division of All Media Network, LLC. | All Rights Reserved http://www.allmusic.com/artist/talking-heads-mn0000131650/biography


Aynsley Lister

Aynsley Lister - Home - 2013 - Straight Talkin' Records

Aynsley Lister has been at it for a long time. He’s been playing the guitar for 28 years and performing live for 23. Throughout, he’s released many albums, bridging from his early years to the present day and cataloging his growth as an artist. His repertoire culminates in the release of July’s Home, a worthy blues album and his own personal best. Home begins with its title track, which fittingly sets the stage for the tone of the album, an expansive, driven exploration of Lister’s greatest strengths. As the track fades, it gives rise to several other large-scale (in both sound and length) examples of the bluesman’s ability. Lister most often comes out of the gate with guitar-heavy instrumentation and pointedly punchy vocals, although he peppers the record with enough tracks of contrasting style to keep things interesting. Home is a lengthy album, weighing in at a little under an hour long. There seems to be little filler, though. For the most part, Lister manages to capture both his potential and his reputation and combine them with enough evidence of the power of his live performance style to make the album well worth the listen. At times, his direction seems somewhat ambiguous, without a clear overarching theme to the album, and not all the tracks are particularly memorable. The ones that are, though, are certainly worth coming back to as Lister’s passion as frontman of a down-to-Earth blues band definitely ground him in an established tradition of familiar blues style. His mastery of the style places Lister squarely in position to be a truly big name in blues rock. He’s reached a high point in his career, and has a lot to be proud of in Home. The album shows deep musical and emotional maturity and provides a bevy of blues rock for fans and newcomers alike to sink their teeth into. The proportion of Home is pretty good, and Lister can be thanked for not leaving listeners with a trite, underdeveloped experience. Instead, he leaves them with something that truly satisfies. The Review: 8/10 Review by & © Tyler Quiring © Blues Rock Review http://bluesrockreview.com/2013/07/aynsley-lister-home-review.html

"This is Aynsley Lister, this is awesome, the two things are synonymous. This is his most awesome record yet!" - Ian McHugh

In a live review in Classic Rock, Pete Makowski wrote “Aynsley Lister is a precocious talent who looks like one of McFly and plays like Robert Johnson at volume 11”. In another feature in “Classic Rock” magazine, they recommended 10 blues/rock artists capable of taking this genre of music to the highest level. Among those suggested were The White Stripes, John Meyer, Jonny Lang & Joe Bonasmasa. The only British or European act in their top ten was Aynsley Lister. Like many of today's aspiring blues rock guitarists who simply reheat yesteryear's blues , Aynsley puts a different slant on the blues. There are no simple 12 bar numbers here. Aynsley's songs have a contemporary feel and sound, mixing influences from 1960’s blues with a more current melodic and lyrical approach. He is one of today's rare bluesmen who plays rocking blues with a modern edge that is tangible, passionate, soul searching, and full of energy. His songwriting is first class, and his guitar work is simply stunning. Some critics have compared Aynsley Lister with the young Eric Clapton. This statement may carry some weight, and this album may be the one to divert young rock music fans to good original blues rock. "Home" is an outstanding album of blues rock with a touch of country, soul and jazz. Superb guitar playing, great vocals, and 10 original Aynsley Lister compositions. The album is HR by A.O.O.F.C. This UK guitarist has still not got the credit he deserves. Buy his great "Upside Down" album, and listen to his "Live" album. Promote this guy ! [All tracks @ 320 Kbps: File size = 132 Mb]


1. Home 6:32
2. Broke 3:36
3. Insatiable 4:21
4. Inside Out 4:55
5. Free 5:37
6. Sugar 4:05
7. You Make It Real 4:30
8. Feeling Good 4:53
9. Possession 5:21
10. Hyde 2612 3:57
11. Impossible 3:14
12. Straight Talkin' Woman 4:14

All songs composed by Aynsley Lister except Track 7 composed by Paul Barry/James Morrison, and Track 8 composed by Anthony Newley/Leslie Bricusse


Aynsley Lister - Guitars, Vocals
Steve Amadeo - Bass
Andre Bassing - Keyboards
Wayne Proctor - Drums, Percussion


When explosive natural ability collides with fiery, emotionally charged compositions, the result is Aynsley Lister; an incredible guitarist whose brand of blues-based rock delivers contemporary song writing fueled with the kind of heart and soul that’s missing from so much modern music. Whether passionately writing and recording his own material or mesmerising audiences at his live shows one thing is abundantly clear: music is hard-wired to his DNA and flows from his fingertips like sonic bolts of lightning. With over 86,000 albums sold, lashings of critical acclaim and years of high profile touring, Lister’s resumé speaks for itself and firmly secures his position as a leading light in the resurgence of British blues-infused music. In hindsight, it's clear Aynsley was born to be a musician. As a child he was hypnotised by his dad's old guitar and at the age of eight was finally gifted his very own. The moment he held that first six-string the outcome was inevitable; he was going to be a guitarist. Blessed with the coolest dad in town, regularly spinning Hendrix, Cream, Fleetwood Mac and a whole host of bewitching blues for his spellbound son, Aynsley taught himself to play with relentless dedication and a precociously attuned ear, spending hours copying his favourite records note for note. Peter Green, Albert King, Clapton and Kossoff weren't just his heroes; they became his teachers. Blazing a trail in a bar band from the age of 13 honed his skills. By 18 he'd started singing and had also formed his first group, during which time he landed a dream support slot with Buddy Guy and released two low key CD's featuring his earliest original material. In 1998 those self-penned titles caught the attention of Ruf Records owner Thomas Ruf, who immediately signed Aynsley and hooked him up with Stevie Ray Vaughan's producer Jim Gaines. With a maturity that belied his years, the self titled debut announced Aynsley Lister as a major new talent and kicked off a successful relationship with Ruf Records, releasing 7 albums and 2 DVD's in ten years. Their influence, coupled with his dynamite live shows and intense touring schedule, earned high profile support slots with established artists like Walter Trout, John Mayall and Robert Cray, whilst rousing festival appearances alongside artists like the Fun Lovin' Criminals cemented his standing as an artist whose work, although rooted in blues, transcended the genre with a fiery modern sound that was eagerly embraced by fans of rock, pop, soul and acoustic music alike. In 2007 Aynsley was the only British artist to be named in Classic Rock magazine's "Top 10 Contemporary Blues Artists", alongside John Mayer, Derek Trucks and Joe Bonamassa. In 2008 Aynsley's huge crossover potential saw him sign to Manhaton Records, where he released the best two albums of his career to date. Produced by Steve Darrel Smith and featuring Paul McCartney guitarist Robbie Macintosh, 2009's 'Equilibrium' exposed Lister in his best ever form, throwing all his musical influences into a delicious melting pot that delivered sultry melodies, full throttle hard rock riffage and introspective ballads. 'Equilibrium' received fantastic reviews and stormed into Classic Rock’s Top 50 Albums of 2009. The subsequent tour saw Aynsley playing to sold out shows to over 16,000 people whilst opening for the legendary Lynyrd Skynyrd, after which he and his band relocated to the Tower Arts Centre and with the tape rolling, nailed a cracking rendition of their high-octane live set to produce the storming 'Tower Sessions' record, which was consequently voted ‘Best Live Album’ in the 2011 Blues Matters Writers Poll. With his stock firmly in the ascendancy Aynsley is currently hard at work on his next record, intent on creating the finest album of his career. He's wisely chosen to refine the material the best way he knows how; by playing it live. “When you record songs in the studio and then go out and tour, they evolve and take on a life of their own. I want to capture that on the new record and want a whole album of songs that translate to the live setting as well as being well written enough to engage the listener of an album”. The eagerly anticipated new material, slated for release in early 2013, will be distributed on his manager's label as he's sagely decided to take control of his career by bringing everything in-house, following other successful artists who've cut out the record companies with astonishing results. Needless to say, a tour in support of that album will surely follow, and that promises to be something special, not just for the fans, but for the main man himself: “Music is a release for me. When I play I get lost in it and it's a very happy place to be” - Aynsley Lister © Aynsley Lister © 2013 AYNSLEY LISTER http://www.aynsleylister.co.uk/index.php/about/biography


The Donald Fagen Band (Steely Dan Related)

The Donald Fagen Band - North Fork Theatre, Westbury, NY on March 3rd 2006

Soundboard recording. Sound is mono and above average for this type of recording. It's a large file, so unless you're a Steely Dan fan think about it!!

Review @ http://www.allaboutjazz.com/donald-fagen-band-in-westbury-ny-donald-fagen-by-mike-perciaccante.php?page=1

[TRACKS @ 320 Kbps [file size = 271 Mb]

1-01 Here At The Western World '06
1-02 The Nightfly
1-03 Green Flower Street
1-04 Teahouse On The Tracks
1-05 New Frontier
1-06 Third World Man
1-07 Home At Last
1-08 Member Intro.
1-09 Snowbound
1-10 H Gang
1-11 What I Do
1-12 Black Cow
2-01 The Goodbye Look
2-02 Tomorrow's Girls
2-03 Misery And The Blues - Charlie DeVere
2-04 Mary Shut The Garden Door
2-05 IGY
2-06 Pretzel Logic
2-07 Viva Viva Rock And Roll - Chuck Berry

Tracks composed by Becker & Fagen or Donald Fagen except where stated


@ http://www.allaboutjazz.com/donald-fagen-band-in-westbury-ny-donald-fagen-by-mike-perciaccante.php


Moody Marsden

Moody Marsden - Real Faith - 1994 - On Air Records

Recorded between March and May 1994 For On Air Records, Stuttgart, Germany. The basic tracks and most of the overdubs were recorded at Daylight Studio, Stuttgart, Germany. The album hadn't worldwide release, so several years later, in 2000, it was reissued under a different name, Ozone friendly, although the content is not exactly the same (less tracks).Check out the Moody Marsden Band's "Unplugged Live In Hell" album. Read more about Micky Moody @ http://en.wikipedia.org/wiki/Micky_Moody and Bernie Marsden @ http://en.wikipedia.org/wiki/Bernie_Marsden It's also worth listening to Bernie Marsden's "Tribute to Peter Green: Green and Blues" album. “Real Faith” is a relatively obscure album but is a really good blues and hard rock album by two underrated rock greats. Check out a clip of the band recording this album @ https://www.youtube.com/watch?v=qL9xyQ1bZIc [All tracks @ 320 Kbps: File size = 134.7 Mb]


1 Awakening, My Kind Of Woman - Moody, Marsden
2 Real Faith - Moody, Marsden
3 Ozone Friendly - Moody, Marsden
4 Louisa - Marsden, Lister
5 Six Down And One To Go - Moody, Williams, Lloyd
6 Fooling With My Heart - Moody, Marsden, Hinkley
7 Someday - Moody, Marsden
8 Silver On Her Person - Moody
9 Can't Ever Happen To You - Marsden
10 2000 Miles Back To Hell - Moody, Marsden
11 I Got A Mind To Get Even - Moody
12 Kinda Wish You Would - Marsden
13 All Revved Up - Moody, Marsden
14 I'll Sing The Blues - Bridgeman, Wooten
15 Genauso (Good Connection) - Moody, Marsden, Stroud, Trotter


Micky Moody - Lead Guitar, Acoustic Guitar, Resonator Guitar [Dobro], Mandolin, Vocals
Bernie Marsden - Lead Guitar, Acoustic Guitar, Vocals
Peter Stroud - Bass Guitar
Josh Phillips - Electric Piano, Organ
Volker "Wolfman" Kunschner - Organ
John Trotter - Drums, Percussion
Frank Mead, Martin Drover, Nick Pentelow - Brass
Mark Feltham - Harmonica on Tracks 1, 2, 14
Mick Lister, Monica Reed-Price - Backing Vocals