The Groove Hogs

The Groove Hogs - Blue Rhythms White Lies - 2004 - Pixel Max Entertainment

I wasn't expecting much from a band named the Groove Hogs on an unknown label. Boy was I pleasantly surprised! I got my first clue that my perceptions might be wrong, when I saw the name Jim Gaines listed as the CD's producer. This is a guy whose name has been associated with some of the greatest blues and rock releases in the last 15 to 20 years. I'm talking classic's like Stevie Ray Vaughan's 'The Sky Is Crying', Steve Miller's 'Fly Like An Eagle' or Albert Collin's 'Ice Man', to mention only a few. If I listed all of Gaine's credits, it would take up pages and the classics would amaze most readers. So I wondered how a band virtually unknown outside of their Wisconsin precinct garnered such a well known producer. My curiosity was aroused. So by the time I put the disc in the player I was getting pretty anxious. The first strains of the opener 'Soul Infatuation' begin with funky J.B. Horns style charts, and then a smooth polished vocal entered the mix. By the end of this first tune the band was reminding me of the soulful Alex Chilton led The Association of the 60's, or Ides Of March of the 70's or even a slick Tower Of Power. Basically this was a great white, horn dominated, R&B influenced band that draws its influences from that era. Throughout the disc Jim Gaines sure hand was evident, there is a certain pop sheen that predominates the whole recording. The Hogs themselves are a ten man aggregation led by Adam Enevoldsen on vocals and slide guitar. He's a new member added to the roster only recently after the departure of their long term front man, Ron Hanson. He's backed up by Pat Kiel on guitar. The bottom is held down by John Laws on bass and John Stelzer drums. Keyboards and back-up vocal chores are handled by, Brian Gruselle. Last, but with this band, certainly not least, the horn section, Greg Garcia and Tom Vanden Avond brass, while the saxes are manned by Adam Plamann, Steve Cooper and Doug Daniels. This is basically a bands album with only some additional vocals added on two cuts. Five of the eleven tracks are originals written by different band members. The six covers they've selected are mostly obscure tunes. Examples are the Bruce McCabe and Jonny Lang song 'Stop Pushin' On Me', Elvin Bishop's, 'Got To Get My Groove Back', or Dennis Walker's 'Too Little, Too Late'. These are not tunes that are widely known. Consequently, even these covers have a fresh feel. Musicianship throughout the disc is top notch, whether it be the funky 'J.B. Horns' style opener, the Huey Lewis like pop sound of 'How Wrong Can You Be' to the Tower Of Power strutting feel of 'Shoulda' Read The Rules' or the soulful Muscle Shoals take on the ballad 'Too Little, Too Late'. They certainly aquit themselves as a veteran unit they are, they have three CD's already behind them. This is a band we should be hearing a lot more of and with the assistance of a talent like Jim Gaines, they have every chance to exponentially increase their exposure. Review by & © Brian Augustine © http://www.sierrabluessociety.org/Reviews6.htm#Groove

"Blue Rhythms White Lies" is an exceptional album from this Wisconsin based band. The orchestration and arrangements are top notch. The hooky Rock 'n Soul vocals are also first class. The sound is funky jazz soul blues/R&B, in the early Tower Of Power or Chicago (the band) style. The horns are beautifully played. Slide guitar and guitar from Adam Enevoldsen and Pat Kiel respectively is terrific. The album is VHR by A.O.O.F.C. Buy the band's "No Small Feat" album, and promote real music. Listen to the band playing Steely Dan's "Pretzel Logic" @ http://www.youtube.com/watch?v=sUHiSGiScdk

TRACKS / COMPOSERS

1. Soul Infatuation - Adam Plamann
2. Long Gone - Adam Enevoldsen
3. Stop Pushin' On Me - Jack Holder, Jonny Lang, Bruce McCabe, Dave Smith
4. How Wrong Can You Be? - Max Groenanthal, Steven Grace Roche
5. Waiting On You - Forest Mankowski
6. I'll Be On My Way - Brian Gruselle
7. Blind Man - Pat Kiel
8. Lovin' You Would Be A Crime - Brian Gruselle
9. Got To Get My Groove Back - Elvin Bishop, Bobby Cochran
10. Shoulda Read The Rules - Joel Handtmann
11. Too Little Too Late - Alan Mirikitani, Dennis Walker

MUSICIANS

Adam Enevoldsen (vocals, slide guitar)
Pat Kiel (guitar)
John Laws (bass instrument)
Brian Gruselle (keyboards, background vocals)
John Stelzer (drums, background vocals)
Steve Cooper (vocals, tenor saxophone)
Adam Plamann (vocals, baritone saxophone)
Doug Daniels (alto saxophone, tenor saxophone)
Greg Garcia (trumpet)
Tom Vanden Avond (trombone)
Jackie Johnson, Rebecca Evans Russell (voices) on Tracks 3, & 11

ABOUT THE BAND

The Groove Hogs - a band of 9, blazing a trail through the "what's hot, what's not" music scene of the 21st century. In a market inundated with cookie cutter, wanna-be, bands, The Groove Hogs have retained artistic integrity and melded the sum of their individual influences into something that is truly fresh and exciting. The Hogs have created a sound that is uniquely their own. Just a great band to have for any private party, wedding , corporate event or festival. 2002 was the first big year for The Groove Hogs. They released their highly successful, WRONG SIDE OF THE STREET, produced by the exceptionally sought after Jim Gaines. The most popular track on the CD was "Blues is my Business" , which, during the summer of '02, held court for five weeks on the FMQB Hot 100 rock radio chart, and received an impressive amount of airplay on AAA stations around the US. Additionally, the track 'Baby's Gone' from the release was included on the NARMS GET THE BLUES 2 compilation CD which has sold more than 85,000 copies to date and has been in the BILLBOARD BLUES CHARTS TOP 5 since July of 2003. The Groove Hogs sold a whopping 20,000 copies of WRONG SIDE OF THE STREET, which is a very rare accomplishment for a band releasing a CD on its own label. 2004 marked The Groove Hogs' 10th anniversary and the release of their fourth CD. Also produced by Jim Gaines, this newest release, BLUE RHYTHMS AND WHITE LIES, treats listeners to the talents of a group of seasoned musicians wrapping around the impressive vocal ability of the young and soulful Adam Enevoldsen. BLUE RHYTHMS AND WHITE LIES explores traditional soul stylings, some pop/rock, tried and traditional R& B, and some honest to goodness blues......All American music, and all with The Groove Hogs' powerhouse energy that has become their trademark. With a 9 member lineup, and a melting pot of musical diversity, the Groove Hogs are making it on their own brand of soul drippin' rock & roll. 2007 finds the Groove Hogs preparing for a busy summer schedule. With the addition of bass guitarist Drew Hicks, the band continues to grow in both style and impact. With future plans for a live DVD, the Hogs are very busy working to prepare a show you just can't forget! When the Groove Hogs show up in your neighborhood, do yourself a favor and get out to see them. You'll be in for a treat like few you've ever experienced from a live band! Milwaukee Live bands is proud to feature the Groove Hogs - Just when you thought good music was a thing of the past. © 2010 Milwaukee Live Bands http://www.milwaukeeliveentertainment.com/band_profile.asp?bandid=205

MORE

The year was 1994. It was a long, cold, icy, Wisconsin winter, but that didn't deter the Groove-Hogs-to-be from their calling. They were forming a blues band, which was to be a side project for four jaded pop stars. The band was to be a musical release, of sorts. The original four Groove Hogs were having such a great time with their hobby band, that in 1996, they decided to add a 4-piece horn section. Not only did they double the band's size, their sound became bigger, too. This gave the Hogs a means to expand upon the blues based music they had been playing. And, much to their liking, the new and bigger sound was just as appealing to their audience as it was to the band. Thus The Groove Hogs went from hobby status to a full-fledged commitment. All band members dropped their other music projects and plunged whole hog, into The Groove Hogs! The band soon turned its attention to songwriting. With so many styles and musical influences in one band, it would seem impossible for a group of their size to agree on anything, let alone a musical direction. But the eclectic combination proved to be their strength, and in 1997, they recorded and released their first CD, the self-titled THE GROOVE HOGS. Their second release NO SMALL FEAT, followed in 2000. Both CDs were on the receiving end of critical acclaim. 2002 was the first big year for The Groove Hogs. They released their highly successful, WRONG SIDE OF THE STREET, produced by the exceptionally sought after Jim Gaines. The most popular track on the CD was "Blues is my Business" , which, during the summer of '02, held court for five weeks on the FMQB Hot 100 rock radio chart, and received an impressive amount of airplay on AAA stations around the US. © 2001 - 2010 Groove Hogs Incorporated. All Rights Reserved http://www.groovehogs.com/Bio/default.asp

Lucie Thorne

Lucie Thorne - Black Across the Field - 2009 - Little Secret/Vitamin Records

“Without exaggeration Black Across The Field is as good as anything I’ve heard this year. Growling with warm tube overdrive, stinging like Neil Young… this is a diverse, profound album, with nuances subtle and breathtaking” (Martin Jones, Rhythms Magazine)

"This is one of the finest female vocal albums released by an Australian in the last few years. The whole album - from her band, to production, to the songs - is first-rate...make the effort to seek this fine album out". (Readings Monthly)

"Thorne's songs are exquisite miniatures of distilled emotion, her melodies and harmonies are sublime, and the way she pits grinding guitars against that ethereal, sensual voice is like watching a thunderstorm in the distance. By turns dark and tender, Black Across The Field is a beautiful album." (David Curry, The Canberra Times)

"The production of the voice is a giant close-up of delicate emotional expression; every murmur, tongue flick and gentle pulse is significant. Thorne also has a gift for melody and, for the complete trifecta, writes thoughtful, intelligent lyrics that, as with Joni Mitchell, leave you pondering shades of meaning. Thorne's electric guitars paint gorgeous swaths in the stereo field... this is an album that deserves to be widely heard." (Ian Cuthbertson, ****, The Australian)

“Thorne writes some of the most simple and beautiful songs you will hear” (****The Age)

Described as “Australia’s PJ Harvey… possessing the punch of Cat Power and the wise words of Joni Mitchell” (Courier Mail), Lucie Thorne has earned her place as one of the most striking lyricists and voices of Australian contemporary song. Her latest release, Black Across The Field, has garnered extraordinary attention from the country's leading critics, including being awarded ‘Best Roots Album of 2009’ in The Sydney Morning Herald, and being Short Listed for the prestigious Australian Music Prize, and combines Thorne’s spacious, gritty rock n roll and startlingly original dark-folk with that signature warmth and intimacy for which her live shows have become so renowned. Lauded for her unique voice, poetic lyricism, and tender-to-gutsy electric guitar playing, this new musical partnership with Hamish Stuart – who also co-produced Black Across The Field with Lucie - has been taking their festival and concert audiences, and critics alike, by storm. © Australian Stage Online http://www.australianstage.com.au/component/option,com_events/Itemid,29/agid,7658/catids,75%7C148/day,22/month,7/task,view_detail/year,2010/

Lucie Thorne grew up in Northern Tasmania, an island south west of Australia. Today she lives in the tiny village of Bimbaya, North South Wales where she finished the recordings of her latest album “Black across the Field”. Thorne sings and plays the guitar and she had recorded the ten self crafted songs together with co producers Hamish Stuart (drums, percussion) and Dave Symes (electric and double bass) in only three days in a Sydney studio. Then she invited piano and keyboard players Chris Abrahams and Stu Hunter, guitar players Stephen Magnusson and Heath Cullen as well as singers Robyn Martin and Kim Dellavedova to her home to make some additional recordings. With her warm and beautiful voice Thorne whispers “As you find it”, a soft ballad featuring Abrahams on keys. Beautiful guitar picking, stunning bass lines and cool rhythms accompany her wonderful singing. “Alice”, a stirring Rock ballad, stands out with heavy guitar licks by Magnusson, great drum playing and Thorne’s hypnotising singing. Then again Thorne sings a tender ballad accompanied by three guitars and piano, “Northern Town”. “Under the Night” combines elements of rock music with jazzy and bluesy influences, certainly one of the highlights. Another one is “Please don’t let’s begin”, a ballad with great finger picking and jazzy bass lines. “The basic Rules” is a rhythmic song with Hunter on keys and the final melancholic “Open Sky” is a hauntingly beautiful solo performance. Lucie Thorne’s 8th album is a terrific sample of Indie-Folk-Rock featuring excellent musicians. She has a breathtaking voice and her fine guitar playing is a feast for the ears. © Adolf 'gorhand' Goriup © FolkWorld - Home of European Music http://www.folkworld.de/39/e/cds6.html

"Black Across the Field" is a great indie lo-fi folk rock album with a jazz blues flavour from the very talented singer/songwriter/guitarist Lucie Thorne from Tasmania. Ten intelligent, thoughtful songs with depth and great lyrics. Her backing musicians are superb. This lady needs to be heard globally. Buy her "Where Night Birds Call" album, and promote real music

TRACKS

1 As You Find It
2 Alice
3 When The Lights Go Down
4 Northern Town
5 Under The Night
6 Over In Threes
7 Please Don't Let's Begin
8 The Basic Rules
9 Before The Cold
10 Open Sky

All songs composed by Lucie Thorne

MUSICIANS

Guitars, Vocals - Lucie Thorne
Stephen Magnusson - Guitar (2, 4)
Heath Cullen - Guitar (4, 6)
Dave Symes - Electric Bass, Double Bass
Chris Abrahams - Piano, Keyboards (1,3,4,6,9)
Stu Hunter - Keyboards (5, 8)
Drums, Percussion - Hamish Stuart
Robyn Martin - Vocals (2,3,4)
Kim Dellavedova - Vocals (2)

SHORT BIO

Lucie Thorne is a singer-songwriter raised in Melbourne and based in New South Wales. She has released three albums, the most recent of which 2009's Black Across The Field, was nominated for an Australian Music Prize. Her style is a frequently sparse, languid and evocative form of folk-rock. Thorne uses her songs to distill the poetic from the everyday, and each new song opens onto an unlikely world of stories and characters. It's this breadth and depth of writing that makes her music feel a little like a favourite book: the moment you finish, you want to read it again from the beginning. And throughout these narratives there's that voice, a voice that draws you in, and makes you lean closer. Thorne's songs are compelling in their intimacy. As Bernard Zuel (SMH) writes, this is a voice of "languidness and urgency" that bristles with undeniable authenticity. - User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL. http://www.musiclogy.net/en/artist/Lucie+Thorne

Brian Auger's Oblivion Express

Brian Auger's Oblivion Express - Looking In The Eye Of The World - 2000 - Fuel 2000

Since forming this groundbreaking fusion ensemble in 1970, the legendary rock and jazz organist has thrived despite various incarnations of the group and numerous personnel changes. The early 2000s lineup was one of the best, in part because of the powerful, emotional contributions by Brian Auger's children, lead vocalist Savannah Grace Auger and drummer/percussionist Karma D. Auger. Savannah's soulful turns on a moody rendering of Herbie Hancock's "Butterfly" and a magical, retro-soul/funk reading of Marvin Gaye's "Troubleman" are early highlights here, as are Brian's brisk and lively "Happy Overture" and the buoyant, horn drenched "Freddie's Flight." Savannah and Karma collaborate with bassist Chris Golden on the mystical ballad "Homeward," another showcase for Savannah's heartfelt voice. Most of the rest of this supercharged date is a mix of original barnburners ("Meet Mr. Eddie") and the wistful, low-key title track, with a few cool retro exceptions: a soulful, bluesy rendering of Donovan's thought-provoking ballad "Season of the Witch" and a unique, mid-tempo arrangement of "Light My Fire" that makes it a jazzy torch tune. Although Brian's magical retro keys are front and center, every brilliant, transcendent moment here belongs to his daughters, who carry on her father's tradition in grand style. © Jonathan Widran, © 2010 Answers Corporation http://www.answers.com/topic/looking-in-the-eye-of-the-world-2007-album-by-brian-auger-oblivion-express

"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. "Looking In The Eye Of The World" is a great contemporary soul jazz rock album, and HR by A.O.O.F.C. The music is full of great probing grooves, and is reminiscent of Brian Auger's innovative jazz-rock from the ‘60s and ‘70s. Musicianship is excellent all round. Brian's Rhodes playing is terrific. Chris Golden lays down some real funky bass lines, and the sax playing from Katisse Buckingham is Grade A. Brian's son Karma plays some real snazzy drums on the album, while his daughter Savannah sings. Her great vocals really enhance tunes like "Butterfly", "Troubleman", and "Homeward". Brian Auger has been called the "Grandfather of Acid Jazz." He has never fully received the credit he deserves. 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. Brian Auger's Oblivion Express' "Voices Of Other Times" album can be found @ BRAUG/OBLIVBEX/VOOT

TRACKS / COMPOSERS

1. Happy Overture - Brian Auger (2:02)
2. Butterfly - Brian Auger, Herbie Hancock (6:12)
3. Troubleman - Marvin Gaye (4:41)
4. Freddie’s Flight - Brian Auger (5:59)
5. Homeward - Karma Auger, Chris Golden (6:51)
6. Light My Fire - Jim Morrison, Robby Krieger (5:27)
7. Meet Mr. Eddie - Brian Auger (5:50)
8. Looking in the Eye of the World - Brian Auger (4:39)
9. Ghostown - Brian Auger (6:35)
10. The Night Town - Brian Auger, Karma Auger, Chris Golden (4:56)
11. Season of the Witch - Donovan Leitch (6:56)
12. Mugusic - Brian Auger (4:10)
13. Soundcheck - Brian Auger, Karma Auger, Chris Golden (6:05)

MUSICIANS

Brian Auger - Keys
Chris Golden - Bass
Karma D. Auger - Drums & Programming
Katisse Buckingham - Tenor Sax, Alto Sax, Flute
Larry Williams - Trumpet
Savannah Auger - Vocals

BRIAN AUGER BIO

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

Rita Coolidge

Rita Coolidge - Heartbreak Radio - 1981 - A&M

Born in Lafayette, near Nashville in 1945, the daughter of a Baptist minister, Rita Coolidge originally established herself as a backup vocalist. With her smoky sweet voice, intelligence, and her funky Dusty Springfield/Memphis like soul vocals, she soon became a session vocalist for artists like Delaney & Bonnie and Leon Russell. Her first important public appearance was in 1970 when she was invited to tour with Joe Cocker's Mad Dogs And Englishmen entourage, where she became the vocal anchor of Cocker's space choir. Rita even got a showcase spot on these Joe Cocker concerts, singing the great Leon Russell/Bonnie Bramlett song, "Superstar." She was eventually signed by the great A&M label. She eventually achieved worldwide acclaim in 1977, with her "Anytime-Anywhere album", which produced three Top 20 hits. Later albums became more commercial and she drifted away from her great roots music background. However, in 1971 all the elements were firmly in place. Her early '80's album, "Heartbreak Radio" posted here is often regarded as a West Coast "country" album, but it also contains some jazzy soul blues and folk rock songs. Judy covers two Allen Toussaint songs, Carole King's "Walk On In", and Bacharach & David's "Wishin' and Hopin'" and others. Some of the artists on the album include Andrew Gold, Dean Parks, Bill Payne, Lenny Castro, and the late great Jeff Porcaro. A classy album from a classy Delta Lady. Listen to her "Out of the Blues" album, and check out her 1971 S/T album @ RITACOOL/OOTB

TRACKS / COMPOSERS

1 Walk on In - Carole King
2 One More Heartache - Robert Rogers, William Robinson, Marvin Tarplin, Ronald White, Lauren Moore
3 Closer You Get - Mark Gray, James P. Pennington
4 Wishin' and Hopin' - Burt Bacharach, Hal David
5 Heartbreak Radio - Troy Seals, Frankie Miller
6 Man and Woman - Jerry Riopelle, John Harris
7 I Did My Part - Naomi Neville aka Allen Toussaint
8 Hold On (I Feel Our Love Is Changing) - Will Jennings, Joe Sample
9 Basic Lady - Allen Toussaint
10 Stranger to Me Now - Donna Weiss, Mary Unobsky
11 Take It Home - Wilton Felder, Will Jennings

MUSICIANS

Rita Coolidge - Vocals
Andrew Gold - Guitar, Keyboards, Percussion, Vocals
Dean Parks, Fred Tackett, Richard Wachtel - Guitar
Bob Glaub - Bass
Bill Payne, Mike Utley - Keyboards
Jeff Porcaro, Russ Kunkel, Michael Botts - Drums
Tom Saviano - Saxophone
Nick DeCaro - Accordion
David Campbell - Strings
Kenny Edwards, Lenny Castro, Brock Walsh, J.D. Souther, William D. "Smitty" Smith, Maureen McDonald, Nicolette Larson - Vocals

BIO

A versatile singer blessed with a clear, pure voice, Rita Coolidge was a capable stylist in rock, pop, R&B, country, and folk, and was a hugely in-demand session vocalist outside of her own solo recording career. Born near Nashville, TN, in the town of Lafayette in 1945, Coolidge was part Cherokee and first sang in the church where her father was a minister. She studied art at Florida State University, but also sang and wrote songs on the side, and decided to give music a shot before settling into teaching. She moved to Memphis after graduation and worked singing commercial jingles, sometimes with her sister, Priscilla, and soon landed a job touring with Delaney & Bonnie as a backup vocalist. She subsequently relocated to Los Angeles, where she sang on recording sessions by the likes of Eric Clapton, Stephen Stills, Leon Russell, and Joe Cocker, among others. After returning from the supporting tour for Cocker's Mad Dogs & Englishmen, Coolidge landed her own solo contract with A&M. Coolidge's self-titled debut album was released in 1971, but despite critical acclaim for it and the follow-up, Nice Feelin', she failed to break through commercially. Over the course of the next few years, she moved into country-rock and Southern California soft rock, working territory not too dissimilar from Linda Ronstadt. She also married progressive country singer/songwriter Kris Kristofferson in 1973, the same year she recorded a duet album with him titled Full Moon. Full Moon topped the country charts, and "From the Bottle to the Bottom" won a Grammy for Best Country Vocal by a Duo or Group. The following year, the couple released a follow-up, Breakaway, whose "Lover Please" won them another Grammy in the same category. Coolidge finally broke through in her own right with 1977's Anytime, Anywhere, a collection of well-chosen covers with a strong R&B bent. Paced by the hit singles "(Your Love Has Lifted Me) Higher and Higher" (a Jackie Wilson cover that went to number two pop), "We're All Alone" (Top Ten), and "The Way You Do the Things You Do" (a Top 20 Temptations cover), Anytime, Anywhere climbed into the Top Ten and sold over a million copies. Coolidge and Kristofferson released one final duet album, Natural Act, in 1979, but their marriage was on the rocks, and they separated by the end of the year. Coolidge never repeated the pop success of Anytime, Anywhere, but she did continue to land hits on the adult contemporary charts through the early '80s, including "You," "I'd Rather Leave While I'm in Love," and "All Time High" (the theme for the James Bond flick Octopussy). She parted ways with A&M after 1984's Inside the Fire, and spent some time away from the music business to devote herself to various social causes. She returned to recording with 1992's Love Lessons, on Critique, and went on to cut several albums for other small labels during the latter half of the '90s. 1995's Cherokee, in particular, signaled a renewed interest in her Native American musical heritage, and she teamed up with her sister, Priscilla, and her niece, Laura Satterfield, to form Walela, which explored those roots in greater detail over two albums in 1997 and 2000, respectively. Several anthology collections were released in the early 2000s; And So Is Love, an album of traditional jazz standards, marked Coolidge's first release for Concord in 2005. © Steve Huey © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:difyxqw5ldte~T1

Judy Collins

Judy Collins - Judith - 1975 - Elektra

By the mid-'70s, Judy Collins had earned a reputation as a masterful interpretive singer as well as shown a late-blooming gift as a songwriter. But while much of her work displayed an artful and contemplative tone, after she scored a surprise hit single with her a cappella rendition of "Amazing Grace," Collins was nudged a few steps closer to the mainstream, and 1975's Judith often strikes an uncomfortable balance between misguided pop confections and sturdier material which more readily suits her talents. While several of the cuts feature unexpectedly lush orchestral arrangements, these are often among the highlights. Her graceful and affecting versions of Jimmy Webb's "The Moon Is a Harsh Mistress" and Stephen Sondheim's "Send in the Clowns" (as well as her own "Houses") are lovely and inspired, while the overcooked light rock of "Angel, Spread Your Wings" and "Salt of the Earth" (one of the least effective Rolling Stones covers ever) serve as perfect examples of what doesn't work for Collins in the studio. Other highlights include two vintage chestnuts, "Brother, Can You Spare a Dime?" and "I'll Be Seeing You" -- which suggest Collins would have done well to consider an album of great songs of the 1930s -- and two very different songs about motherhood, "Born to the Breed" and "Pirate Ships," both of which ring honest and true throughout. Judith's high points are sublime, but the low points are just sorry enough to mark this as a turning point toward one of the less-distinguished periods of Collins' career. © Mark Deming © 2010Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/judith-r96078/review

Widely and appropriately considered the masterpiece of Judy Collins' '70s pop albums, 1975's "Judith" is both an artistic success and a commercial triumph. This album's single, a sensitive, piano-based reading of Stephen Sondheim's "Send in the Clowns," was a surprise hit which to this day evokes memories of mid-'70s AM radio for anyone old enough to remember. The rest of the album, perhaps surprisingly, is up to that same level of quality. The opening, a low-key version of Jimmy Webb's oft-covered "The Moon is a Harsh Mistress," is spectacular, and other covers, like Steve Goodman's "City of New Orleans" and the Rolling Stones' "Salt of the Earth"--which works much better than you might think--showcase various aspects of Collins' remarkable interpretive facility. Unlike many albums of the era, the production does not feel particularly dated. "Judith" is a fine example of mid-'70s adult contemporary pop. © 1996 - 2010 CD Universe; Portions copyright 1948 - 2010 Muze Inc © http://www.cduniverse.com/search/xx/music/pid/1095190/a/Judith.htm
Twelve wonderful songs that Judy Collins sings in her pure, gorgeous voice; the voice of a nightingale. The songs are sung beautifully and with Judy's "amazing vocal grace". She sings these songs with true sincerity. "Judith" is regarded by many people as a Tour de force among her many releases. She penned three tracks on the album but covers songs as diverse as Stephen Sondheim's "Send In The Clowns", Steve Goodman's "City Of New Orleans", Jay Gorney & E.Y. Harburg's "Brother, Can You Spare A Dime", and Mick Jagger & Keith Richards' "Salt Of The Earth." The album is dedicated to Judy's mother, Marjorie Byrd Hall and is VHR by A.O.O.F.C. Listen to Judy's great "Maid of Constant Sorrow", and "Judy Sings Dylan... Just Like a Woman" albums. It is also worth hearing Judy's beautiful "In My Life" album, with covers of songs like Randy Newman's classic "I Think It's Going to Rain Today", Leonard Cohen's glorious "Suzanne", and Dylan's "Tom Thumb's Blues". Search this blog for other Judy Collins' releases

TRACKS / COMPOSERS

A1 The Moon Is A Harsh Mistress - Jimmy Webb 2:59
A2 Angel, Spread Your Wings - Danny OKeefe 3:05
A3 Houses - Judy Collins 4:32
A4 The Lovin' Of The Game - Pat Garvey 3:03
A5 Song For Duke - Judy Collins 3:33
A6 Send In The Clowns - Stephen Sondheim 3:57

B1 Salt Of The Earth - Mick Jagger & Keith Richards 3:59
B2 Brother, Can You Spare A Dime - Jay Gorney & E.Y. Harburg 3:12
B3 City Of New Orleans - Steve Goodman 4:07
B4 I'll Be Seeing You - Sammy Fain & Irving Kahal 3:44
B5 Pirate Ships - Wendy Waldman 2:42
B6 Born To The Breed - Judy Collins 4:45

MUSICIANS

Judy Collins/Judith Collins - Guitar, Keyboards, Vocals, Flute, Horn (English), Piano
David Spinozza, Cliff Morris, Steve Burgh, Charlie Brown - Guitar
Eric Weissberg - Guitar, Guitar (Steel), Dobro, Vocals
Hugh McCracken - Guitar, Piano
Tony Levin, John Beal - Bass
Billy Slapin - Bass, Flute
Paul Griffin - Keyboards, Organ, Piano (Electric)
Pat Rebillot - Keyboards, Organ, Piano
Kenny Ascher - Keyboards, Piano (Electric)
Thomas Pearson - Keyboards
Kenneth Bichel - Arp, Synthesizer
Steve Gadd - Drums
Ralph MacDonald, Hank Jaramillo - Percussion
Les Scott, Joel Kaye, Sidney Weinberg, Bob Steen, Jerry Smith - Wind
Randy Brecker, Garnett Brown, Arthur Clarke, Seldon Powell, Albert Richmond, Tony Studd, Frank Wess, Larry Wechsler - Horn
Wayne Andre, Vinnie Famuele - Trombone
George Ricci, Kermit Moore, Charles McCracken - Cello
Emanuel Vardi - Viola
Amanuel Vardi, Gene Orloff - Violin
Corky Hale - Harmonica, Harp
Abe Rosen, Don Brooks - Harmonica
Dominic Cortese - Accordion
George Marge - Flute, Horn, Recorder
Romeo Penque - Flute
Sylvia Shemwell, Eunice Peterson, Cissy Houston, Steve Goodman, Denver Collins - Vocals, Vocals (Background)

ALBUM NOTES (WIKIPEDIA)

Judith was Judy Collins' best-selling album from 1975. It peaked at No 17 on the Billboard Pop Albums charts. It includes Collins' hit recording of Stephen Sondheim's "Send in the Clowns", as well as material by Steve Goodman, Jimmy Webb, the Rolling Stones, and the standard "Brother, Can You Spare a Dime?" Allmusic stated in their review: "Judith's high points are sublime, but the low points are just sorry enough to mark this as a turning point toward one of the less-distinguished periods of Collins' career."

SHORT BIO

Judy Collins was one of the major interpretive folksingers of the '60s. A child prodigy at classical piano, she turned to folk music at the age of 15 and released her first album, A Maid of Constant Sorrow, in 1961 when she was 22. That album and its follow-up, The Golden Apples of the Sun, consisted of traditional folk material, with Collins's pure, sweet soprano accompanied by her acoustic guitar playing. By the time of Judy Collins #3, she had begun to turn to contemporary material and to add other musicians. (Jim, later Roger, McGuinn tried out his first arrangements of "The Bells of Rhymney" and "Turn, Turn, Turn" on this album, before using them with The Byrds.) Collins's musical horizons were expanded further by 1966 and the release of In My Life, which added theater music to her repertoire and introduced her audience to the writing of Leonard Cohen; it was one of her six albums to go gold. Her first gold-seller, however, was 1967's Wildflowers, which contained her hit version of "Both Sides Now" by the then-little-known songwriter Joni Mitchell. By the '70s, Collins had come to be identified as much as an art song singer as a folksinger and had also begun to make a mark with her original compositions. Her best-known performances cover a wide stylistic range: the traditional gospel song "Amazing Grace," the Stephen Sondheim Broadway ballad "Send in the Clowns," and such songs of her own as "My Father" and "Born to the Breed." Collins recorded less frequently after the end of her 23-year association with Elektra Records in 1984, though she made two albums for Gold Castle. In 1990, she signed to Columbia Records and released Fires of Eden, her 23rd album. A move to Geffen preceded the 1993 release of Judy Sings Dylan...Just Like a Woman; Shameless followed on Atlantic in 1994. Six years later, Collins released All on a Wintry Night. © William Ruhlmann, All Music Guide

MORE ABOUT THE ARTIST

Judy Collins has thrilled audiences worldwide with her unique blend of interpretative folksongs and contemporary themes. Her impressive career has spanned more than 40 years. At 13, Judy Collins made her public debut performing Mozart's "Concerto for Two Pianos" but it was the music of such artists as Woody Guthrie and Pete Seeger, as well as the traditional songs of the folk revival, that sparked Judy Collins' love of lyrics. She soon moved away from the classical piano and began her lifelong love with the guitar. In 1961, Judy Collins released her first album, A Maid of Constant Sorrow, at the age of 22 and began a thirty-five year association with Jac Holzman and Elektra Records. Judy Collins is also noted for her rendition of Joni Mitchell's "Both Sides Now" on her classic 1967 album, Wildflowers. "Both Sides Now" has since been entered into the Grammy's Hall of Fame. Winning "Song of the Year" at the 1975 Grammy's Awards show was Judy's version of "Send in the Clowns," a ballad written by Stephen Sondheim for the Broadway musical "A Little Night Music." Released on September 29th, Judy's new book, Sanity and Grace, A Journey of Suicide, Survival and Strength, is a deeply moving memoir, focusing on the death of her only son and the healing process following the tragedy. The book speaks to all who have endured the sorrow of losing a loved one before their time. In the depths of her suffering, Judy found relief by reaching out to others for help and support. Now, she extends her hand to comfort other survivors whose lives have been affected by similar tragedy. In a recent appearance on ABC's Good Morning America, Judy performed "Wings of Angels," the heartbreaking ballad that she wrote about the loss of her son. The song is currently available on the newly released Judy Collins Wildflower Festival CD and DVD, which also feature guest artists Arlo Guthrie, Tom Rush and Eric Andersen. This extraordinary concert was filmed at the famed Humphrey's By the Bay in San Diego, CA. The concert was the culmination of a 25 city national tour. Judy Collins continues to create music of hope and healing that lights up the world and speaks to the heart. © HDtracks 2007 - 2008

Gary B.B. Coleman

Gary B.B. Coleman - Romance Without Finance Is A Nuisance - 1991 - Ichiban

It was no coincidence that Gary Coleman had "BB" in his name. One of Coleman's main influences was B.B. King, and he was happy to acknowledge King's inspiration (although he's also learned a thing or two from Bobby "Blue" Bland, Jimmy Reed and the late Albert Collins). Romance Without Finance underscores the fact that while Coleman may not be the most original artist in the world, his Ichiban output has been consistent and enjoyable. The singer/electric guitarist's sense of humor serves him quite well on such amusing cuts as "Food Stamp Annie," "If You See My One-Eyed Woman" and "She Ain't Ugly (She Just Don't Look Like Nobody Else)." But he's equally appealing when embracing a somber minor-key groove a la Bland, and "Dealing From the Bottom of the Deck" is a fine example of Coleman's brooding side. Whether Coleman is being remorseful or humorous, this CD was a welcome addition to his catalogue. © Alex Henderson © 2010 Rovi Corporation. All Rights Reserved
http://www.allmusic.com/album/romance-without-finance-is-a-nuisance-r88311/review

The late Gary B.B. Coleman is probably better known as a blues promoter and record producer. However, he released quite a few albums himself, and was arguably an underrated songwriter, vocalist, guitarist, bassist and keyboard player. "Romance Without Finance Is A Nuisance" is not a groundbreaking record, but Gary was never regarded as a blues innovator. He was, however a very talented soulful electric bluesman who played his music with passion and sincerity. A lot of his music was on the humorous side, but he could also play the blues in a sombre fashion with real feeling. The album here is one of his less serious albums with a pleasant, understated and relaxed guitar style, and smooth vocals. Definitely an artist who deserves to be heard by a bigger audience. Listen to his "If You Can Beat Me Rockin'..." album

TRACKS

1. She Ain't Ugly (She Just Don't Look Like Nobody Else)
2. Don't Give Away That Recipe
3. If You See My One-Eyed Woman
4. Dealin' from the Bottom of the Deck
5. Romance Without Finance (Is a Nuisance)
6. Food Stamp Annie
7. Mr. Chicken Stew
8. Mr. B's Frosting [Instrumental]

All songs composed by Gary B.B. Coleman

BAND

Gary B.B. Coleman - Guitar, Keyboards, Vocals
John Cole - Bass
Johnny Strong - Drums

BIO

After a career as a local bluesman and blues promoter in Texas and Oklahoma, Gary Coleman found his niche when he signed over his first album, a self-produced outing originally issued on his own label, to the fledgling Ichiban company out of Atlanta in 1986. Since that time, both Coleman and Ichiban made their marks in the blues field -- not only did Coleman release half a dozen of his own albums, he also oversaw production of the bulk of Ichiban's hefty blues catalog, bringing to the studio a number of artists he'd booked or toured with in his previous career (Chick Willis, Buster Benton, and Blues Boy Willie, among others). A singer/guitarist onstage, Coleman often took on a multi-instrumentalist's role in the studio. His music remained true to the blues and to the King legacy saluted in his "B.B." moniker and in his acknowledged debt to fellow-Texan Freddie King. Coleman began listening to the blues as a child and by the time he was 15, he was working with Freddie King. Following his association with King, Coleman supported Lightnin' Hopkins and formed his own band, which played around Texas. Gary also began booking blues musicians into clubs in Texas, Oklahoma, and Coloradio. He continued to play gigs and book concerts for nearly two decades. In 1985, he formed Mr. B's Records, his own independent label. Coleman released his debut album, Nothin' But the Blues, the following year. The album was popular and gained the attention of Ichiban Records, who signed Coleman and re-released Nothin' But the Blues in 1987. If You Can Beat Me Rockin', Coleman's second album, was released in 1988. That same year, he began producing albums for a number of other artists, as well as writing songs for other musicians and acting as an A&R scout for Ichiban. Between 1988 and 1992, he released six records and produced another 30, including albums for Little Johnny Taylor and Buster Benton. Coleman continued to be active until his untimely death in the mid-'90s, both as a performing and recording artist, as well as a producer. © Jim O'Neal © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/gary-bb-coleman-p313/biography

BIO (WIKIPEDIA)

Gary B.B. Coleman (January 1, 1947 – February 14, 1994) was an American soul blues guitarist, singer, songwriter and record producer. Originally a blues promoter and local musician, Coleman recorded his debut album in 1986, which was re-released on Ichiban Records. Coleman issued several other albums, and produced most of Ichiban's blues catalog up to his death in 1994. On many occasions, Coleman undertook multi-instrumentalist duties in the recording studio. Coleman acknowledged both B.B. King in his "B.B." moniker; and his fellow-Texan, Freddie King. Born in Paris, Texas, Coleman was working alongside Freddie King by the age of 15. Coleman later supported Lightnin' Hopkins in concert, and went on to form his own group. At this time he started simultaneously booking acts into nightclubs across three states; Texas, Oklahoma, and Colorado. This dual lifestyle in the South West continued for nearly twenty years. In 1985, he created his own independent record label, called Mr. B's Records, and issued both a single, "One Eyed Woman", and his debut album, Nothin' But the Blues, the following year. The album proved to be popular. Ichiban Records signed Coleman to a recording contract, and duly re-released Nothin' But the Blues on their label in 1987. If You Can Beat Me Rockin' (1988) followed, and in the same year Coleman's duties expanded with Ichiban to include record production for other acts, songwriting, and becoming an A&R scout. He released a further six albums up to 1992, as well as production duties on albums from Blues Boy Willie, Chick Willis, Little Johnny Taylor, and Buster Benton (Money's The Name of The Game, 1989). He continued to write material for others and sometimes played guitar and keyboards on their records. His own albums featured self-penned material, such as "I Fell in Love on a One Night Stand" and "If You Can Beat Me Rockin' (You Can Have My Chair)". Coleman successfully continued to combine various roles until his early death in 1994

Charlie Musselwhite

Charlie Musselwhite - Tell Me Where Have All the Good Times Gone? - 1984 - Blue Rockit

Drummer/label head Pat Ford reunited with Charlie and brought along brother Robben on guitar, producing this return to form. Charlie is up to the task in all departments -- singing, playing (great tone), and especially songwriting (the title tune and "Seemed Like the Whole World Was Crying," and inspired by Muddy Waters's death) -- but it had been a while since Robben had played lowdown blues (touring with Joni Mitchell, putting in countless hours in L.A. studios). Pianist Clay Cotten is in fine form, and it may have been wiser to give the guitar chair to Tim Kaihatsu, who by this time had seniority (in terms of hours on the bandstand with Musselwhite) over any of Charlie's alumni. The to-be-expected-by-now deviations this time out: Don & Dewey's "Stretchin' Out," an impressive chromatic harp rendering of "Exodus," and Charlie's solo guitar outing, "Baby-O." Easily Charlie's best-engineered album (nice job, Greg Goodwin). © Dan Forte © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/tell-me-where-have-all-the-good-times-gone-r89293

Throughout his long and varied career Charlie Musselwhite has released albums ranging from traditional blues to music with elements of jazz, gospel, Tex-Mex, Cuban and other world music. He is oneof the best-known and best-loved blues musicians in the world. DownBeat called him “the undisputed champion of the blues harmonica.” He demonstrates that to great effect on this album which is a great traditional blues album with a dash of real Mississippi soul. The incredible Robben Ford helps out on guitar. N.B: The original 1984 release was entitled "Tell Me Where Have All the Good Times Gone?" From 1992 other releases were titled "Where Have All the Good Times Gone?" and featured the extra track "I'll Get a Break Someday", included here. Charlie's "Takin' My Time" and "Delta Hardware" are brilliant albums and his superb "Stand Back! Here Comes Charley Musselwhite's Southside Band" album is well worth buying. His "Rough Dried: Live At The Triple Door" album can be found @ http://rapidshare.com/files/212302270/Charlie_Musselwhite_-_Live_at_the_Triple_Door.rar For music in the same genre listen to Paul Butterfield's "East-West" album

TRACKS / COMPOSERS

SIDE A

1 Hello Stranger - J.L. Williamson (3:09)
2 Seemed Like The Whole World Was Crying - Charlie Musselwhite (5:15)
3 Baby-O - Charlie Musselwhite (3:27) *
4 Still A Stranger - Charlie Musselwhite (3:48)
5 Exodus - Ernest Gold (1:54)
*N.B: Maybe my ears are playing tricks, but there seems to be a fault on Track 3. I've tested the track with professional audio equipment and nothing shows up. There are some unusual vocal and chord changes on this song, so maybe it's just me. If anybody else hears anything "unusual" on the track, please let me know - A.O.O.F.C
SIDE B

1 Stretching Out - Charlie Musselwhite (3:45)
2 Going Away Baby - J. Rogers (4:20)
3 Where Have All The Good Times Gone - Charlie Musselwhite (7:24)
4 Kid Man Blues - Big Maceo Merriweather (3:12)

EXTRA TRACK

10 I'll Get a Break Someday - Trad. 2:45 [Bonus Track on 1992 release]

MUSICIANS

Charlie Musselwhite - guitar on "Baby-O", harmonica, harp, vocals
Robben Ford - guitar
Steve Ehrman - bass
Clay Cotton - piano
Patrick Ford - drums

BIO

Harmonica wizard Norton Buffalo can recollect a leaner time when his record collection had been whittled down to only the bare essentials: The Paul Butterfield Blues Band and Stand Back! Here Comes Charley Musselwhite's South Side Band. Butterfield and Musselwhite will probably be forever linked as the two most interesting, and arguably the most important, products of the "white blues movement" of the mid- to late '60s -- not only because they were near the forefront chronologically, but because they both stand out as being especially faithful to the style. Each certainly earned the respect of his legendary mentors. No less than the late Big Joe Williams said, "Charlie Musselwhite is one of the greatest living harp players of country blues. He is right up there with Sonny Boy Williamson, and he's been my harp player ever since Sonny Boy got killed." It's interesting that Williams specifies "country" blues, because, even though he made his mark leading electric bands in Chicago and San Francisco, Musselwhite began playing blues with people he'd read about in Samuel Charters' Country Blues -- Memphis greats like Furry Lewis, Will Shade, and Gus Cannon. It was these rural roots that set him apart from Butterfield, and decades later Musselwhite began incorporating his first instrument, guitar. Musselwhite was born in Kosciusko, MS in 1944, and his family moved north to Memphis, where he went to high school. Musselwhite migrated north in search of the near-mythical $3.00-an-hour job (the same lure that set innumerable youngsters on the same route), and became a familiar face at blues haunts like Pepper's, Turner's, and Theresa's, sitting in with and sometimes playing alongside harmonica lords such as Little Walter, Shakey Horton, Good Rockin' Charles, Carey Bell, Big John Wrencher, and even Sonny Boy Williamson. Before recording his first album, Musselwhite appeared on LPs by Tracy Nelson and John Hammond and duetted (as Memphis Charlie) with Shakey Horton on Vanguard's Chicago/The Blues/Today series. When his aforementioned debut LP became a standard on San Francisco's underground radio, Musselwhite played the Fillmore Auditorium and never returned to the Windy City. Leading bands that featured greats like guitarists Harvey Mandel, Freddie Roulette, Luther Tucker, Louis Myers, Robben Ford, Fenton Robinson, and Junior Watson, Musselwhite played steadily in Bay Area bars and mounted somewhat low-profile national tours. It wasn't until the late '80s, when he conquered a career-long drinking problem, that Musselwhite began touring worldwide to rave notices. He became busier than ever and continued releasing records to critical acclaim. His two releases on Virgin, Rough News in 1997 and Continental Drifter in 2000, found Musselwhite mixing elements of jazz, gospel, Tex-Mex, and acoustic Delta blues. After signing with Telarc Blues in 2002, he continued exploring his musical roots by releasing One Night in America. The disc exposed Musselwhite's interest in country music with a cover version of the Johnny Cash classic "Big River," and featured guest appearances by Kelly Willis and Marty Stuart. Sanctuary, released in 2004, was Musselwhite's first record for Real World. After extensive touring globally, he returned to the studio for its follow-up, the back-to-basics Delta Hardware, recorded in Mississippi. The set was hard-edged and raw blues and featured one live track, the hip-shaking "Clarksdale Boogie," recorded in front of a small but enthusiastic audience at Red's Juke Joint in that very town. Musselwhite returned to Alligator in 2009 and got down to business and cut The Well in Chicago, an all-original program that featured a guest duet appearance from Mavis Staples on the track "Sad Beautiful World." The song references the murder of his 93-year old mother during a burglary in her home. © Dan Forte © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/charlie-musselwhite-p472/biography

Wilson Diesel

Wilson Diesel - Short Cool Ones - 1996 - Aurora Records/Mushroom

"Short Cool Ones" contains sixteen roots tracks from the great American born guitarist and vocalist (Mark Lizotte) Johnny Diesel and the brilliant Australian vocalist and harmonicist Chris Wilson. Many blues styles from everywhere between delta to the dust bowl and beyond, are covered here. Fifteen 0f the sixteen tracks are covers of blues standards by artists including Elmore James, Fenton Robinson, and Willie Dixon. The first track is a great soulful cover of Ann Peebles' classic "I Can't Stand The Rain". The album is HR by A.O.O.F.C. Try and listen to Chris Wilson's "Live At The Continental" album, and Johnny Diesel & the Injector's great "Soul Revival" album. N.B: "Short Cool Ones" was also available as an "interview" disc with no music. It has nothing to do with the album here

TRACKS / COMPOSERS

I Can't Stand The Rain - Bryant/Peebles/Miller
Other Man - Diesel
Spoonful - Willie Dixon
Strange Love - Moore/West
Evil - Willie Dixon
Tee Ni Nee Ni Nu - Moore/West
Little Red Rooster - Willie Dixon
Running Shoes - Bonner
Too Wet To Plough - Johnny Shines
My Babe - Willie Dixon
Somebody Loan Me A Dime - Fenton Robinson
Sun Is Shining - Elmore James
Sugar Babe - Fenton Robinson
Cherokee Dance - Landers
Don't Start Me Talkin' - Williamson
Who Will Your Next Fool Be - Charlie Rich

BAND

(Johnny) Diesel aka Mark Lizotte - Lead Vocals on Tracks 1, 2, 3, 4, 7, 8, 10, 11, 12, 13, 15, Guitar
Dean Addison - Bass
Wayne Duncan - Bass on Track 13
Rob Woolf - Keyboards, Vocals
Angus Diggs - Drums
Gary Young - Drums on Track 13
Chris Wilson - Lead Vocals on Tracks 1, 5, 6, 7, 9, 13, 14, 15, 16, Harmonica
BIO (JOHNNY DIESEL/MARK LIZOTTE)

Under the name Diesel, American born guitarist/singer Mark Lizotte became one of the biggest selling and most awarded Australian recording artists of the late '80s/early '90s. He arrived in Perth as a child when the travels of his itinerant, saxophone-playing father exhausted America and the family settled in Western Australia. Lizotte always contended that he grew up with musical instruments in his play box. No instrument intimidated him, but it was the electric guitar which excited him. While his siblings gravitated toward music as teachers, Lizotte started playing in bands, making the long trek from Perth to Sydney in 1986 to record with Innocent Bystanders. He left to form his own group, Johnny Diesel & the Injectors in June 1986, adopting the Johnny Diesel persona for the first time (a stint of pumping petrol had earned him his Diesel nickname). The group's blend of Southern rock, soul, and R&B, plus Diesel's adept guitar playing and pop star looks quickly earned the band a strong reputation on-stage, and in September 1987 they relocated to Sydney. Almost immediately, Diesel was offered a place in Jimmy Barnes' band, playing the opening slot on the Freight Train Heart tour with the Injectors as support act, and then joining the headlining Barnes band on guitar. His group was signed to a worldwide recording contract by Chrysalis and recorded a self-titled debut album in Memphis with Terry Manning (Joe Cocker, Fabulous Thunderbirds, ZZ Top). After four years and a mini-album recorded live in London the Injectors broke up, and Johnny Diesel became Diesel , solo artist. His March 1992 Hepfidelity album shifted the musical ground to rock-funk and soul, reached number one in Australia and earned him awards for Best Album and Best Male Artist at the annual ARIA awards. From there, a restlessness seemed to overcome Diesel, as if he felt everything should be possible but a certain "something" was expected of him. He released an album of new songs and reworkings of songs from the previous album with The Lobbyist, and finally got down to business on 1994's sophisticated Solid State Rhyme. But his heart seemed much more in the raw blues album Short Cool Ones he made with Melbourne bluesman and harmonica player Chris Wilson. Diesel ended up packing up his career and young family and relocated to America. Nothing was heard from him until October 1997 when he reappeared with Lost Soul Companion, released under his own name of Mark Lizotte. Every live encounter confirms a musician and songwriter of immense natural talent. The perfectionism that seems to take over in the studio and results in long, drawn-out sessions and constant rethinks robs his latter records of the spirit and life so evident on-stage. © Ed Nimmervoll © 2010 Answers Corporation http://www.answers.com/topic/diesel-rock-band

BIO (CHRIS WILSON)

Chris Wilson has been an essential part of blues and rock music in Australia since taking the stage with the Sole Twisters twenty years ago. Stints with Harum Scarum and Paul Kelly and the Coloured Girls followed, and the end of the 80s saw Wilson as one of our finest vocalists, harmonica players and songwriters, fronting the superb Crown of Thorns. His instrumental gifts have oft been utilised on recordings by the likes of James Reyne, Hunters and Collectors, Vika and Linda, Renee Geyer, Archie Roach, X, Deb Conway and Ross Hannaford's Dianna KIss. Chris has enjoyed the company of Australia's best musicians on stage and in the studio when realising his own visions in song. Chris has performed in the U.S. at SXSW and two Folk Alliance Conferences. He has won the respect of many overseas artists, among these Joe Henry,Charlie Musselwhite and Tony Joe White. Bob Dylan once made a special trip backstage to shake Chris' hand after a show together in 1992! Chris has appeared at every major Australian festival and his performances, filled as they are with his own brand of sensuality and the dynamic power that leaves his audiences so satisfied, are always a highlight. Chris' stage presence, voice and talent are all as big as the country he lives in. Chris Wilson is a master of his craft. Chris has toured and/or recorded with the following Australian acts of note; Paul Kelly, Mark Seymour, X, Chris Bailey, Crowded House, Vika and LInda Bull, Monique Brumby, Kerri Simpson, The Badloves, Diesel, ...and these artists from the US and UK; Steve Earle, Bob Dylan, Elvis Costello, Charlie Musselwhite, John Hiatt, The Fabulous Thunderbirds, Billy Bragg, Bill Kirchen, John Mayall, Lucinda Williams, John Prine, Blues Traveller, Buddy Guy. © http://www.chriswilson.com.au/media/biography.htm

Head

Head - Blackpool Cool - 1977 - Head

There are many bands called Head. The band here is a very obscure '70's Scottish jazz-rock group from Glasgow who recorded 3 albums between 1973 and 1977. The first album was entitled "GTF" in 1973, followed by "Red Dwarf" in 1975, and "Blackpool Cool" (posted here) in 1977. The band's music has been compared to early 70s Miles Davis, and even early King Crimson. However, Head's music is probably more in the in the Ian Carr/Nucleus style. It's a very good album, and if anybody has any information on this band, A.O.O.F.C would love to hear from you

TRACKS

1. I met a man - 6:52
2. G.B.H. - 8:29
3. There's a lot of it around - 6:21
4. Blackpool cool - 6:11
5. Pauline - 3:57
6. Kick me quick - 8:47

BAND

Lachlan McColl - Guitar
Graham Mince - Bass
John Davies - Keyboards, Trumpet
Billy Kyle - Drums
Gordon Cruickshank - Saxophone

ABOUT HEAD

Sometimes known as "the haggis of jazz fusion bands," the small combo Head were active in Glasgow in the '70s. The rhythm section of drummer Billy Kyle and bassist Graham Mince were consistent factors in the three albums released by the group over a five-year period, as was the presence of multi-instrumentalist John Davies, who doubled on keyboards and trumpet. Other members of the group changed from album to album, guitarist Charles Alexander drifting away to be replaced by Lachlan McColl, saxophonist Gordon Cruickshank taking up where previous honker Howard Copland had left off. Self-determination, an important concept in documenting improvised music during the '70s, was vital to the Head liturgy. The group's debut release -- entitled GTF in reference to a crude Scottish way of suggesting someone should depart quickly -- was released through SRT, basically a vanity consortium. The band started up its own label, Head Records, for its final and most commercial production, Blackpool Cool. This Head should not be confused with other bands that use this name, such as a more recent outfit fronted by © Gareth Sager. Eugene Chadbourne © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/head-p735727/biography

ABOUT JOHN DAVIES

John Davies is a Scottish jazz fusion musician who doubled on keyboards and trumpet in a Glasgow-based band known as Head. This is hardly the only use of this word as a combo name; between the word's slang connections to both sex and drugs and its importance as jazz technical jargon, it is actually surprising that more, if not all, groups haven't decided to call themselves Head. Davies' associates in the '70s band include heads such as guitarist Charles Alexander and bassist Graham Mince. There were three albums created by this group between 1973 and 1978, starting off with GTF, often misprinted but very clear in its meaning to a native Glaswegian: it is an abbreviation for the first three words in a colorful if crude expression commonly used to tell someone to get lost. It is the pronunciation of "tae" for "the" that gives this phrase its charm, at least for the non-Scottish. Other albums Davies appears on with the group are the mid-'70s Red Dwarf -- fired out of the Cannon label -- and the final more rock-oriented Blackpool Cool, for which the ensemble started up its own record label, also called Head. © Eugene Chadbourne © 2010 Rovi Corporation. All Rights Reserved http://allmusic.com/artist/john-davies-p200829/biography

Head

Head - Red Dwarf - 1975 - Cannon

There are many bands called Head. The band here is a very obscure '70's Scottish jazz-rock group from Glasgow who recorded 3 albums between 1973 and 1977. The first album was entitled "GTF" in 1973, followed by "Red Dwarf"(posted here) in 1975, and "Blackpool Cool" in 1977. The band's music has been compared to early 70s Miles Davis, and even early King Crimson. However, Head's music is probably more in the in the Ian Carr/Nucleus style. There are great funk grooves with lots of trumpet and sax leads throughout the album. This is a really good album, and if anybody has any information on this band, A.O.O.F.C would love to hear from you

TRACKS

1 Quasar
2 Solaris Dream
3 White Giant
4 Event Horizon
5 Red Dwarf
6 Earthsong Suite
7 Su Salvavida Esta Debaso De Su Asienton

BAND

Charles Alexander - Guitar
Graham Mince - Bass
John Davies - Keyboards, Trumpet
Billy Kyle - Drums
Howard Copland - Saxophone

ABOUT HEAD

Sometimes known as "the haggis of jazz fusion bands," the small combo Head were active in Glasgow in the '70s. The rhythm section of drummer Billy Kyle and bassist Graham Mince were consistent factors in the three albums released by the group over a five-year period, as was the presence of multi-instrumentalist John Davies, who doubled on keyboards and trumpet. Other members of the group changed from album to album, guitarist Charles Alexander drifting away to be replaced by Lachlan McColl, saxophonist Gordon Cruickshank taking up where previous honker Howard Copland had left off. Self-determination, an important concept in documenting improvised music during the '70s, was vital to the Head liturgy. The group's debut release -- entitled GTF in reference to a crude Scottish way of suggesting someone should depart quickly -- was released through SRT, basically a vanity consortium. The band started up its own label, Head Records, for its final and most commercial production, Blackpool Cool. This Head should not be confused with other bands that use this name, such as a more recent outfit fronted by © Gareth Sager. Eugene Chadbourne © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/head-p735727/biography

ABOUT JOHN DAVIES

John Davies is a Scottish jazz fusion musician who doubled on keyboards and trumpet in a Glasgow-based band known as Head. This is hardly the only use of this word as a combo name; between the word's slang connections to both sex and drugs and its importance as jazz technical jargon, it is actually surprising that more, if not all, groups haven't decided to call themselves Head. Davies' associates in the '70s band include heads such as guitarist Charles Alexander and bassist Graham Mince. There were three albums created by this group between 1973 and 1978, starting off with GTF, often misprinted but very clear in its meaning to a native Glaswegian: it is an abbreviation for the first three words in a colorful if crude expression commonly used to tell someone to get lost. It is the pronunciation of "tae" for "the" that gives this phrase its charm, at least for the non-Scottish. Other albums Davies appears on with the group are the mid-'70s Red Dwarf -- fired out of the Cannon label -- and the final more rock-oriented Blackpool Cool, for which the ensemble started up its own record label, also called Head. © Eugene Chadbourne © 2010 Rovi Corporation. All Rights Reserved http://allmusic.com/artist/john-davies-p200829/biography

Roy Buchanan

Roy Buchanan - Live In U.S.A. & Holland 77- 85 - 1991 - Silver Shadow

If you like the styles of Jeff Beck, Rory Gallagher, SRV, or Jimi, you may appreciate the late Roy Buchanan's great talent. Chet Atkins once said "that Roy's pickin' is just about the best there is". Although Roy Buchanan was regarded as a great musician by people like Lennon, Clapton, Jeff Beck, Robbie Robertson, Billy Gibbons, and influenced some of these people, he has never been a household name to "Joe Public". A TV documentary, "The Best Unknown Guitarist in the World" was broadcast in the early seventies, and Jeff Beck dedicated his cover of Stevie Wonder's "Cause We've Ended As Lovers" to Buchanan on his 1975 Blow by Blow album. Roy Buchanan, himself once said, "Probably the reason I never made it big was because I didn't care whether I made it big." Roy Buchanan remains a very much overlooked bluesman, and master of the Fender Telecaster. The album notes on this live album states that Tracks 1-8 were recorded at My Father's Place, Roslyn, New York, on September 27, 1977, and Tracks 9-13 were recorded in Amsterdam, Holland, on February 2, 1983. (Roy played Amsterdam in 1985). The first eight tracks sound like a radio recording and sound quality is fair to good. The last five tracks are most likely from a soundboard recording of decent quality. The album notes list the artists playing as Roy Buchanan on guitar and vocals, Larry Exum on bass and vocals, and Morris Jennings on Drums. However, Tracks 1, 2, 7, & 13 are mislabelled on the cover, and Tracks 3, 5, & 9 may not be correctly titled. Also, some catalogues list this album as an official release. Other sources say the album was never officially sanctioned. The track list posted here has been amended but may still not be correct. Any info on this album would be appreciated. Buy Roy Buchanan's great 1973 "Second Album" album. His "Roy Buchanan American Axe: Live In 1974" is also an outstanding album. Check out the great tribute album, "Fred Chapellier & Friends - A Tribute To Roy Buchanan". Roy's "Master Series" compilation album is @ ROYBUCH/MS and his "Messiah On Guitar" album @ ROYBUCH/MOG

TRACKLIST / COMPOSERS [NOT DEFINITIVE]

1 I'm a Ram - Green "Teenie" Hodges
2 Honky Tonky
3 My Baby Says She's Gone
4 Further On Up The Road - Mack Veasey Robey
5 Blues Before The Sunrise
6 Slow Down - Larry Williams
7 I'm Evil - Roy Buchanan
8 I'm a Lonesome Fugitive - Casey Anderson, Liz Anderson
9 Honky Tonky in F
10 Sweet Dreams - Don Gibson
11 Peter Gunn - Henry Mancini
12 Roy's Blues aka Roy's Bluz / Night Train - Roy's Bluz by Roy Buchanan
13 The Messiah Will Come Again - Roy Buchanan

MUSICIANS [NOT DEFINITIVE]

Roy Buchanan - guitar and vocals
Larry Exum - bass and vocals
Morris Jennings - drums

BIO

Roy Buchanan has long been considered one of the finest, yet criminally overlooked guitarists of the blues rock genre whose lyrical leads and use of harmonics would later influence such guitar greats as Jeff Beck, his one-time student Robbie Robertson, and ZZ Top's Billy Gibbons. Although born in Ozark, AR, on September 23, 1939, Buchanan grew up in the small town of Pixley, CA. His father was both a farmer and Pentecostal preacher, which would bring the youngster his first exposure to gospel music when his family would attend racially mixed revival meetings. But it was when Buchanan came across late-night R&B radio shows that he became smitten by the blues, leading to Buchanan picking up the guitar at the age of seven. First learning steel guitar, he switched to electric guitar by the age of 13, finding the instrument that would one day become his trademark: a Fender Telecaster. By 15, Buchanan knew he wanted to concentrate on music full-time and relocated to Los Angeles, which contained a thriving blues/R&B scene at the time. Shortly after his arrival in L.A., Buchanan was taken under the wing by multi-talented bluesman Johnny Otis, before studying blues with such players as Jimmy Nolen (later with James Brown), Pete Lewis, and Johnny "Guitar" Watson. During the mid- to late '50s, Buchanan led his own rock band, the Heartbeats, which soon after began backing rockabilly great Dale ("Suzy Q") Hawkins. By the dawn of the '60s, Buchanan had relocated once more, this time to Canada, where he signed on with rockabilly singer Ronnie Hawkins. The bass player of Ronnie Hawkins' backing band, the Hawks, studied guitar with Buchanan during his tenure with the band. Upon Buchanan's exit, the bassist-turned-guitarist would become the leader of the group, which would eventually become popular roots rockers the Band: Robbie Robertson. Buchanan spent the '60s as a sideman with obscure acts, as well as working as a session guitarist for such varied artists as pop idol Freddy Cannon, country artist Merle Kilgore, and drummer Bobby Gregg, among others, before Buchanan settled down in the Washington, D.C., area in the mid- to late '60s and founded his own outfit, the Snakestretchers. Despite not having appeared on any recordings of his own, word of Buchanan's exceptional playing skills began to spread among musicians as he received accolades from the likes of John Lennon, Eric Clapton, and Merle Haggard, as well as supposedly being invited to join the Rolling Stones at one point (which he turned down). The praise eventually led to an hour-long public television documentary on Buchanan in 1971, the appropriately titled The Best Unknown Guitarist in the World, and a recording contract with Polydor Records shortly thereafter. Buchanan spent the remainder of the decade issuing solo albums, including such guitar classics as his 1972 self-titled debut (which contained one of Buchanan's best-known tracks, "The Messiah Will Come Again"), 1974's That's What I Am Here For, and 1975's Live Stock, before switching to Atlantic for several releases. But by the '80s, Buchanan had grown disillusioned by the music business due to the record company's attempts to mold the guitarist into a more mainstream artist, which led to a four-year exile from music between 1981 and 1985. Luckily, the blues label Alligator convinced Buchanan to begin recording again by the middle of the decade, issuing such solid and critically acclaimed releases as 1985's When a Guitar Plays the Blues, 1986's Dancing on the Edge, and 1987's Hot Wires. But just as his career seemed to be on the upswing once more, tragedy struck on August 14, 1988, when Buchanan was picked up by police in Fairfax, VA, for public intoxication. Shortly after being arrested and placed in a holding cell, a policeman performed a routine check on Buchanan and was shocked to discover that he had hung himself in his cell. Buchanan's stature as one of blues-rock's all-time great guitarist grew even greater after his tragic death, resulting in such posthumous collections as Sweet Dreams: The Anthology, Guitar on Fire: The Atlantic Sessions, Deluxe Edition, and 20th Century Masters. © Greg Prato, allmusic.com

BIO (Wikipedia)

Roy Buchanan (September 23, 1939 - August 14, 1988) was an American guitarist and blues musician. He is noted for his use of note bending, volume swells, staccato runs, and pinch harmonics. Buchanan was a pioneer of the Telecaster sound. Roy Buchanan was born in Ozark, Arkansas and was raised both there and in Pixley, California, a farming area near Bakersfield. His father Bill was a sharecropper in Arkansas and a farm laborer in California (but not a preacher, as Buchanan often told interviewers). Buchanan related how his first musical memories were of racially-mixed revival meetings his family would attend. "Gospel," he recalled, "that's how I first got into black music". He in fact drew upon many disparate influences while learning to play his instrument (although he later claimed his aptitude was derived from being "half-wolf"). He initially showed talent on the steel guitar before switching to the standard instrument in the early 50's. In 1958, Buchanan made his recording debut with Dale Hawkins, including playing the solo on "My Babe" for Chicago's Chess Records. Two years later, during a tour through Toronto, Buchanan left Dale Hawkins to play for his cousin Ronnie Hawkins and tutor Ronnie's guitar player, Robbie Robertson. Buchanan soon returned to the U.S. and Ronnie Hawkins' group later gained fame as The Band. The early 60's found Buchanan performing numerous gigs as a sideman with multiple rock bands, and cutting a number of sessions as guitarist with musicians such as Freddy Cannon and Merle Kilgore. Buchanan's 1962 recording with drummer Bobby Gregg, "Potato Peeler", first introduced the trademark Buchanan pinch harmonics. An effort to cash in on the British Invasion caught Buchanan with The British Walkers. In the mid-'60's, Buchanan settled down in the Washington, DC area, playing as a sideman before starting his own groups. One of these groups was called The Snakestretchers, an allusion to Buchanan's disdain for the vagaries of the band experience. The Snakestretchers became a semi-permanent combo for Buchanan starting in this period, with whom he made his first acclaimed recording as a front man. Danny Gatton was another respected Telecaster master who lived in Washington, D.C. at that time. Both musicians gained reputations as under-appreciated guitarists. In 1971, riding on word-of-mouth reputation that included praise from John Lennon, Eric Clapton, Merle Haggard, and an alleged invitation to join the Rolling Stones, Buchanan gained national notoriety as the result of an hour-long Public broadcasting television documentary. Entitled "The Best Unknown Guitarist In The World", the show rejuvenated a contract with Polydor and began a decade of national and international touring. He recorded five albums for Polydor (one went gold) and three for Atlantic Records (one gold), while playing most major rock concert halls and festivals. Finally, Buchanan quit recording in 1981, vowing never to enter a studio again unless he could record his own music his own way. Four years later, Buchanan was coaxed back into the studio by Alligator Records. His first album for Alligator, When a Guitar Plays The Blues, was released in the spring of 1985. It was the first time he was given total artistic freedom in the studio. It was also his first true blues album. Fans quickly responded, and the album entered Billboard's pop charts and remained on the charts for 13 weeks. Music critics, as well as fans, applauded Roy's efforts with favorable reviews. His second Alligator LP, Dancing on the Edge, was released in the fall of 1986. The album, featuring three songs with special guest, rock'n'soul vocalist Delbert McClinton, won the College Media Journal Award for Best Blues Album of 1986. He released the twelfth LP of his career and his third for Alligator, Hot Wires, in 1987. In addition to Donald Kinsey (formerly with Albert King and Bob Marley and The Wailers), keyboardist Stan Szelest, and Larry Exum (bass) and Morris Jennings (drums), this album includes guest vocals by veteran soul singer Johnny Sayles and blues singer Kanika Kress. Buchanan used a number of guitars throughout his career, although he was most often associated with a 1953 Telecaster guitar, which he used to produce his trebly signature tone. Rarely did Buchanan utilize 'stomp boxes' although later live performances utilized a digital delay. The 'sound' of Buchanan is essentially a Telecaster to an overdriven Fender amp on 10. Buchanan taught himself many guitar styles, including the 'chicken pickin' style. He sometimes used his thumb nail rather than a plectrum and also employed it to augment his index finger and plectrum. Holding his thumb at a certain angle, Buchanan was able to hit the string and then partially mute it, suppressing lower overtones and exposing the harmonics, a technique now known as 'pinch harmonics'. Buchanan had the ability to execute pinch harmonics on command, and could mute individual strings with free right-hand fingers while picking or pinching others. Having first trained as a lap steel guitarist, Buchanan would often imitate its effect and bend strings to the required pitch, rather than starting on the desired note. This was particularly notable in his approach to using double and triple stops. Staccato hammer-on/offs and volume/tone knob sound effects were also used by Buchanan. Buchanan honed his live technique through many years of playing dance halls and bars. Buchanan played Carnegie Hall several times, and is perhaps the only lead guitarist to have consistently headlined there for over 15 years. Buchanan encouraged a tradition of 'roots' performances that grew out of country, blues, and especially rock and roll. He often stuck around long after shows to talk with loyal fans. Many live CDs were released after his death. Buchanan's long-standing alcohol and substance abuse problems seemed to worsen with time, culminating on August 14th, 1988, when Buchanan was arrested for public intoxication. Several hours later Buchanan was found hanging by his own shirt in his cell in the Fairfax County Jail. His cause of death was officially recorded as suicide, a finding disputed by Buchanan's friends and family.Roy's musical career took him from underground club gigs in the sixties and seventies to national television, gold record sales, and worldwide tours in the eighties with the likes of Lonnie Mack, the Allman Brothers, Willie Nile. Even posthumously, he has the respect of many guitarists and a large number of fans, particularly for his unique sound. Buchanan was noted for the ability to get 'wah wah' and 'violin swell' effects from his Telecaster by use of the instrument's knobs and a plectrum. Finally, he was a pioneer in the use of pinch harmonics, and some of rock's most notable guitarists acknowledge Buchanan's mastery of the technique. British guitar legend Jeff Beck dedicated his performance of a Stevie Wonder composition "Cause We've Ended As Lovers" to Buchanan on his 1975 landmark album Blow by Blow. In 2006, the Academy Award-winning Best Picture, The Departed by Martin Scorsese, ends with Buchanan's soulful instrumental treatment of the Don Gibson country music classic, "Sweet Dreams," as the credits begin to roll. In 2007, French blues guitarist Fred Chapellier released a CD entitled "Tribute to Roy Buchanan featuring a guest appearance from former Buchanan lead vocalist Billy Price.

Paul Carrack

Paul Carrack - Beautiful World - 1997 - Ark 21 Records

For various reasons "Beautiful World" was poorly promoted and made none of the impact of his previous "Blue Views" album release. "Beautiful World" is another outstanding album from the master of British adult contemporary pop-soul, and HR by A.O.O.F.C. Baz "Vinyl man", said on amazon.co.uk, "Paul Carrack is undoubtedly one of the greatest underrated talents this country has ever produced. His list of credits is almost endless yet most people haven't a clue who he is. Best seen live - don't hesitate. he only plays in small venues and is constantly touring so you dont have to wait too long before he will be somewhere near. I must have seen him a dozen times in the last 6 ears or so and he never disapppoints. Fabulous voice, pianist, guitarist and song writer and all accompanied by some very decent musicians. If you like quality soul, pop and soft rock all mixed up Paul is your man". http://66.102.9.132/search?q=cache:72Qr_NAe7YcJ:www.amazon.co.uk/Old-Borrowed-Blue-Paul-Carrack/dp/B000WTNCVI+paul+carrack+groovin+credits&cd=12&hl=en&ct=clnk&gl=ie This article says a lot about Paul Carrack. Not a household name, but one of the greatest British vocalists, songwriters, and musicians ever born. The guy is a legend. His name may be unfamiliar to many, but his great soulful voice is one of the most recognizable voices in the rock business. He has been a member of several bands including Warm Dust, Ace, Squeeze, Mike + The Mechanics, and Roxy Music, been a session and touring musician for several others, and has enjoyed success as a solo artist as well. His distinctive voice shows up on some of his affiliated bands' best-known hits, two of the most memorable being "How Long" with Ace, and "Tempted" with Squeeze. If Paul Rodgers is "The Voice", then Paul Carrack is the "other voice". Two of his best albums are "Blue Views" and "Suburban Voodoo". Search this blog for other Paul Carrack releases

TRACKS / COMPOSERS

1 The Way I'm Feeling Tonight - Paul Carrack, Graham Gouldman 4:40
2 Time to Let Go - Paul Carrack 5:16
3 Beautiful World - Paul Carrack, T-Bone Wolk 5:31
4 Perfect Love - Paul Carrack 4:08
5 You Give Me Something - Paul Carrack 4:04
6 Satisfied - Paul Carrack, Toby Chapman 4:19
7 Close to Me - Paul Carrack 5:05
8 It Goes Without Saying - Paul Carrack, Chuck Cannon, Maia Sharp 4:59
9 If You'd Ever Needed Someone - Paul Carrack, Mark Hudson, Armand Sabal-Lecco, Greg Wells 4:46
10 Some Kinda Love - Paul Carrack, Mark Hudson, Armand Sabal-Lecco, Greg Wells 3:43

N.B: Album later released with two bonus tracks, "Into The Mystic" & "Warm And Tender Love"

MUSICIANS

Paul Carrack - Keyboards, Organ (Hammond), Vocals
Tim Renwick - Guitar
Dave Bronze - Guitar (Bass), Vocals (Background)
Toby Chapman - Keyboards, Vocals (Background)
Gary Wallis - Drums
Mark Feltham - Harmonica
Paul "Tubbs" Williams, Beverley Skeete, Tessa Niles, Claudia Fontaine, Tommy Blaize - Vocals (Background)

ABOUT PAUL CARRACK

Paul Carrack was pop music's ultimate journeyman. A vocalist and keyboardist who enjoyed considerable success over the course of his lengthy career while in the service of bands ranging from Ace to Squeeze to Mike + the Mechanics, his finest work often came at the expense of his own identity as a performer; indeed, of the many big hits on which the unassuming singer was prominently featured, only one, 1987's "Don't Shed a Tear," bore his own name. Carrack was born April 22, 1951, in Sheffield, England; he joined the pub rock group Ace in 1972, eventually writing and singing their debut single, "How Long." After reaching the Top 20 in the group's native Britain, the record hit the number-three position in the U.S.; however, after subsequent material failed to match the success of "How Long," Ace disbanded in 1977, and Carrack signed on with country artist Frankie Miller. He soon resurfaced in Roxy Music, appearing on the LPs Manifesto and Flesh and Blood before releasing his solo debut, Nightbird, in 1980. Carrack next joined Squeeze, replacing keyboardist Jools Holland; in addition to contributing to the group's 1981 creative pinnacle East Side Story, he also assumed lead vocal duties on the single "Tempted," their best-remembered hit. However, Carrack's stay in Squeeze was brief, and after working with Nick Lowe he again attempted to forge a solo career with the 1982 LP Suburban Voodoo, cracking the U.S. Top 40 with the single "I Need You." A tenure as a sideman with Eric Clapton followed, and in 1985 he joined Genesis' Mike Rutherford in his side project Mike + the Mechanics. Their hits include "Silent Running (On Dangerous Ground)" and "All I Need Is a Miracle." While remaining a rather anonymous figure at home, Carrack achieved a higher level of visibility in America as a result of Mike + the Mechanics' success; subsequently, his third solo album, One Good Reason, proved to be by far his most popular effort to date, with the single "Don't Shed a Tear" reaching the Top Ten. Another tenure with the Mechanics followed, and with the title track of 1988's The Living Years, the group scored their first number-one hit. After the 1989 Carrack solo LP Groove Approved, Mike + the Mechanics issued 1991's Word of Mouth, which failed to repeat the chart performance of its predecessors; by 1993, Carrack was again a member of Squeeze, appearing on the album Some Fantastic Place and also resuming lead chores for a re-recording of "Tempted." However, he was once again back in the Mechanics' fold for 1995's Beggar on a Beach of Gold; the solo Blue Views was issued the next year, followed in 1997 by Beautiful World. Satisfy My Soul was issued in 2000, his first album for Compass Records. © Jason Ankeny, allmusic.com

MORE ABOUT PAUL CARRACK

After years spent bringing a little soul to artists as diverse as Mike & The Mechanics, Nick Lowe, and Squeeze, singer's singer Paul Carrack makes his most persuasive play so far with the release of his stunning new album Satisfy My Soul. Recorded with minimal outside assistance at his Hertfordshire home studio, the album represents a quantum leap beyond Paul's previous work, showcasing his songwriting abilities and allowing his natural soul qualities to shine through with a new clarity and power. In the past, he's often tended to let others mould and direct his considerable talents, but Satisfy My Soul serves to re-establish Paul Carrack as a major solo artist, with both the vision and the capabilities to take control of his own career, and the musical instinct to know which direction it should take. A lot of people are going to be pleasantly surprised by this latest chapter in the life of one of pop music's most distinctive voices. Paul was first bitten by the music bug as a small child back in his native Sheffield, where he would bash away at a home-made drumkit up in his parents' attic, playing along with an old wind-up gramophone. By the time he reached his teens, the Mersey Boom was in full swing, and the young Carrack proceeded to swindle his way into a series of local bands, learning to play the organ and following the gig circuit to Germany, where he underwent the obligatory Hamburg nightclub baptism, as pioneered by such as The Beatles. In the early '70s, his progressive rock outfit Warm Dust released a few albums, but it was only when his pub-rock band Ace had a huge global hit with his song How Long that Paul's career really started to take off. Immediately, the band was catapulted from the British college circuit into huge American arenas, as How Long soared into the US singles chart, eventually reaching #1. When Ace broke up toward the end of the '70s, Paul found himself wrong-footed by the punk-rock boom, but secured some session work, playing on albums by Frankie Miller and Roxy Music, and touring with Roxy, an experience which gave him a taste for the big time. Paul's 1980 solo debut, Nightbird, failed to establish him as an artist in his own right, so he continued playing sessions, biding his time, and honing his talents as a musician and songwriter. As the '80s proceeded, Paul reached a rapprochement with the new-wave scene, playing on albums by The Undertones, The Smiths, and The Pretenders, and joining Squeeze for their masterwork East Side Story, helping redefine the group's profile with his soulful vocal on the hit single Tempted. After leaving Squeeze, obstensibly to pursue a solo career, he hooked up with Nick Lowe, an association which, though resolutely out of step with public taste and radio formats, would nevertheless generate five albums for Lowe and another for Paul, 1982's Suburban Voodoo. Though largely ignored in the UK, the album was a critical success in the US, where it was cited as one of Rolling Stone Magazine's Top 20 Albums of the Year. I Need You, a Carrack composition lifted from the album, provided him with another US Top 40 hit, and was subsequently covered by Linda Ronstadt & Aaron Neville. The biggest break in Carrack's career came in 1985 when he was invited to contribute vocals to a solo album being recorded by Genesis guitarist Mike Rutherford. Despite the apparent differences in their musical styles, the very first track Paul sang on, Silent Running, became a hit on both sides of the Atlantic. Encouraged by such instant success, Mike & The Mechanics developed into more of a group, touring America extensively and securing a string of hit albums and singles over the next decade. Before they could produce a follow-up album, however, Paul found time to sing and play on Roger Waters' Radio KAOS album and record another solo album of his own, 1987's One Good Reason, scoring another couple of hits through the title track and Don't Shed a Tear, which again broke into the US Top Ten, staying on Billboard's Hot 100 for nearly half a year. Even better was to come when Mike & The Mechanics resumed recording. Sung by Paul, the title-track of their second LP The Living Years was a huge worldwide hit, peaking at number one in America, and hoisting the band to megastar status. Further touring was followed by another Carrack solo album, 1989's Groove Approved, whose standout track - the Motown-flavoured Carrack / Lowe composition Battlefield - was later covered by Diana Ross. The following year, Paul was co-opted to perform at Roger Waters' grandiose presentation of The Wall in Berlin, where he sang Hey You in front of over 250,000 people. A third Mike & The Mechanics album, 1991's Word of Mouth, saw Carrack's creative input increasing, with four songwriting credits; and also donated a performance of Ain't That Peculiar recorded with Paul Shaffer's house band on Late Night with David Letterman to Nobody's Child, a charity album for Romanian orphans. Between tours again, in 1993 Paul busied himself with Spin 1ne 2wo, a classic rock covers collaboration with Rupert Hine, Tony Levin, and Steve Ferrone, and rejoined Squeeze for their Some Fantastic Place album. The next year was spent touring the world with Squeeze, working on an ultimately abortive band project with Don Felder, Timothy Schmidt, and Joe Walsh of The Eagles (which nevertheless garnered Paul an award for the most played song in America that year, when the reformed Eagles covered Love Will Keep us Alive, a song he co-wrote with Peter Vale and Jim Capaldi), and recording another Mike & The Mechanics album, Beggar on A Beach of Gold. This contained another couple of Carrack co-compositions, including his collaboration with Mike Rutherford, the hit single Over my Shoulder, which revived the band's flagging fortunes in the UK and Europe, paving the way for a subsequent Greatest Hits compilation. Paul's fifth solo album, Blue Views, appeared in 1995, and despite problems occasioned by the collapse of the record label, it was still highly successful in Europe, earning him a gold disc in Spain. When it was finally released a couple of years later in America on another label, the single For Once in Our Lives became a Top Five hit on Billboard's Adult Contemporary chart, cementing Carrack's growing reputation as a singer-songwriter of class and distinction. He was also developing a parallel reputation as an able and accomplished sideman to the stars, playing keyboards on albums by Eric Clapton, BB King, Simply Red, Mark Knopfler and Elton John, and being invited by Elton to play on Something About the Way You Look Tonight, which, as the B-side of "Candle in the Wind '97," is officially the biggest-selling single ever. Unfortunately, a management change at EMI resulted in his next album, Beautiful World failing to get the promotional push it deserved, and a bitterly dissillusioned Paul elected to take matters more into his own hands. After years spent biding his time, contributing to other musicians' projects and allowing outside producers to impose their designs on his material, it was a long overdue move, and one which reflected Paul's growing belief in himself as a singer-songwriter. Accordingly, he recorded his new album, "Satisfy My Soul" at his home studio, relying on his own musical instincts and playing everything himself, with the exception of the sax parts (which are by Steve Beighton), some backing vocals (by Lindsay Dracass) and some of the drum parts (by Ian Thomas or Paul's old chum Andy Newmark, the former Sly & The Family Stone sticksman.) Steeped in the classic and funk sounds of the '60s and '70s, but with an ear firmly trained on the future, Satisfy My Soul is clearly a labour of love, and features some of Carrack's most accomplished songwriting, with three tracks being co-written by Squeeze lyricist Chris Difford. Carrack's journey to make a record that truly does satisfy his soul has come full circle. "I've been doing this a long time, and I've often made it quite difficult for myself, one way or another, but I'm at the point now where I just want to enjoy my musicality, and I have the technical resources and the stability to be able to follow my instincts more confidently. Alot of the time, I've gone against my own instincts, but I'm not fighting them any more, I'm doing what comes naturally now. I'll be happy just to reach the people who already like what I do, but who knows, by making a more personal record, I might reach more people anyway." Satisfy My Soul brings Carrack to Compass Records, also the American home to other British popsters Robbie McIntosh, Hamish Stuart, Eddi Reader, Boo Hewerdine and Clive Gregson. © 2003-2008 Compass Records. All Rights Reserved