Many Fantastic Colors

Atomic Roooster - Same (1969)

2012-02-23T22:37:00.000-08:00

Atomic Rooster was the first album that started it all off for the Roost and marks IMHO their best. Based on the mantle of Rhythm and blues , this album took blues based prog rock in a new direction with psychedelic and Canterbury leanings. The line up for this debut album was Nick Graham (bass, guitar, flute and vocals), Vincent Crane (organ) and a very young Carl Palmer (percussion)... (Crane and Palmer were first paired together during their tenure in "Arthur Brown´s Crazy World"). Musically this album fits really no specific categorization but I guess you would call this Psych-Canterbury” school and is really a mix of the work of bands like “Egg”, “Caravan” , “Gravy Train” , “Van Der Graaf Generator” , “Pink Floyd” and even “Colosseum”.

"Atomic Rooster" contains orchestration , cello, strings as well as a heavy doze of acid laced guitar and Hammond pounding with the sophisticated drumming of Palmer (who would after this album exit for a long standing career with ELP). Clearly one of my personal favs from the ROOST and another essential album from a historic progressive perspective.(by James Unger)

Personnel:
Vincent Crane (keyboards, vocals)
Nick Graham (vocals, bass, guitar, flute)
Carl Palmer (drums, percussion)

Tracklist:
01. Friday The Thirteenth (Crane) 3.33
02. And So To Bed (Crane) 4.13
03. Broken Wings (Mayall) 5.48
04. Before Tomorrow (Crane) 5:53
05. Banstead (Crane/Graham/Palmer) 3.36
06. S.L.Y. (Crane) 4.39
07. Winter (Crane) 7.01
08. Decline And Fall (Crane/Graham/Palmer) 5.50
+
09. Play The Game (Crane) 4.48

ARMU 1056

Bobby Keys - Same (1972)

2012-02-23T22:09:00.000-08:00

Best-known for his long association with the Rolling Stones, tenor saxophonist Bobby Keys spent several decades as an in-demand session man and touring musician, able to play blues, R&B, and rock & roll with equal flair. Born and raised in Texas, Keys was playing in rock & roll bands as early as the '50s, and worked with Buddy Holly and Bobby Vee, among many others. Keys worked regularly at the famed Muscle Shoals studios in Alabama before meeting the Stones in 1969; his work on Let It Bleed (not to mention the simple fact of association) quickly made him a hot property. Over the next few years, Keys played on albums by George Harrison (All Things Must Pass), Delaney & Bonnie, Eric Clapton, Humble Pie, the Faces, Carly Simon, Nilsson, Joe Cocker, John Lennon, Ringo Starr, Lynyrd Skynyrd, and B.B. King. He also continued his relationship with the Stones, appearing on classics like Sticky Fingers and Exile on Main Street, and striking up an instant chemistry with Keith Richards. In 1972, Keys recorded a self-titled solo album for Warner Bros., which featured an all-star guest lineup including members of the Beatles, Cream, Mountain, and Traffic, plus his longtime trumpet-playing partner Jim Price.
Listen !

By the mid-'70s, his activities with the Stones were beginning to tail off, though he maintained a working relationship with the band over the years, both in the studio and on the road. He continued to find work through his old connections, and in 1979 joined Ron Wood's touring band the New Barbarians. In more recent years, Keys has continued to tour with the Stones and guest on the occasional album (including Sheryl Crow's The Globe Sessions), and also performed with the Lubbock, TX-based band the Ace Liquidators.(by Steve Huey)

What a line - up !

Personnel:
Jack Bruce (bass)
Charlie Freeman (guitar)
Jim Gordon (drums)
George Harrison (guitar)
Nicky Hopkins (keyboards)
Bobby Keys (Saxophone)
Corky Laing (drums)
Dave Mason (guitar)
Felix Pappalardi (bass)
Jim Price (horn, keyboards)
Carl Radle (bass)
Ringo Starr (drums)
John Uribe (guitar)
Mike Utley (keyboards)
Klaus Voormann (bass)
Leslie West (guitar)

Tracklist:
01. Steel From A King (Mason/Gordon/Price) 4.56
02. Smokefoot (Price/Gordon/Keys) 4.01
03. Bootleg (Axton/Dunn/Jackson/Hyes) 3.13
04. Altar Rock (Pappalardi) 3.49
05. Key - West (Price/West/Pappalardi/Keys) 4.57
06. Command Performance (Price) 4.07
07. Crispy Duck (Gordon/Mason/Price) 4.17
08. Sand & Foam (Gordon) 5.28

ARMU 1055

Charlie Daniels Band - Te John, Grease And Wolfman (1972)

2012-02-23T21:59:00.000-08:00

On this, Charlie Daniels' second release, there are obvious signs of a bright future for the guitar- and fiddle-playing hillbilly rocker.

Along for the ride is Joel "Taz" DiGregoria, Charlie's longtime bandmate and keyboard wizard. Taz even takes lead vocal duties on one song, "Billy Joe Young," and his ivory tickling is a highlight of this historical Southern rock document. Daniels rocks with the intensity of a downbound train on "Great Big Bunches of Love," and on his cover of the Jerry Lee Lewis chestnut "Drinkin' Wine, Spo-Dee-O-Dee."

A true Southern poet, Charlie Daniels is seen here in the infancy of his artistic development, but even at this early stage, the poet is alive and well.

Personnel:
Charlie Daniels (fiddle, vocals, guitar, mandolin)
Joel DiGregoria (keyboards, vocals)
Earl Grisby (bass)
Jeff Myer (drums, percussion)

Tracklist:
01. Great Big Bunches Of Love (Daniels) 3.42
02. I´ll Try AgainTomorrow (Daniels/DiGregorio)
03. Parchmant Farm (Allison)
04. Tomorrow´s Gonna Be Another Day (Daniels) 2.30
05. Black Autumn (Daniels/Grisby)
06. In The City (Daniels) 3.52
07. New York City, King Size (Daniels) 4.20
08. Evil (Daniels) 2.35
09. Billy Joe Young (Daniels) 3.21
10. Drinking Wine Spo-Dee-O-Dee (McGhee/Williams) 4.59

ARMU 1054

Blackmore's Night - Autumn Sky (2010)

2012-02-23T21:37:00.000-08:00

A wonderful, fun, haunting, sweet, and addictive addition to the body of work created by a unique and completely mesmerizing band comprised of Candice Night and Ritchie Blackmore and their cadre of minstrels. It's hard to pick a favorite song from this album, as most are so very good. This album was created while Candy/Ritchie were pregnant with their daughter, which may have influenced the sounds of these new entries to their repertoire. My opinion: their most beautiful song to date is on this album (Believe in Me), and one of the most haunting (Darkness). (by Halle DeRoche)

"Blackmore's Night"'s was a great progression and change, that coupled a folksy/medieval style with Blackmore's icredible guitar. This album follows in the high standards of the previous albums, and it would be a great purchase for anyone. All the songs were really good, the "highland", "darkness", and "dance of the darkness" are exquisite... the whole album is a delight to listen to! (by H. Dbouk)

Personnel:

Ritchie Blackmore (guitar, mandolin, domra, hurdy gurdy)
Elizabeth Cary (Gypsy Rose) (violin)
Mike Clemente (Earl Grey of Chamay) (bass, mandolin, guitar)
Malcolm Dick (Squire Malcolm of Lumley) (drums)
Candice Night (vocals, pipe, percussion)
Bard David of Larchmont (keyboards)

Alternate frontcover

Tracklist:

01. Highland (Nordqvist/Gronvall) 5.49
02. Vagabond (Make A Princess of Me) (Blackmore/Night) 5.23
03. Journeyman (Vandraren) (Hemlin/Wester/Night) 5.41
04. Believe In Me (Blackmore/Night) 4.26
05. Sake Of The Song (Blackmore/Night) 2.47
06. Song And Dance (Ritchie Blackmore) 2.03
07. Celluloid Heroes (Davies) 5.28
08. "Keeper Of The Flame" 4:42 (Ritchie Blackmore - Candice Night)
09. "Night At Eggersberg" 2:15 (Ritchie Blackmore)
10. "Strawberry Girl" 4:06 (Ritchie Blackmore - Candice Night)
11. "All The Fun Of The Fayre" 3:55 (Ritchie Blackmore - Candice Night)
12. "Darkness" 3:21 (Ritchie Blackmore - Candice Night)
13. "Dance Of The Darkness" 3:36 (Ritchie Blackmore)
14. "Health To The Company" 4:19 (Ritchie Blackmore - Candice Night)
15. Barbara Allen (Blackmore/Night)

ARMU 1053

Herbie Hancock - Maiden Voyage (1965)

2012-02-23T10:04:00.000-08:00

Less overtly adventurous than its predecessor, Empyrean Isles, Maiden Voyage nevertheless finds Herbie Hancock at a creative peak. In fact, it's arguably his finest record of the '60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop. By this point, the pianist had been with Miles Davis for two years, and it's clear that Miles' subdued yet challenging modal experiments had been fully integrated by Hancock. Not only that, but through Davis, Hancock became part of the exceptional rhythm section of bassist Ron Carter and drummer Tony Williams, who are both featured on Maiden Voyage, along with trumpeter Freddie Hubbard and tenor saxophonist George Coleman. The quintet plays a selection of five Hancock originals, many of which are simply superb showcases for the group's provocative, unpredictable solos, tonal textures, and harmonies. While the quintet takes risks, the music is lovely and accessible, thanks to Hancock's understated, melodic compositions and the tasteful group interplay. All of the elements blend together to make Maiden Voyage a shimmering, beautiful album that captures Hancock at his finest as a leader, soloist, and composer. (by Stephen Thomas Erlewine)

Personnel:

Ron Carter (bass)
George Coleman (saxophone)
Herbie Hancock (piano)
Freddie Hubbard (trumpet)
Tony Williams (drums)

Tracklist:

01. Maiden Voyage (Hancock) 7.57
02. The Eye Of The Hurricane (Hancock) 6.01
03. Little One (Hancock) 8.47
04. Survival Of The Fittest (Hancock) 10.03
05. Dolphin Dance (Hancock) 9.16

ARMU 1052

John Hammond - So Many Roads (1965)

2012-02-23T09:09:00.001-08:00

John Hammond's strength is not songwriting. Rather, his strength is effectively covering and interpreting old blues songs into a more contemporary setting. This is John Hammond's best early album from 1965. The record features ace players such as Charlie Musselwhite on harmonica as well as future Band members Levon Helm and Garth Hudson. The playing is strong and Hammond gives his best white boy blues growl. The record is pure electric blues, none of the acoustic wimpy stuff. Hammond's vocals may seem a bit parodical because it sounds like he is trying too hard, but it is good music nonetheless. Check out his version of Bo Diddley's "Who Do You Love?" !!!

And check out the musicians, who are involved in these beautiful sessions !!!

Personnel:
Mike Bloomfield (piano !)
John Hammond (guitar, vocals)
Levon Helm (drums)
Garth Hudson (keyboards)
Jimmy Lewis (bass)
Charlie Musselwhite (harmonica)
Robbie Robertson (guitar)

Tracklist:
01. Down In The Bottom (Dixon) 3.01
02. Long Distance Call (Morganfield) 3.18
03. Who Do You Love (McDaniels) 3.00
04. I Want You To Love Me (Morganfield) 4.05
05. Judgement Day (Johnson/Hammond) 3.22
06. So Many Roads, So Many Trains (Paul) 2.40
07. Rambling Blues (Johnson) 3.15
08. Oh Yea ! (McDaniels) 3.32
09. You Can´t Judge A Book By The Cover (Dixon) 3.28
10. Gambling Blues (Jackson) 3.10
11. Baby Please Don´t Go (Williams) 2.19

12. Big Boss Man (Dixon/Smith) 2.40

ARMU 0151

Jimmy Giuffre Three - River Chant (1975)

2012-02-23T08:41:00.000-08:00

This recording from Jimmy Giuffre being from a time where he was teaching at the New York University, it´s from the undervalued period in Guiffre's work features Giuffre on tenor, clarinet, flute and bass flute joined by his fellows of this era Randy Kaye on percussion and Kiyoshi Tokunaga on bass. The mood on this piece is very gentle and smooth, all tunes written by Giuffre with some having inidan or african themes and the rhythm section actually providing the perfect atmosphere for this, Kaye using chimes, marimba and bells to emphasize the meditational feel of the music.
It almost seems like a soundtrack in parts, whereas on the back you will find a translation of Hermann Hesse's "Siddharta" to which the music could easily be a score.

Personnel:

Jimmy Giuffre (flute, clarinet, saxophone, vocals)
Randy Kaye (drums, percussion)
Kiyoshi Tokunaga (bass)

Tracklist:

01. Tree People (Giuffre) 5.50

02. Elephant (Giuffre) 5.51

03. Tibetan Sun (Giuffre) 4.09

04. The Train And The River (Giuffre) 5.43

05. The Tide Is In (Giuffre) 3.42

06. River Chant (Giuffre) 4.00

07. Om (Giuffre) 4.45

08. The Listening (Giuffre) 4.30

09. Celebration (Giuffre) 4.36

ARMU 0150

George Gershwin - Plays Rhapsody In Blue (Michael Tilson Thomas) (1976)

2012-02-23T03:27:00.000-08:00

There are literally hundreds of performances of Rhapsody in Blue available on CD. This one uses the 1925 piano roll made by Gershwin himself. Check out the running time. 13:43 compared to Bernstein's apathetic 16:20. George knew how he wanted Rhapsody to be played and he did it. Thank goodness for piano rolls or we'd be stuck with a very tinkly audio. Tilson Thomas drives his orchestra to keep up with his soloist. This isn't the Rhapsody you've heard all these years, this is the version that was meant to be heard. The truth is there aren't many contemporary pianists that can keep up with Gershwin's pall mall pacing; they're just not from the 20's Jazz Era (most are simply wonderful concert pianists). There is a story that Gershwin was traveling by train with his very close friend and great pianist himself, Oscar Levant. Oscar had the top berth, George had the lower (considered more desirable by train travelers). Gershwin commented, "You know Oscar, upper birth-lower birth, it the difference between greatness and genius." You don't need to be a musicologist to know who the genius was.(by D. Barrett)

Personnel:
Columbia Jazz Band conducted by Michael Tilson Thomas
Piano roll as played by George Gershwin

Tracklist:
01. Rhapsody In Blue (Gershwin) 13.43
02. An American In Paris (Gershwin) 18.35

ARMU 1049

Ian Gillan - One Eye To Morocco (2009)

2012-02-23T02:44:00.000-08:00

As one of the most instantly recognizable voices in all of rock -- in a career that has spanned four decades -- there isn't much for Deep Purple's Ian Gillan to prove. But to his credit, he's still at it, as the frontman (to this day) for Purple, as well as returning to his solo career when the mood hits, as evidenced by the release of his 2009 offering, One Eye to Morocco. And while there are indeed some rockin' moments heard throughout Morocco, it won't be confused anytime soon with the heavy metal thunder of such early-'70s Purple releases as Fireball or Machine Head. That said, Gillan is still in fine voice (in fact, it's eerie how much his voice sounds comparable to his vintage Purple days), but musically, it's more mature and varied, as evidenced by the Beatles-like album opening title track, the Dire Straits-esque "Don't Stop," or the bluesy "Girl Goes to Show." Some hard rock vets have a hard time not coming off as trying too hard as they progress in years. As evidenced by One Eye to Morocco, Ian Gillan is very comfortable where he's at. (by Greg Prato)

Personnel:
Rodney Appleby (bass, background vocals)
Ian Gillan (vocals, harmonica)
Michael Lee Jackson (guitar, backgropund vocals)
Joe Mennonna (saxoiphone)
Steve Morris (guitar)
Jesse O'Brien (keyboards)
Howard Wilson (drums)
+
Jaroslav Jarosil (cello)

Tracklist:
01. One Eye To Morocco (Gillan/Morris) 4.05
02. No Lotion For That (Gillan/Morris) 3.11
03. Don't Stop (Appleby/Gillan) 2.35
04. Change My Ways (Gillan) 3.26
05. Girl Goes To Show (Gillan/Morris) 3.59
06. Better Days (Jackson) 4.07
07. Deal With It (Gillan/Morris) 3.44
08. Ultimate Groove (Jackson) 3.48
09. The Sky Is Falling Down (Gillan/Morris) 4.09
10. Texas State Of Mind (Jackson) 3.49
11. It Would Be Nice (Gillan/Morris) 3.10
12. Always The Traveller (Gillan/Morris) 3.17

ARMU 1047

Sneaky Pete Kleinow - Cold Steel (1974)

2012-02-22T23:52:00.000-08:00

Sneaky Pete Kleinow was a founding member of the Flying Burrito Brothers and much in demand as a session player by the time the pedal steel guitarist recorded this solo LP for the Dutch Ariola label during 1973. Although Kleinow is better known as an instrumentalist, he starts the record with an original song wisely rejected while he was with the Burritos, the rather insipidly titled "Wings That Make Birds Fly," which has even worse lyrics. The rest of this country-rock album is also uneven, with rather mediocre compositions by the group's members, which include drummer and lead singer Greg Attaway, pianist David Lovelace, guitarist Richard Bowden, and bassist Michael A. Bowden. Fiddler Gib Guilbeau is a guest on three tracks and sings his "Sweet Suzanna" as well. Not a particularly memorable release by any means, Cold Steel will appeal mainly to obsessive fans of Sneaky Pete Kleinow who must have everything he's recorded. (by Ken Dryden)

Personnel:

Greg Attaway (drums, vocals)
Michael Bowden (bass)
Richard Bowden (guitar)
Sneaky Pete Kleinow (pedal steel-guitar)
David Lovelace (piano)
+
Floyd Guilbeau (fiddle on 03. + 09, vocals on 06.)

Tracklist:

01. Wings That Make Birds Fly (Kleinow) 4.22
02. Highway Dog (Way) 2.18
03. Mississippi Memory (McDill) 2.31
04. Song Of The Mocking Bird (Attaway/Lovelace)
05. Feels Right (unknown) 3.56
06. Sweet Suzanna (Guilbeau) 2.25
07. Painted Lady (Attaway/Lovelace) 2.46
08. Oh My Goodbye (Way) 3.05
09. Fox Hunters (Bowden) 2.21

ARMU 1047

City Preachers - Back To The City (1971)

2012-02-22T22:40:00.000-08:00

The "City Preachers", founded by Brian O´Docker was German´s leading folk group in the sixties and some of their members became later very sucessful in Germany as solo musicians like Udo Lindenberg and Inga Rumpf.

In 1969 Ingar Rumpft left the City Preachers to form the sucessful progressive rock band "Frumpy". This was the end of the City Preachers.

Two years later, some of the original members (Dagmar Krause for example) of this group decided to try a reunion. This is their rare reunion album.

Personnel:

Elga (vocals)

Eckart Kahlhofer (guitar, vocals)

Dagmar Krause (vocals)

Sibylle Kynast (vocals)

Jürgen Stielow (flute, vocals)

Tracklist:

01. Danger Zone (Redding) 2.49

02. Arrawa (Traditionel) 3.24

03. Tumbalalaika (Traditionel) 2.30

04. Franky And Johnny (Traditionel) 2.15

05. Hit the Blues (Stielow/Hausmann) 2.37

06. Cottonfields (Ledbetter) 2.32

07. He Was A Friend Of Mine (Traditionel) 2.44

08. Old Shanty Town (Traditionel) 2.13

09. Nesigo (Traditionel) 2.20

10. Holiday for Promacz (Kahlhofer) 2.09

11. Ua Cha Cha Cha V(Traditionel) 1.46

12. Von Alpha bis Omega (Kahlhofer) 2.38

ARMU 1046

Joe Veras - Atrevete (2010)

2012-02-22T21:58:00.000-08:00

Back from my holidays; this is a typical counterfeit from one of the most popular musicans of the Dominican Republic: Joe Veras:

Joe Veras was born on May 1, 1964, in the town of Cotui, Dominican Republic. Veras' first musical experience came via local church choirs in his native Cotui, which was followed by his relocation to Santo Domingo to attend college. During his time in the capital, Veras would decide to pursue his artistic career full-time, initiated by the release of Joe Veras con Amor in 1993. Two years later, Veras signed a contract with Hipolito Records, with whom he would re-release Joe Veras con Amor, followed by the original project Asi Es la Vida, which took his native island by storm and won him a Casandra Award in 1997. His next recording, the New York-produced Con Mas Amor, sold more than 300,000 copies, earning Veras his first platinum record. A master of the bachata style, Veras moved to the Dominican powerhouse label J&N Records, and 2003's Carta de Verano brought Veras to a new level of exposure, with hits like "Intentalo Tu" hitting the Top Ten in Billboard's Latin Tropical Airplay chart. With Veras' extensive touring history taking him all over the Americas and Europe, his music has reached audiences worldwide. Released in 2006, La Travesia brought him back to the top of the tropical music world with his Top Ten hit "En el Amor." (by Evan C. Gutierrez)

Personnel:

Joe Veras (guitar, vocals)

a bunch of unknown studio musicians

Tracklist:

01. Atrevete (Robles) 4.20

02. La Quiero Un Milllon 3.50

03. Hoy No Es Tu Dia (Ro) 4.05

04. Tu Belleza Interior (Feliz) 2.09

05. La Misma De Ayer (Bermudez) 5.05

06. Extraños (Dan) 3.24

07. Amor Millonarios (feat. Ramon Torre) (Carmona) 3.26

08. Hay Hay (Milanéz) 3.44

09. Te Quiero De Veras (Ventura) 3.52

10. Quiero Escuchar Tu Voz (Soto) 5.04

11. Amor Millonarios (Carmora) 3.25

Another frontcover

ARMU 1045

The Monks of Sherab Ling Monastery - Sacred Tibetan Chant (2003)

2012-02-22T03:32:00.000-08:00

2003 Grammy Award Winner for Best Traditional World Music Album Sherab Ling Monastery nestles in the gentle pine-forested foothills of northern India's Kangra Valley, the seat of its founder His Eminence Ti Situpa XII, a leading Tibetan Buddhist teacher and peace campaigner. Here the monks perform as part of their daily lives prayer ceremonies originating many centuries ago in the great Buddhists monasteries of Tibet.
This album presents the Lineage Prayer with which the monks begin their day, offering respect to a line of great meditation practitioners going back as far as the 7th century, and the Mahakala Ceremony, part of each day's closing ritual in which the monks ask for purification and dedicate their blessings to all sentient creatures.

Personnel:
The Monks of Sherab Ling Monastery (vocals, all instruments)
(Kalzang Yeshe - Norbu Gyaltsen - Tinley Gyurme - Namgyal - Yeshe Gyatsal - Tsultrim Ozer - Lodro Gulatsen Dawa - Phurpa Dorje - Tenpa Dawa Rinchen - Sonam Yarphel)

Tracklist:

01. Mahamudra Lineage Prayer & Meditation 11.54

02. Mahakala Puja (Yeshe Gonpo) a. Invocation and offering to Mahakala 29.48

03. Mahakala Puja (Yeshe Gonpo) b. Receiving blessings and dedicating the merit to world peace and harmony 23.08

ARMU 1044

I´m on holiday

2012-02-08T03:27:00.000-08:00

Hi folks, for the next two weeks I will enjoy my holidays with my partner in the Dominican Republic.

I hope I´ll find some interesting music from this beautiful island !

After my holiday I will upload new albums and rarities. Have a good time !

Passport - Second Passport (1972)

2012-02-08T03:23:00.000-08:00

Saxophone ace Klaus Doldinger’s second Passport album saw the band, in 1971, still trying to find its musical feet. Unlike the more refined electronic jazz rock of their upcoming albums the sound here is closer to pure fusion, if that isn’t an oxymoron, and surprisingly funky coming from a quartet of such scruffy looking young Germans (the blond, bespectacled Doldinger is the notable exception to the group’s post-hippie, hirsute grooming policy).

But a certain focus was still lacking at this early, embryonic stage of their career. It would take another few albums for technology to catch up with Doldinger’s ambitions, judging from the yardstick of this album’s limited keyboard array: mostly primitive electric pianos and clavinets, with a few modest synthesizer runs and a little un- credited mellotron flute.

And the band itself still needed some fine tuning. The lean, clean voice of Doldinger’s trademark tenor/soprano saxophone is, as always, the axis around which everything turns, but the classic Passport line-up wouldn’t emerge until the album "Looking Through", two years later. In retrospect the obvious weak link here is drummer Brian Spring, a serviceable musician for the time but no match for the nimble pyrotechnics of his replacement, the amazing Curt Cress.

Still, the music shows a youthful vitality that can still be invigorating, from the upbeat, toe-tapping energy of the album opener "Mandragora" to the playful curtain closer "The Cat From Katmandu" (love that title). "Fairy Tale" is a luminous, luxurious vamp on a well-known traditional melody, with a cool ersatz bossa-nova vibe to recommend it, and John Mealing’s over-cranked organ solo over the slow, heavy ¾ shimmy of "Registration O" wouldn’t be out of place on an early Can or Amon Düül recording. The latter half of the album (Side Two, on my still pristine vinyl copy) in particular stretches out more, with extra room allowed for open improvisation.

It was never too challenging an album, even its day, but this is easily the best of Passport´s early releases (at any rate it’s the only one I still own, which says pretty much the same thing), and the music is a pleasant change of pace from the copy-cat trends of most European Prog Rock. Plus it sports another cover of unique, Magritte- inspired surrealism from the same Hamburg art studio that designed all of the group’s classic ‘70s albums, each of them as distinctive a hallmark as Roger Dean’s work would prove to be for Yes.

Personnel:

Klaus Doldinger (saxophone, keyboards)

John Mealing (keybords)

Wolfgang Schmidt (bass, guitar)

Bryan Spring (drums)

Tracklist:

01. Mandragora (Doldinger) 3.46

02. Nexus (Doldinger) 5.23

03. Fairy Tale (Tradional) 7.23

04. Registration O (Doldinger) 9.24

05. Horizon Beyond (Doldinger) 6.46

06. The Cat From Katmandu (Doldinger) 4.38

ARMU 1043

The Blues Band - Official Bootleg Album (1980)

2012-02-08T03:06:00.000-08:00

The emergence of the Blues Band at the end of the 1970s was a curious occurrence, given the musical climate at the time. New wave was giving way to synth-pop, ska and bands who made a reputation out of being both miserable and inept. The debut album is full of covers, starting with an Elmore James number that features some juicy slide guitar, and this sets the tone. It had all been done before, of course, much of it by the musicians on show. But at the time it was refreshing and, if anything, it sounds even better now. They received some decent publicity at the time, but came across more like a band you'd see at the pub, except that they possessed a great deal of stagecraft. This, though, is a little overdone on one track, 'I Don't Know', on which Paul Jones draws on a little too much of his acting experience. (by D. Thorn)

Personnel:
Gary Fletcher (bass, guitar, vocals)
Hughie Flint (drums)
Paul Jones (harmonica, vocals)
Dave Kelly (guitar, vocals)
Tom McGuinness (guitar)
+
Bob Hall (piano)

Tracklist:
01. Talk to Me Baby (James)
02. Flatfoot Sam (Lewis/Wills)
03. Two Bones and a Pick (Walker)
04. Someday Baby (Estes)
05. Boom Boom - Out Goes the Lights (Walters)
06. Come on In (JoneMcGuiness/Stonebridge)
07. Death Letter (House)
08. Going Home (Kelly)
09. I Don't Know (Maybon)
10. Diddy Wah Diddy (Blake)

ARMU 1042

Baker Gurvitz Army - Same (1974)

2012-02-08T02:52:00.000-08:00

It's funny how some of the most unknown contributions to music can be some the best!

The Baker Gurvitz Army is one of those exceptions. Featuring Ginger Baker on drums and vocals, Adrian Gurvitz on guitar and vocals and Paul Gurvitz on bass this album is an overlooked masterpiece!

Well written and played progressive, blues and hard rock make this album a must for any fan of 70's super groups.

Personnel:

Ginger Baker (drums, percussion)

Adrian Gurvitz (guitar, vocals)

Paul Gurvitz (bass, vocals)

Norman Mitchell (keyboards)

Tracklist:

01. Help Me4 (A.Gurvitz) 4.36

02. Love Is (A.Gurvitz) 2.47

03. Memory Lane (Baker/A.Gurvitz) 4.46

04. Inside Of Me (A.Gurvitz)

05. I Wanna Live Again (Baker/A.Gurvitz/P.Gurvitz) 4.22

06. Mad Jack (Baker/A.Gurvitz)

07. 4 Phil (Baker/A.Gurvitz/P.Gurvitz) 4.25

08. Since Beginning (A.Gurvitz)

ARMU 1041

Cat Stevens - Tea For Tillerman (1970)

2012-02-08T02:37:00.000-08:00

Cat Stevens' Tea For The Tillerman is truly a classic album, and they don't come any classier than this. Stevens was a talented musician, and was not afraid to make music that came from the heart - a quality many musicians nowadays lack (see Limp Bizkit). Stevens had the ability to write memorable tunes and pen intelligent, thought-provoking lyrics, which made him the top of his game in the early 70's, and has gained him successions of new fans year after year, even if he isn't Cat Stevens anymore (I believe he is now known as Yusuf Islam). "Tea For The Tillerman" is in my opinion, Stevens' finest album, and one of the most perfect albums ever recorded. Although most people are only familiar with the albums' hit singles ("Wild World", "Father And Son" and "Where Do The Children Play") - each one a classic in its own right, the other eight songs on the album are equally as great. The songs are not overly produced, and comprise largely of acoustic guitar, bass, keyboards and drums, with the odd string arrangement here and there (arranged by Del Newman). The album kicks off with "Where Do The Children Play?" and although it may strike the average listener as a nice, simple tune, the lyrics present a social commentary that is as relevant today as it was almost thirty years ago (in a world dominated by materialism, technology and want, is there any room for children to play and carry on with their simple untinctured lives?). "Hard Headed Women" is another simple tune, floating mainly on acoustic guitar and strings, but the lyrics about needing a serious woman rather than superficial "fancy dancers" are lyrics that quite alot of men (including myself) can relate to. "Wild World", the song that "broke" Cat Stevens in America remains a timeless pop tune. "Sad Lisa", with its plaintive piano and string arrangement is one of Stevens' overlooked masterpieces. Stevens' singing of wanting to comfort a girl when she is sad is touching, and the violin solo never ceases to send shivers up my spine. "Miles from Nowhere" is a terrific rocker, and from the lyrics, we can sense that Stevens is one a spiritual quest of some sort (and we all know where this quest would lead him, don't we?). "But I Might Die Tonight" is another great rock song, and one of my favourite Cat Stevens' songs. The song is quite short but almost everyone can relate to its lyrics about the monotony of everyday life. "Longer Boats" is quite a weird one, with some really strange lyrics (I suspect the song is about UFOs - but this is just a personal observation), but its a good song nonetheless. "Into White" has a more traditional folk sound. Its psychedelic lyrical content reminds me alot of the Beatles' "Lucy In The Sky With Diamonds". In the 5 minute-long "On The Road To Find Out", Stevens tells us more about his spiritual voyage. The tune may not be as catchy as "Miles from Nowhere", but it is by no means a bad song. The classic "Father And Son", a moving commentary on the generation gap of Stevens' generation is still relevant today, as not all parents and children get on well with each other. "Tea For The Tillerman" sees a return to the themes explored in "Where Do The Children Play" and Stevens reminds us that "while the sinners sin the children play" - that innocence will forever exist in a monotonous material world.

Well, there you have it. Keeping in mind the thought-provoking lyrics and the catchy tunes, it is no wonder that "Tea For The Tillerman" has become a staple in folk and rock record collections since the day it was released. Stevens was a true master and this album is a testament to his genius.(by Ziggy)

Personnel:

Harvey Burns (drums)

Alun Davies (guitar)

Jack Rostein (violin)

John Ryan (bass)

Cat Stevens (guitar, vocals, keyboards)

Tracklist:

01. Where Do The Children Play (Stevens) 3.50

02. Hard Headed Woman (Stevens) 3.46

03. Wild World (Stevens) 3.18

04. Sad Lisa (Stevens) 3.40

05. Miles From Nowhere (Stevens) 3.32

06. But I Might Die Tonight (Stevens) 1.50

07. Longer Boats (Stevens) 3.10

08. Into White (Stevens) 3.24

09. On The Road To Find Out (Stevens) 5.07

10. Father And Son (Stevens) 3.35

11. Tea For The Tillerman (Stevens) 1.01

ARMU 1040

Pera Joe Blues Band - Live At Crossroads Nights (2005)

2012-02-08T00:29:00.000-08:00

Pera Joe Blues Band started in the October, 2003. as a quartet made of experienced musicians committed to providing an entertaining performance based on a variety of blues influences.

Each member brings their own unique brand of blues to the Band. Modern approach to standard blues songs with new arrangements attracts more and more people to their concerts. For past 3,5 years, Band has played all main blues and jazz international festivals in Serbia and Montenegro.

This is a fantastic live recording: If you would like to hear, how exciting blues-rock can be ... try and listen and enjoy ...

Personnel:
Ivan Cukic (bass, vocals)
Vladimir migric (drums)
Petar Miladinovic-Pera Joe (harmonica, vocals)
Goran Stojkovic-Goxy (vocals, guitar)

Tracklist:
01. Congo Square (Landreth/Ranson/Melton) 5.20
02. I Don´t Believe (Robey) 5.28
03. Tired Of Talkin´ (Ford) 3.36
04. Wasn't That Good (Harris) 4.01
05. Little By Little (London/Wells) 7.50
06. Don't Worry Baby (Rosas/Perez/Burnett) 2.48
07. Hoochie Coochie Man (Dixon) 5.38
08. Lawdy Lawdy Miss Mary (Willis) 3.54
09. Sneakin´ Around (Robinson) 3.07
10. Woke Up This Morning (King) 5.28
11. On The Road Again (Jones/Wilson) 6.54

ARMU 1039

2012-02-07T22:33:00.000-08:00

Louisiana guitarist Dale Hawkins' 1957 hit "Suzy Q," with its crackling bluesy guitar and insistent cowbell, was one of the most exciting early rockabilly singles. Recording for Chess (as one of its few white artists) between 1956 and 1961, Hawkins never quite duplicated its success, either commercially or artistically, but came close enough on a number of occasions to warrant respect as one of the better rockabilly singers. His drawling delivery, sense of humor, affinity for blues, and sharp guitar work (which was actually provided by such ace players as Roy Buchanan, Scotty Moore, and James Burton) are heard to good effect on his 1958 album and a number of non-hit singles. Hawkins went on to become a producer of some note in the 1960s, working with the Five Americans and Bruce Channel.

A way-above-average '50s rock & roll album, including both sides of Dale Hawkins' first four singles. Highlights are "Suzie Q," its killer B-side, "Don't Treat Me This Way," and the goofy "See You Soon Baboon" and "Mrs. Mergitory's Daughter." (by Ritchie Unterberger)

Personnel:

Roy Buchanan (guitar)

Al Duncan (drums)

Dale Hawkins (guitar, vocals)

Dean Mathis (bass)

Mark Mathis (piano)

Tracklist:
01. Suzie Q (Broadwater/Hawkins/Lewis 2.18
02. Don't Treat Me This Way (Lewis/Nelson) 2.14
03. Juanita (Hawkins) 2.11
04. Tornado (Adams) 2.27
05. Little Pig (Kilgore/Mathis) 2.15
06. Heaven (Hawkins) 2.54
07. Baby Baby (Glasser) 2.46
08. Mrs. Mergritory's Daughter (Hawkins) 2.49
09. Take My Heart (Hawkins) 2.10
10. Wild, Wild World (Hawkins) 1.49
11. See You Soon Baboon (Broadwater/Lewis) 1.59
12. Four Letter Word (Rock) (Lewis) 1.35

ARMU 1038

Canned Heat - Boogie With Canned Heat (1968)

2012-02-07T15:32:00.000-08:00

Canned Heat's second long-player, Boogie With Canned Heat (1968), pretty well sums up the bona fide blend of amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie. The quintet -- follow up their debut effort with another batch of authentic interpretations, augmented by their own exceptional instrumentation. One development is their incorporation of strong original compositions. "On the Road Again" -- which became the combo's first, and arguably, most significant hit -- as well as the Albert King inspired anti-speed anthem, "Amphetamine Annie," were not only programmed on the then-burgeoning underground FM radio waves, but also on the more adventuresome AM Top 40 stations. Their love of authentic R&B informs "World in a Jug," the dark "Turpentine Blues," and Hite´s update of Tommy McClennan´s "Whiskey Headed Woman." The Creole anthem "Marie Laveau" is nothing like the more familiarare cut by Bobby Bare , although similarities in content are most likely derived from a common source. The side, as rendered here, is arguably most notable for the driving interaction between guitarists Wilson and Vestine as they wail and moan overHite´s imposing leads. Saving the best for last, the Heat are at the height of their prowess during the lengthy audio biography on "Fried Hockey Boogie." Each member is introduced by Hite and given a chance to solo before they kick out the jams, culminating in Hite's crescendo of " ... Don't forget to boogie!" (by Lindsay Planer)

Personnel:
Bob Hite (vocals)
Alan Wilson (guitar, vocals, harmonica)
Henry Vestine (guitar)
Larry Taylor (bass)
Adolfo de la Parra (drums)
+
Sunnyland Slim (piano)

Tracklist:
01. Evil Woman (Weiss) 3:01
02. My Crime (Hite/Parra/Taylor/Vestine/Wilson) 3:58
03. On the Road Again (Jones/Wilson) 5:00
04. World in a Jug (Hite/Parra/Taylor/Vestine/Wilson) 3:25
05. Turpentine Moan ´(Hite/Parra/Taylor/Vestine/Wilson) 2:53
06. Whiskey Headed Woman No 2 (Hite) 2:50
07. Amphetamine Annie (Hite/Parra/Taylor/Vestine/Wilson) 3:29
08. An Owl Song (Wilson) 2:44
09. Marie Laveau (Vestine) 5:06
10 Fried Hockey Boogie (Taylor) 11:07

ARMU 1037

John Coltrane & The Red Garland Trio - Traneing In (1957)

2012-02-07T15:15:00.000-08:00

This is one of two dates featuring Coltrane with Red Garland's trio, each introducing Coltrane's "sheets of sound" approach to an Irving Berlin song. On "Soultrane" the tune is "Russian Lullaby" (though the reason that album has a slight edge is Coltrane's performance of Billy Eckstine's "I Want to Talk About You" (far more conservative but no less engaging than his fabled performance of the same tune on the later "Live at Birdland" Impulse album). On "Traneing In" the Berlin tune is "Soft Lights and Sweet Music" (which will strike those not attracted to Coltrane's sound and harmonies as a misnomer). Given Berlin's attraction throughout his career to "black music" (even Doris Day's 1950s recording of Berlin's "Shakin' the Blues Away" invites a preliminary advisory to today's sensitive listeners), I have a hunch America's greatest songwriter would have been/was flattered to have had these two songs performed by arguably the most innovative and influential jazz man of the past 50 years.

Once again, this is a recording serving as a reminder of what an enormously gifted pianist Red Garland was (as a former boxer, if he was half as nimble in the ring as on the keys, he must have excelled there as well). Regrettably, by 1965 Red was out of sight, out of mind, finishing out his career in Dallas neglected if not ignored (his playing suffering for it, as is evident on the rare recordings he was lured into making after the mid-sixties). (by Samuel Chell)

Personnel:
Paul Chambers (bass)
John Coltrane (saxophone)
Red Garland (piano)
Art Taylor (drums)

Tracklist:
01. Traneing In (Coltrane) 12.34
02. Slow Dance (Levister) 5.27
03. Bass Blues (Coltrane) 7.46
04. You Leave Me Breathless (Coltrane/Freed/Hollander) 7.23
05. Soft Lights And Sweet Music (Berlin/Freed/Hollander) 4.41

ARMU 1036

John Entwistle - Smash Your Head Against The Wall (1971)

2012-02-07T15:01:00.000-08:00

John Entwistle had been writing tunes since The Who´s second album, the majority of them coming out as album cuts or as B-sides of singles. But in the early '70s, with The Who becoming even less of an outlet for his songwriting talents, Entwistle forged ahead with his first solo album, Smash Your Head Against the Wall. Musically, it has much of a Who flavor to it, with the strong guitar work, lumbering drums and basslines that define the music. But Entwistle's many talents (he contributes an entire horn section to "Pick Me Up") surface on this debut disc, and his preoccupation with darker subject matter ("Heaven and Hell," "My Size," and "You're Mine") is well to the fore. Compared to this, Townshend's grimmest Who material sounds like a romp in the park. Potent stuff. (by Cub Koda)

Personnel:

Cyrano (Dave Langston) (guitar)

John Entwistle (bass, keyboards, fluegelhorn, trumpet, trombone, vocals)

Jerry Shirley (drums)

Neil Innes (percussion on 08.)

Keith Moon (percussion on 08.)

Viv Stanshall (percussion on 08.)

Tracklist:

01. My Size (Entwistle) 3:46

02. Pick Me Up (Big Chicken) (Entwistle) 3:44

03. What Are We Doing Here? (Entwistle) 3:50

04. What Kind of People Are They? (Entwistle) 2:44

05. Heaven and Hell (Entwistle) 4:55

06. Ted End (Entwistle) 2:37

07. You're Mine (Entwistle) 4:38

08. No. 29 (Eternal Youth) (Entwistle) 5:37

09 I Believe in Everything (Entwistle) 3:11

10. Cinnamon Girl (Young) 3:05

11. It's Hard to Write a Love Song (Entwistle) 4:54

12. The Haunted Can Be Free (Entwistle) 3:54

13. World Behind My Face (Entwistle) 4:56

14. My Size (Entwistle) 3:50

15. What Kind of People Are They? (Entwistle) 2:55

16. Pick Me Up (Big Chicken) (Entwistle) 3:08

17. No. 29 (Eternal Youth) (Entwistle) 4:38

18. Ted End (Entwistle) 1:56

Tracks 11, 12, 13, 15, 16, 17, 18 demo version

ARMU 1035

George Thorogood And The Destroyers - Same (1977)

2012-02-07T14:46:00.000-08:00

George Thorogood & The Destroyers' self-titled debut album is also his best ever.

What a lot of people who are against alcohol don't realize is that the drinking songs are just a facade for the fact that Thorogood introduced the majority of the rock audience to the music's blues roots.

The best songs on this album are "Madison Blues and "Ride On Josephine", the latter of which is a Bo Diddley cover.

Being that I don't drink, I feel that the aforementioned songs will be remembered long after "I Drink Alone" and "(If You Don't Start Drinkin') I'm Gonna Leave" have faded out of memory. This album is the first place to discover George Thorogood and his great, rootsy band. (by foothpath cowboy)

Personnel:
Billy Blough (bass)
Jeff Simon (drums)
Ronald Smith /guitar)
George Thorogood (guitar, harmonica, vocals)

Tracklist:
01. You Got to Lose (Hooker) 3:15
02. Madison Blues (James) 4:24
03. One Bourbon, One Scotch, One Beer (Hooker) 8:20
04. Kind Hearted Woman (Johnson) 3:48
05. Can't Stop Lovin' (James) 3:04
06. Ride on Josephine (McDaniel) 4:17
07. Homesick Boy (Thorogood) 3:02
08. John Hardy (Traditional) 3:18
09. I'll Change My Style (Thorogood) 3:57
10. Delaware Slide (Thorogood) 7:43

ARMU 1034

Henry Purcell - 8 Harpsichord Suites - 2 Organ Voluntaries (1986)

2012-02-07T14:31:00.000-08:00

Henry Purcell, a short biography:

"Henry Purcell was one of the greatest English composers, flourishing in the period that followed the Restoration of the monarchy after the Puritan Commonwealth period. Purcell spent much of his short life in the service of the Chapel Royal as a composer, organist and singer. With considerable gifts as a composer, he wrote extensively for the stage, particularly in a hybrid musico-dramatic form of the time, for the church and for popular entertainment, a master of English word-setting and of contemporary compositional techniques for instruments and voices. He died in 1695, a year after composing funeral music for Queen Mary. "

Although Purcell was employed for over half his life as an organist of the Chapel Royal and at Westminster Abbey, he wrote relatively little for the instrument. His harpsichord music includes a number of suites, some of which include transcriptions of his own theatre music.

These suites are not earth shattering music, but for relaxation it's great as background music. If you're tired of New Age prozac, this is a refreshing change, being just a harpischordist banging away...

Try, listen, enjoy !

Personnel:
Colin Tilney (harpsichord on 01 - 32.)
Simon Preston (organ on 33. - 34.)

Tracklist:
01.-04. Suite no. 1 in G major Z.660
05.-08. Suite no. 2 in G minor Z.661
09.-12. Suite no. 3 in G major Z.662
13.-16. Suite no. 4 in A minor Z.663
17.-20. Suite no. 5 in C major Z.666
21.-24. Suite no. 6 in D major Z.667
25.-28. Suite no. 7 in D minor Z.668
29.-32. Suite no. 8 in F major Z.669

31. Voluntary in G major Z.720
32. Voluntary for Double Organ in D minor Z

ARMU 1033

Harry Chapin - Heads And Tails (1972)

2012-02-07T14:15:00.000-08:00

Harry Chapin's debut album is a smoothly put-together, if slightly musically unbalanced piece of singer/songwriter rock, unbalanced because good as everything here is, the hit, "Taxi," and the other songs on the original LP's second side somewhat overwhelm the rest of Heads & Tales. "Taxi" is so elaborately produced and arranged that it's like a feature film that clocks in at six minutes and 44 seconds; "Any Old Kind of Day" is a beautiful and unsettling confessional about an artist's unease and depression, like an East Coast equivalent to Brian Wilson´s brand of personal songwriting, with a touch of James Taylor's influence and unique phrasings and sensibilities by Chapin; the epic "Dogtown" (which nearly overstays its welcome at seven and a half minutes) is a startling piece of song painting with a topical edge, which anticipated some aspects of Chapin's subsequent public commitment to progressive political causes; and "Same Sad Singer" is a haunting, romantic confessional that explores some of the same emotional territory in first-person terms that "Taxi" dealt with through characters. Side one's songs don't quite match up, though "Empty" has nice hooks and a good beat. The record holds up well in part because of its strange combination of lean production and rich sounds -- producer Jac Holzman preserved all of the elements from Chapin's stage act that he liked, and apart from some keyboards and percussion, it's all the basic quartet of the Harry Chapin Band. They sound like a lot more players, and they add more than two backup singers should be capable of bringing to the table. Chapin's singing isn't actually that good, his range and expressiveness at times very narrow, but his energy and commitment to the songs pour off the album and make this album a compelling listen 30 years later. (by Bruce Eder)

Personnel:
Harry Chapin (guitar, vocals)
Ron Palmer (guitar, background vocals)
Tim Scott (cello)
John Wallace (bass, background vocals)
+
Steve Chapin (keyboards, recorders)
Russ Kunkel (drums)

Tracklist:
01. Could You Put The Light On, Please (Chapin) 4.30
02. Greyhound (Chapin) 7.30
03. Everybody´s Lonely (Chapin) 4.07
04. Sometime, Somewhere Wife (Chapin) 4.58
05. Empty (Chapin) 2.57
06. Taxi (Chapin) 6.44
07. Any Old Kind Of Day (Chapin) 4.56
08. Dogtown (Chapin) 7.30
09. Same Sad Singer (Chapin) 4.12

ARMU 1032

Delta Moon - Goin´ Down South (2004)

2012-02-07T13:56:00.000-08:00

Delta Moon, an Atlanta-based outfit melded around twin, lead slide guitars, offers rock-tinged blues and roots music that never go over the top or scream "boogie" in your face. In that respect, this quintet is much more closely aligned with Peter Green's Splinter Group---though not as cold-sounding as that blues outfit---than with southern icons such as the Allman Brothers or Lynyrd Skynrd.

Guitarists Tom Gray (former main man for the brains but not the bluegrass bass player of the same name) and Mark Johnson create a wonderful tone when they merge and neither seems to crowd the other. This musical symbiosis yields a rich sound that is both crisp and greasy at times but never sloppy. Bolster this element with Gina Leigh's right-on vocals, and punchy, charged up rhythm section, a sprinkling of bright piano, and Vassar Clement's cameo fiddle on Stone Cold Man, Delta Moon is a force to be reckoned with (or with which to be reckoned for those preposition purists out there).

This set contains a mixture of strongly original tracks and creative covers---including the memorable title track, which is an R.L. Burnside tune, and a great rendering of Nightclubbing by David Bowie and Iggy Pop. "Goin' Down South" may be one of the best unheralded, deserves-to-be-heard releases hiding out there. (by the wizzard)

Personnel:

Scott Callison (drums)

Tom Gray (guitar, vocals)

Mark Johnson (guitar, mandoline)

Gina Leigh (vocals)

Jon Schwenke (bass)

Mike Auldridge (dobro)

Vassar Clements (fiddle)

Tracklist:

01. That´s It (Gray) 3.26

02. I Want To go (Lenoir) 4.09

03. Dreams Come Real (Gray/Johnson) 3.51

04. Stone Cold Man (Grey/Johnson/Leigh) 4.12

05. Goin´ Down South (Burnside) 3.43

06. Poplar Grove (Gray/Johnson) 3.48

07. All She Wrote (Johnson/Leigh) 2.59

08. Nightclubbing (Bowie/Pop) 4.26

09. Shake Something Loose (Bramblett/Causey/Gray) 3.39

10. I´ll Die Trying (GrayJohnson) 4.38

11. Nobody Knows (Callison/Gray/Johnson/Leigh/Schwenke) 4.15

ARMU 1031

Anajani Thomas with Leonard Cohen - Live In Poland (2007)

2012-02-07T13:44:00.000-08:00

Anjani Thomas' Blue Alert came out early in 2006. Then nothing. Other "divas" got the push instead. Corrine Bailey Ray comes to mind as the most recent. Thankfully she did a short tour of Europe with companion and friend Leonard Cohen who produced Blue Alert and wrote all the lyrics to the songs. One show was properly recorded and broadcast on Polish radio. This is it.

Thomas has an angelic voice diametrically opposite to Cohen's smoker's cackle. It's so smooth you can't believe she can sing Cohen. But this is no Famous Blue Raincoat a la Jennifer Warnes. Thomas has had a long working relationship with Cohen since 1985 when she signed on as backing singer on his tour. She's also on his albums from I'm Your Man, The Future and the most recent, Dear Heather.

An attempt at a solo career started in 2000 with two albums that did not chart. For her third, Anjani rifled through Cohen's old notebooks, found lyrics and poems and put them to music. This is late-night listening nirvana, combination of Anjani's sexy, cool vocals with Cohen's always subversive lyrics.

Favourite songs here include Wither Thou Goest, a duet with Anjani and Cohen not found on the Blue Alert album, and Anjani's interpretation of Nightingale also recorded by Cohen on Dear Heather. Perhaps it is best to let Leonard Cohen describe what's found here:

"It's a great privilege and a great honour for us to be here. We were here 22 years ago. There were brave men in prison. There were people under house arrest. There was the Heavy Hand over the society and over the culture. And here today, 22 years later, they're calling this the 'New Paris'. Warsaw is the new Paris. Well, maybe Warsaw doesn't want to be the new Paris? In any case, we don't live in Warsaw, we don't live in Paris although those geographies may define our actual location. We live in other places that are more intimate and more real and more authentic than whatever the official culture defines us as. I was reading in Milosz's book today... just one beautiful paragraph... He says:

"Man has been given to understand

that he lives only by the grace of those in power.

Let him therefore busy himself sipping coffee, catching butterflies.

And whoever cares for the republic will have his right hand cut off.

There is so much death and that is why affection for pigtails,

bright-coloured skirts in the wind, for paper boats no more durable

than we are."(*)

(*) an excerpt from Polish poet and 1980 Literary Nobel Prize Award laureate, Czeslaw Milosz's "Alfabet Milosza" (1997).

"And then the poem just drifts off. And it's in that drifting off that these songs that we have tonight are written... The songs not of great love,... songs that address the great bewildering challenges of today whether they're global warming of the clash of civilizations or the resolution of all the horrendous conflicts that beset us. These are songs that Anjani and I wrote [are] about the little places, about the little loves, about the little corners."

Leonard Cohen understands that only with love can true art be formed. State-sponsored, government-funded artists can bring forth no art at all. Just the sound of heavy propaganda, hammering away at all opposition.

So give yourself a chance and catch Anjani Thomas live. Then buy her album.

Thanks to banalny for sharing this show. It was broadcast via digital satellite radio*.

Live at Studio im. Agnieszki Osieckiej, Polskie Radio Program 3 (a.k.a. "Trójka"), Warszawa, Poland, March 31, 2007.

Personnel:
Scott Alexander (bass)
Rob Pitch (guitar)
Lou Pomanti (keyboards)
Anjani Thomas (vocals, piano)
+
Leonard Cohen ( 09. + 11.)

Tracklist:
01. Marek Niedzwiedzki introduction
02. Leonard Cohen introduction
03. Blue Alert (Cohen/Anjani)
04. The Golden Gate (Cohen/Anjani)
05. Half The Perfect World (Cohen/Anjani)
06. Innermost Door (Cohen/Anjani)
07.No One After You (Cohen/Anjani)
08. Band introduction
09. Never Got To Love You (Cohen/Anjani)
10. Thanks For The Dance (Cohen/Anjani)
11.Whither Thou Goest (Cohen/Anjani)
12. Nightingale (Cohen/Anjani)

ARMU 1030

B. B. King - Live At Fillmore East 1971 (2006)

2012-02-07T13:01:00.000-08:00

BB King reportedly found his break with mainstream white audience through Mike Bloomfield’s Butterfield Blues Band. According to www.worldblues.com, “The new excitement generated by the band with guitar playing of Elvin Bishop and Mike Bloomfield created curiosity about the origins of their music. Countless times the were asked, ‘Where did you learn to play that way?’ Both guitarists answered honestly, ‘By copying BB’s licks.’ People looked at them blankly, ‘BB who?’ ‘The real monster,’ Bishop and Bloomfield would reply, ‘BB King.’”

Word of mouth is one thing but BB King followed up with a hit, the Roy Hawkins song, The Thrill Is Gone, in 1969. As www.worldblues.com said: “With all his new triumphs, the most symbolic was his appearance on the Ed Sullivan Show in 1971. Playing on the Sullivan show was a sign that a new performer had arrived with the American public.”

King’s growing popularity also meant that the blues musician was now playing, apart from the usual jazz clubs, venues such as Fillmore East.

Thanks to Davmar77 for sharing the excellent soundboard tracks on the Dime site.

Reader Lambdish commented: “Absolutely amazing - I was at the soundcheck earlier in the day and attended the late show for this one - it was my first time seeing BB but I really went for Moby Grape who was the middle act on the bill… Anyway - we were bummed about the Grape fiasco [evidently Moby Grape had a fight with Bill Graham and played a noisy 20 minutes] but then BB came out and blew it all away… I thought maybe I glorified this show in my memory but after listening to this show so many years later, I now realise I wasn’t imagining things - BB was amazing that night.”

If BB King was hot that night, his band was really smokin’ too.

Personnel:
John Browney (trumpet)
Joseph Burton (trombone)
Wilbur Freeman (bass)
Sonny Freeman (drums)
Milton Hopkins (guitar)
Louis Hubert (saxophone)
BB King (guitar, vocals)
Ron Levi (piano)
John Turpenton (saxophone)

Tracklist:

CD 1: Early Show:
01. Let Me Love You (King/Ling) 7.00
02. Walkin’ Doctor Bill (King) 6.58
03. You’re So Fine (Finnie/Walter/Reed/Schofield) 3.42
04. Ain’t That Just Like A Woman (Demetrius/Moore) 3.25
05. Instrumental (King) 1.18
06. Instrumental (King) 1.55
07. Please Accept My Love (King/Ling) 2.29
08. The Thrill Is Gone (Darnell/Hawkins) 5.49
09. Instrumental (King) 1.46
10. Sweet Sixteen (King/Josea) 6.03

CD 2: Late Show:
01. Instrumental (King) 4.40
02. Every Day I Have The Blues (Chatman) 2.19
03. How Blue Can You Get (Feather) 6.18
04. Instrumental (King) 3.46
05. A Whole Lotta Lovin’ (Bartholomew/Domino) 4.13
06. Nobody Loves Me But My Mother () 5.22
07. Hummingbird (Robertson) 4.23
08. Instrumental (King) 3.38
09. Intros 1.46
10. Sweet Sixteen (King/Josea) 5.32
11. Instrumental (King) 2.38
12. The Thrill Is Gone (Darnell/Hawkins) 5.39
13. Instrumental (King) 1.39
14. Crowd 0.32

ARMU 1029A (CD 1)

ARMU 1029B (CD 2)

Troy Roberts - Soul Garbage (2008)

2012-02-06T21:31:00.000-08:00

These days it is rare to find a new talent that shakes your inner music core but Australian saxophonist Troy Roberts does just that. His amazing playing, his beautiful tone and his incredible phrasing are coupled with his talent for writing fresh and exiting new compositions. You can hear traces of all his jazz influences brought together by the fierce power of his unique voice. His compositions are a balancing act between jazz-funk and standard-type genres. In this recording we find a heavier emphasis on straight ahead jazz with a tinge of funk. James Morrison writes on the CD liner notes: “Whilst it’s not common to display virtuosity, it’s even rarer to be wonderfully creative while doing so. But the rarest of all gifts is to have a unique voice; a sound that is unmistakably your own, Troy Roberts has that gift. On this recording he amply demonstrates that it’s possible to pay homage to the great tenor players of jazz and still create a fresh approach that leaves the listener always in anticipation of what he’ll come up with next. Having gathered an inspired group of musicians, written some great music and infused all involved with his determination to make it special. Troy gives us a first recorded look at what will undoubtedly be a musical journey destined to be emulated by those who follow”.

Personnel:
Andrew Fisenden (drums)
James Morrison trumpet, flugelhorn, trombone)
Tom O’Hollaran (keyboards)
Paul Pooley (bass)
Troy Roberts (saxophone)

Tracklist:

01. Soul Garbage (Roberts) 6.08
02. Stanley (Roberts) 10.01
03. Table Mountain (Roberts) 8.13
04. Up To No Good (Roberts) 8.22
05. Close To You (Roberts) 6.58
06. The 80's Cop Show (Roberts) 7.59
07. Jagged Edge (Roberts) 9.43
08. J-Lag (Roberts) 8.08

ARMU 1028

Family - BBC Radio (Volume 1- 1968-69) (2004)

2012-02-06T12:49:00.000-08:00

This is the first of two volumes containing Family's previously unreleased BBC Radio 1 sessions. Featured here are several versions of tracks never before available on CD. This includes the only official release of their interpretation of the old blues number, 'I Sing Um The Way I Feel'.

Covering the period from late 1968 up to mid-1969 these recorded sessions are mastered from the original BBC transcription tapes and feature one of Britain's finest bands playing in the studio, but with an extra edge that is normally only captured at live performances.

Two reviews:

Family were one of the true innovators of the late 60s and early 70s. Live they were fantasically exciting with the driving band and the exploding Roger Chapman as front man. Often the act was like watching a train wreck. Here you will find how clever and precise they could be playing live for radio broadcast. Excellent quality and a real treat. Roger Chapman still tours successfully these days but here here is a chance to hear where the whole thing started. Get it now! (by teamscoop)

I was a bit dissapointed with this cd,a lot of the recordings feature backing tracks from the actual albums with only the vocals and possibly the drums being live Still i suppose the music was too complicated to reproduce in the short time alloted for BBC sessins and they were by no means the only band who did this.As a document of the times it`s worth having and the last six tracks are definately live. (by James MacIntyre)

Personnel:
Roger Chapman (vocals, saxophone, harmonica, percussion)
Rick grech (bass, violin, cello, vocals)
Jim King (saxophone, harmonica, vocals, tin whistle, piano)
Rob Townsend (drums, percussion)
Charlie Whitney (guitar, keyboards, sitar)
+
John Weider (bass, violin, guitar on 13. - 16.)

Tracklist:
01. See Through Windows
02. The Weaver's Answer
03. Breeze
recorded 3.9.68 Saturday Club Session

04. Second Generation Woman
05. Observations
06. Dim
recorded 11.11.68 Top Gear

07. Holding The Compass
08. The Procession
09. How Hi The Li
recorded 3.3.69 Symonds On Sunday

10. Love Is A Sleeper
11. I Sing Em The Way I Feel
12. A Song For Me
recorded 11.3.69 Top Gear

13. Drowned In Wine
14. Wheels
15. No Mule's Fool
16. The Cat And The Rat
recorded 28.7.69 Top Gear

ARMU 1027A (CD)

ARMU 1027B (booklet; coming soon)

Alquin - On Tour (1976)

2012-02-06T12:32:00.000-08:00

A story ended:

When Alquin called it a day in the late seventies, they left us with a live album. The album contains tracks from all the previous albums. The two things that make this album really interesting is the inclusion of their best progressive tracks: I wish I could and The dance. Especially the performance of I wish I could is excellent, this version is even better than on the studio album. All the tracks are performed very well. So luckily they ended with a great album, tomake up for the two more funky albums they released before. But still, when you want to explore the music of Alquin you should get hold all first four studio albums.

... But the story continued ...

Personnel:
Ferdinand Bakker (guitar, piano, vocals)
Michel van Dijk (vocals)
Dick Franssen (keyboards)
Ronald Ottenhoff /saxophone, flute)
Job Tarenskeen (drums)
Jan Visser (bass)

Tracklist:
01. New Guinea sunrise 5:75
01.a. Sunrise (Bakker/Mars/Franssen/Ottenhoff)2.35
01.b. Wake Me Up (Baker/Tarenskeen) 3.40
02. L.A. Rende-vouz (Bakker/Tarenskeen) 3.30
03. The Dance (Bakker/Franssen/Tarenskeen) 15.30
04. High Rockin´ (Bakker/Ottenhoff/v.Dijk/Tarenskeen) 5.45
05. Amy (Bakker/v.Dijk) 4.20
06. I wish I could (Bakker/Tarenskeen) 10.20
07. Wheelchair Groupie (Bakker/Tarenskeen) 3.35

ARMU 1026

Eliane Elias - Dreamer (2004)

2012-02-06T12:16:00.000-08:00

Eliane Elias' second record for Bluebird is, like the previous Kissed by Nature, a vocal date intended for crossover audiences. Elias connects with her Brazilian pop heritage by choosing to sing, early on, a pair of Astrud Gilberto pieces, "Call Me" and "So Nice (Summer Samba)," both of which fortuitously suit the short range of her voice. Still, she speaks far more with a half-minute of piano soloing than she does with several minutes of vocal interpretation, and sounds far more comfortable taking an extra verse of the latter in Portuguese. Unlike the Gilberto tracks, Elias succeeds on two Antonio Carlos Jobim compositions, "Photograph" and the title song, her voice ironically betraying her in the same seductive fashion that Jobim himself made a hallmark. Her solos, though beautiful and contemplative, are short and usually hug the shore. As an overall musician, Elias has sure instincts when playing or singing, and compensates for her lack of vocal strength by rarely lingering on her notes. (by John Bush)

Personnel:
Paulinho Braga (drums, percussion)
Michael Brecker (saxophone)
Oscar Castro-Neves (guitar)
Eliane Elias (piano, vocals)
Diva Gray (background vocals)
Marc Johnson (bass)
Martee Lebow (background vocals)
Michael Mainieri, Jr. (vibraphone)
Guilherme Monteiro (guitar)
Vaneese Thomas (background vocals)

Tracklist:
01. Call Me (Hatch) 4.11
02. Baubles, Bangles And Beads (Borodin/Forrest/Wright) 5.00
03. Photograph (Fotografia) (Gilbert/Jobim) 3.47
04. Movin' Me On (Elias/Johnson) 4.10
05. So Nice (Samba de Verão) (Gimbel/M.Valle/P.Valle) 5.14
06. That's All (Brandt/Haymes) 5.41
07. Tangerine (Mercer/Schertzinger) 6.43
08. Dreamer (Vivo Sonhando) (Jobim/Lees) 3.3
09. Time Alone (Elias) 6.42
10. Doralice (Almeida/Caymmi) 2.59
11. A House Is Not A Home (Bacharach/David) 5.22

ARMU 1025

Herbie Mann - Live At Newport (1963)

2012-02-05T23:03:00.000-08:00

Most of Herbie Mann's Atlantic sessions of the 1960s are among the flutist's best and most popular work. Mann and his regular group of 1963 (which includes vibraphonist Dave Pike, pianist Don Friedman, guitarist Attila Zoller, bassist Ben Tucker and drummer Bob Thomas with added percussionists Willie Bobo and Potato Valdez) are heard in spirited form on this set from the 1963 Newport Jazz Festival. There are two surprises, both having to do with Antonio Carlos Jobim tunes. The bossa nova hit "Desafinado" is taken in straight 4/4 time without the percussionists, which makes it sound like a new song. And three months after Stan Getz, Jobim and the Gilbertos recorded "The Girl From Ipanema" (but before it was even released), Mann can be heard playing an instrumental version of the song, here listed as "Garota De Ipanema." A catchy rendition of "Soft Winds," the bossa nova "Samba De Orfeu," and Ben Tucker's "Don't You Know" round out the well-played program. (by Scott Yanow)

Personnel:
Willie Bobo (percussion)
Don Friedman (piano)
Herbie Mann (flute)
Dave Pike (vibraphone, background vocals)
Bobby Thomas (drums)
Ben Tucker (bass)
Carlos "Patato" Valdes (percussion)
Attila Zoller (guitar)

Tracklist:
01. Soft Winds (Goodman/Royal) 7.40
02. Desafinado (Jobim/Mendonça) 7.39
03. Samba de Orfeu (Bonfa) 6.09
04. Don't You Know (Tucker) 10.49
05. Garota de Ipanema (Jobim) 8.05

ARMU 1024

Astor Piazzolla - Ballet Tango (1992)

2012-02-05T21:47:00.000-08:00

If you are a fan of Astor, you'd probabily heard of his concierto del angel in many of his other recordings already.

The theme is the same but variations gets recorded over and over again. This album has about 1/3 to that. The other 2/3 however, are new and just as attractive as the Astor we all know and love. Kremer is a great violinist, and the quartet is the authority in Astor's intrepretation.

This album has many wonderfully played tunes and themes that hints us the very essence of Astor's effusive spirit. Regardless the repetition, there are some intoxicating melodies perfect for a romantic evening. (by windfactor)

Personnel:

Richard Galliano (bandoneon)

Per Arne Glorvigen (bandoneon)

Gideon Kremer (violin)

Astor Piazolla (accordion)

Alois Posch (bass)

Vadim Sakharov (piano)

Marta Sudraba (cello)

Ula Zebriunaite (viola)

Tracklist:

01. Adios Nonino (Piazolla) 5.17

02. Oblivio (Piazolla) 3.39

03. Chiquilin De Bachin (Piazoola/Ferrer) 3.09

04. Pedro y Pedro (Piazolla) 5.17

05. Ballet Tango (Piazolla) 12.08

06. Leijia´s Game (Piazolla) 3.51

07. Flora´s Game (Piazolla) 7.50

08. Sunny´s Game (Piazolla) 3.18

ARMU 1023

Armik - Piano Nights (2003)

2012-02-05T21:30:00.000-08:00

Piano Nights is Armik's first-ever piano project. It is a deft treatment of ten original songs that spotlight his ability to devise amazing piano melodies to accompany his internationally renowned guitar virtuosity. The title track is a bossa nova that has the feeling of choreography by being both lyrical and catering to the dancing impulse. "Flames of Passion" combines attributes of both the love song and the dance number. Armik layers the moods throughout this excellent set with beautiful solos and his flair for fusing emotional melodic fragments with intense rhythmic timing. With the addition of Joe Vannelli on pianos, Armik's music is taken to a new level of pleasure. This is a superb offering from one of the world's most gifted guitarists, who now presents the piano as a participant in his great music.

Personnel:

Armik (guitar)

Joe Vannelli (piano)

Tracklist:

01.Piano Nights (Armik) 5.07

02.Red Roses (Armik) 4.34

03.Caliente Caliente (Armik) 4.46

04.Afternoon In Venice (Armik) 4.43

05.Flames Of Passion (Armik) 4.41

06.Fairytale Moon (Armik) 4.51

07.Thinking Of You (Armik) 4.43

08.Rossa Nova (Armik) 4.47

09.Rainy Sundays (Armik) 4.56

10.Dreams (Armik) 3.28

ARMU 1022

Alexis Korner - At The Cavern (1964)

2012-02-05T21:15:00.000-08:00

No band could swing like this if it felt at all inhibited by its surroundings; that wild sound which has made Blues Inc. what it is could never come out so loud and clear if the whole place were not completely happy.

From the slow blues like "Hoocie Coochie Man" and "Whoa, Babe", through to the jumping, up-tempo vocals by Herbie Goins on "All Right, O.K., You Win" and "Everyday I Have The Blues", everybody sounds relaxed and confident. Even the long instrumental, "Herbie's Tune” – dedicated to the band's brilliant American Blues Man, Herbie Goins – never seems to flag. And that really is saying something when you consider what the temperature at the Cavern can be on a really crowded night like this! If you want to know whether this was a really successful evening, just ask regular Cavern member what it is like when Alexis Korner's Blues Incorporated plays there.

The thing is that both Blues Incorporated and The Cavern have come a long way since they started in their widely separated areas. If, a couple of years ago, anyone had asked the people at The Cavern or Alexis Korner what they thought of one another, the answer, from both sides, would probably have been: "Who?" But, there you are, that is just the way in which times change. The oldest established R&B band in the business and the oldest established Beat Club eventually hat to come together and the result is to be found in this LP.

Here are all the excitement, all the unexpected happenings of a live session, a stage performance which always captures the sort of atmosphere which no studio can recreate. Here is the small group with the biggest sound in the country, wailing and shouting the Blues in the freewheeling, uninhibited fashion which has contributed so much to its success over years. It could never sound like this in a studio! Here is just about the best audience in Britain – much too large to fit into a studio – urging the band on. One hears a lot said about "Audience Participation" and this is the classic example of what it should be. Under circumstanced like these, no group could give a really bad show, but there are few that could have given one as good

In the end it comes down to the fact that, in order to sell excitement, you must be excited by what you are doing. Blues Incorporated always are, which is the very reason why we wanted to record "Alexis Korner 'Live' At The Cavern".

The Cavern, by now, must be just about the best known Beat Club in the world. Along with the late Star Club, in Hamburg, The Cavern has figured in more press statements, success stories and guides to the Beat Scene than most of us would care to count. But is this fame really justified? Unquestionably it is.

The Cavern has launched more name groups than any other club in Britain. Ask Gerry and The Pacemakers, The Merseybeats, The Big Three and a host of others where they got their first big break and the answer is, almost invariably: "At The Cavern". But, under the guidance of Ray McFall, and the well-liked compere, Bob Wooler, the club has spread its wings to include R&B amongst its list of attractions, using both British and American artists. Sonny Boy Williamson, Charlie and Inez Fox, John Lee Hoocker, these are but three of the best-known American acts to have appeared there. And, among name British acts, none has proved more popular than Alexis Korner's Blues Incorporated.

Ever since Blues Incorporated made its sensational appearance at the 1963 Beat Festival in Liverpool's Stanley Stadium, Alexis and the boys have been making regular return visits to Liverpool and, in particular, to The Cavern. Whether it is the audiences which create the atmosphere, or the atmosphere which helps the audiences, the plain fact of the matter is that they love playing in Liverpool. "The people really listen to you, there". Says Alexis, "and they help you to play and sing your best. The minute you set foot in The Cavern, you know that it's going to be a good session. Everyone is so friendly, they just want to help you do your best".

Now, The Cavern is a Beat Club, very strongly associated with pop market and this, you might think, could make life a little difficult for a semi-jazz based R&B band like Blues Incorporated. But, as you can hear on this great live LP, nothing could be further from the truth. (original liner notes)

Personnel:
Vernon Brown (bass)
Dave Castle (saxophone)
Herbie Goins (vocals on 03., 07. + 08.)
Alexis Korner (guitar, vocals)
Malcolm Saul (organ)
Mike Scott (drums)

Tracklist:
01. Overdrive (Korner) 3.49
02. Whoa Babe (Korner) 4.08
03. Everyday I Have The blues (Chatman) 4.15
04. Hoochie Coochie Man (Dixon) 5.20
05. Herbie´s Tune (Korner) 7.23
06. Little Bitty Gal Blues (Turner) 5.18
07. Well All Right, Ok, You Win (Wyche) 3.06
08. Kansas City (Leiber/Stoller) 4.20

ARMU 1021

Larry Carlton with special guest Robben Ford - Live In Tokyo (2007)

2012-02-05T09:51:00.000-08:00

This disc was given to me by Larry himself after his concert at Sambucca Jazz Club in Atlanta, GA on May 22, 2007. The challenge is to review the disc on the merits of the disc and not let the concert influence me. The idea of two guitar legends, Carlton and Ford, together for a live collaboration, celebrating over thirty years of friendship is something remarkable in itself. Add to the mix, that between the two of them, the extent of their composing and recording credits would require a separate hard drive on this web site and you have some high expectations.
But this is Larry Carlton, and with him is Robben Ford, and there was never a doubt that it would be a great disc. "That Road" by Ford is a funky grooving number that let the two settle into each other. The rhythm section of Travis Carlton, Larry's son on bass and Toss Panos on drums held a tight pocket while Larry and Robben harmonized and played back and forth off each other, giving the listener the sense that this was going to be a case where one plus one equals more than three! Ford and Carlton's styles are very different but where they overlap is in their foundation in the blues, riffs bore the signature of each player. They really were playing together, comping and filling tightly. They were warming up!
"Burnable" is classic Carlton, it even starts with that LA funk groove that is so characteristic of Larry's composing. Again the rhythm section just put down the palette for Ford and Carlton to spread their colors over. Babko's work on the keys is ever present but never gets in the way of the delivery of the textures and styles that Ford and Carlton are exchanging. When they get funky, Babko is there to fill it up for them. "Cold Gold" starts off slow and melodic, a duet of guitar greats, their signature sounds overlayed. Then the soloing starts. And the completeness of their blues sensitivity is heard. Carlton's solo is powerful and crisp. When the hand off comes, it is clear that they are preaching to the choir, Ford, takes a completely different approach to the song and the changes, but in the end, their messages are the same. Great blues played by two of great guitarists of our times.
"Rio Samba" opens showcasing Travis' funky style. He rolls into this song with a tight funk groove setting the scene for some classic Carlton-style rambling. Babko's keys are an integral part of the theme of this one and really do keep the tune together. Ford and Carlton trade off leads and take you on a really fun ride. The diversity of these two players makes this disc a real experience to listen to. No two songs the same, and yet they share so much. Just like the composers and players, different in their treatment of the same themes. The overlap is indisputable, but the individuality is dominant.
On "Derrick's Blues", Ford delivery belies just how powerful this song is. Ford's treatment of the song, and the injection of Babko's solo to create the change of the mood is just great band work. The clarity and precision of the solo execution is why you buy this CD. Two masters of touch and technique. Just sit back and drink in the notes!
By "Two Bad" you start to feel the changes coming, and just when you think you know how Larry or Robben will treat the solos, they mix it up. Harmonizing, and starting and finishing each other's phrases. Its as if they feel what each other is feeling and just express it differently, but the energy is the same. Technique being the operative word in this piece. How they do what they do is as important as who is doing what! Its a master class led by two of the real masters. "Talk to your Daughters" is a Lenoir/Atkins composition that features Ford on vocals, and it is a fun romp through the blues. Lots of energy, lots of fun to listen to, you can tell they are now having fun with each other, collaborating, no jamming with each other. You are now hearing what these two love to do with the blues. So one plus one should equal two, but when those two are Carlton and Ford, the sky is the limit and you will not be disappointed. Great music, by great musicians. Thanks Larry, for a great disc, some great music and a great show! (by Charles Vecoli)

Personnel:
Jeff Babko (keyboards)
Larry Carlton (guitar)
Travis Carlton (bass)
Robben Ford (guitar, vocals)
Toss Panos (drums)

Tracklist:
01. That Road (Ford) 7.45
02. Burnable (Carlton) 11.18
03. Cold Gold (Carlton) 10.27
04. Rio Samba (Carlton) 10.37
05. Derrick's Blues (Ford) 9.33
06. Two Bad (Carlton) 8.03
07. Talk to Your Daughter (Atkins/Lenoir) 6.20
08. Too Much (Ford) 6.06

ARMU 1020

The Artistics - I'm Gonna Miss You (1967)

2012-02-05T08:54:00.000-08:00

Carl Davis, probably due to an increase in funds, added strings to the mix on the Artistics' Brunswick debut. While the violin section embellished their biggest hit, "I'm Gonna Miss You," and made it better, the results on other sides were less satisfying. The horns that so aptly complemented the songs on their Okeh album are missing in action. They would have been more effective on "Girl I Need You" over that song's syrupy, unnecessary strings; ditto for the falsetto led "Glad I Met You." One of the best songs, the William Butler-written "Hope We Have," chugs along nicely without the excess baggage. Sonny Sanders, a former member of Motown's first male vocal group, the Satintones, did a fine job with the rhythm arrangements; the strings, however, weakened this production. (by Andrew Hamilton)

Personnel:
Jessie Bolian (vocals)
Aaron Floyd (vocals)
Larry Johnson (vocals)
Marvin Smith (vocals)
+
a bunch of unknown studio musicians

Tracklist:
01. Sweeter Than Sugar (Bolian/D.Reed/B.Reed) 2.22
02. Glad I Met You (Green/Griffin/D.Reed/Wright 2.56
03. There Is No Sadness (Bolian/Johnson) 2.08
04. Love Song (Davis/Johnson) 3.14
05. Hope We Have (Butler/Smith) 2.19
06. I'm Gonna Miss You (Bolian/Johnson/Smith) 2.42
07. Girl I Need You (Green/Griffin/D.Reed) 2.31
08. I'll Always Love You (Bolian/Davis) 2.48
09. It's Gonna Be Alright (Davis/Johnson) 2.19
10. Why, Why, Why (Sims/Tarleton) 2.31
11. You're Wonderful (B.Reed/D.Reed) 1.56
12. On and On (Green/D.Reed/Smith) 2.03

ARMU 1019

Back Door - Same (1972)

2012-02-05T01:48:00.000-08:00

Colin Hodgkinson in his own words:

"In 1969 my pal Ron Aspery and I were working in Eric Delaney's band on a sixteen week summer season at the Winter Gardens in Bournemouth. As well as doing a band feature we also played for everyone else on the show. Needless to say we soon got bored playing the same thing every night. So in the afternoons, when the theatre was empty, we took our instruments and Ron's little Grundig tape recorder and just played as a duo for a few hours. What came out of these sessions were tunes like Vienna Breakdown and Human Bed

At the end of September we left the band and moved to London, working at a Mecca ballroom at night. Ron started to pick up quite a few sessions and I joined Alexis Korner's band. Things were starting to go pretty well for us, but at the same time Ron and I wanted to spend a couple of years putting all our efforts into our own group. So we moved up to Redcar, where we'd first met as the house band in the Starlight club, and worked on the Back Door project during the day. After trying a couple of drummers, Tony Hicks joined us and we knew we had the perfect line-up. During the next year or so we sent out loads of demos to all the major record companies, but were turned down every time. 'No guitarist, no lead singer, no organ, get outta here!'' Around this time we were playing a regular Tuesday night gig at the Lion Inn, on Blakey Ridge, a really remote part of the North Yorkshire moors. After a few months the place was really packed and Brian Jones, the landlord, who loved the band, said he would put up the money for us to record an album. With about £500 we recorded twelve tracks in eight hours at a little demo studio and mixed it all in four hours the next day. We had a few hundred copies pressed by RCA and had a local journalist do the sleeve notes and photos.

We sold quite a few copies locally and then one found its way to the NME offices in London. Charles Shaar Murray gave us a tremendous review and things started to move really quickly. We were invited to appear alongside Chick Corea's Return to Forever at Ronnie Scott's club for three weeks. During this time all the record companies who had originally turned us down now asked us to sign with them! We eventually signed with Warner Brothers ... "

The rest is history: Her´s the debut allbum from one of the most inovative bands in jazz, blues & rock: Open your ears and your mind and you´ll discover a new direction of music !

Personnel:
Ron Aspery (saxophone, flute, keyboards)
Tony Hicks (drums)
Colin Hodgkinson (bass)

Original backcover

Tracklist:
01. Vienna Breakdown (Aspery/Hicks/Hodgkinson) 2.20
02. Plantagenet (Aspery/Hicks/Hodgkinson) 1.38
03. Leiutenant Loose (Aspery/Hicks/Hodgkinson) 2.37
04. Askin' the Way (Aspery/Hicks/Hodgkinson) 2.55
05. Turning Point (Aspery/Hicks/Hodgkinson) 2.10
06. Slivadiv (Aspery/Hicks/Hodgkinson) 3.45
07. Jive Grind (Aspery/Hicks/Hodgkinson) 2.46
08. Human Bed (Aspery/Hicks/Hodgkinson) 2.25
09. Catcote (Aspery/Hicks/Hodgkinson) 1.55
10. Waltz For A Wollum (Aspery/Hicks/Hodgkinson) 2.17
11. Folksong (Aspery/Hicks/Hodgkinson) 3.00
12. Back Door ((Aspery/Hicks/Hodgkinson) 2.46

ARMU 1018

Thilo Wolf Trio - A Swinging Hour In New York (1997)

2012-02-04T23:28:00.000-08:00

Thilo Wolf (1967) is Pianist, Composer and Arranger. He leads his own formations, the "Thilo Wolf Big Band" and the "Thilo Wolf Jazz Quartet".

His first love is pulsating, swinging Jazz but he is also open for crossover projects like concerts with the classical "Berliner Saxophon Ensemble" or the "Klassik & Jazz" tour with the "Windsbacher Knabenchor" (Windsbacher Boys Choir) of Windsbach, Germany.

Thilo Wolf learned to play the piano and other instruments, i.e.: contrabass and drums. Already in his youth he obtained many awards, amongst them the "Förderpreis" of his home town Fürth (1986), of the Theaterverein Fürth (1982) and the first price at the "Forum junger deutscher Komponisten für Orchestermusik" (1984). Furthermore, Thilo Wolf was winner (1983) and holder of a scholarship by the newspaper Nürnberger Nachrichten. His musical education was exclusively formed by private tutors like Charly Antolini (drums).

Thilo Wolf does not see himself as jazz purist. In addition to his own projects he writes, arranges and produces CD- and Music recordings for film (i.e.: "Regina auf den Stufen" with Katja Riemann), for television and radio (ARD TV Shows: "Lieder sind mein Leben" = "Songs are my life", "Herzlichen Glückwunsch" = "Heartfelt Congratulations" with Michael Schanze). Other works as composer-arranger include production for and with recording artists Bill Ramsey, Al Martino, Angelika Milster, for orchestras such as the RIAS Big Band, HR Big Band, the New York Strings, the Babelsberger Filmorchester or the Munich Radio Orchestra.

This is a very fine album on which Wolf celebrates great tunes from the jazz history.

Recorded live at CarriageHouse Studio, Stamford, USA, Feb & Mar 1997

Personnel:
Christian Diener (bass)
Wolfgang Haffner (drums)
Thilo Wolf (piano)
+
Randy Brecker (trumpet, fluegelhorn)
Chuck Loeb (guitar)
+
The New York Strings

Tracklist:

01. The Last Blues (Coltrane) 2.41

02. Late Summernight (Haffner) 4:45

03. Fascinating Rhythm () 3.03

04. When I Fall In Love (Young) 4:39

05. Another Sunburn (Wolf) 4.04

06. Teach Me Tonight (DePaul) 4.18

07. Riffifi (Wolf) 2.48

08. The First Step (Kuhn) 4.00

09. Sizzle Whizzle (Wolf) 3.34

10. Days In Paris (Wolf) 4.41

11. They Can't Take Away (Gershwin) 4.44

12. Nice Toys (Wolf) 4:42

13. Little White Lies (Donaldson) 3.25

14. In The Wee Small Hours Of The Morning (Mann) 3.46

15. Sing Sing Sing (Prima) 6.49

ARMU 1017

Sonny Boy Williamson - The Last Sessions (1963)

2012-02-04T21:45:00.000-08:00

Sonny Boy Williamson was, in many ways, the ultimate blues legend. By the time of his death in 1965, he had been around long enough to have played with Robert Johnson at the start of his career and Eric Clapton, Jimmy Page and Robbie Robertson at the end of it. In between, he drank a lot of whiskey, hoboed around the country, had a successful radio show for 15 years, toured Europe to great acclaim and simply wrote, played and sang some of the greatest blues ever etched into black phonograph records. His delivery was sly, evil and world-weary, while his harp-playing was full of short, rhythmic bursts one minute and powerful, impassioned blowing the next. His songs were chock-full of mordant wit, with largely autobiographical lyrics that hold up to the scrutiny of the printed page. Though he took his namesake from another well-known harmonica player, no one really sounded like him. (by Cub Koda)

These recordings are taken from another 99 copies only UK limited edtion bootleg with sessions recorded in Europe in 1963.

Personnel:
Willie Dixon (bass)
Matt Murphy (guitar)
Otis Spann (piano)
Billy Stepney (drum)
Sonny Boy Williamson (harmonica, vocals)
+
John Moment (harmnonica vocals on 09. + 10.)

Tracklist:
01. Bye Bye Bird (Williamson/Dixon) 2.52
02. So Sad To Be Lonesome (unknown) 4.13
03. Nine Below Zero (Williamson) 5.31
04. Keep It To Yourself (Williamson) 4.01
05. Milky White Way (Traditional) 6.06
06. Kindhearted Woman (Johnson) 3.11
07. Just A Dirty Story (speech only) (Williamson) 2.02
08. Keep It To Yourself (Williamson) * 1.58
09. You Gotta Mind (Traditional)* 3.40

* These tracks not featuring Sonny Boy Williamson.

ARMU 1016

Various Artists - Beat und Prosa (Beat And Prose) - Hubert Fichte im Star-Club (1966)

2012-02-04T15:07:00.000-08:00

Hubert Fichte was born on March 21, 1935 in Perleberg Hospital. A few weeks after his birth his family moved to Hamburg-Lokstedt. Fichtes mother worked as stenotypist and he was mostly raised by his grandmother. His father, a Jewish merchant, emigrated to Sweden and Fichte never met him. His parents were not married. As a child Fichte was made believe he was a half-orphan. He received an education as an actor and as a farmer. In the late fifties he worked in Provence, France, as a shepherd for several months. From 1961 on he lived in Hamburg.

In the mid sixties Fichte published his first novels. He then had a regular column called Plattenragout (record ragout) in the magazine konkret. In 1966 he criticised the German police's work in those days in an article called „the police – your friend and aide“: His main influences were Marcel Proust, Hans Henny Jahnn and Jean Genet. (by wikipedia)

This is a verya rare Star Club recording featuring the poems of Fichte and the thrilling beat of Ian & The Zodiacs and some folk tunes by a guy called Ferre Grignard, a skiffle musician from Belgium. I guess, Patti Smith would like these type of performance.

Recordet live at the Star-Club, Hamburg/Germany, October 2nd 1966

Please note: All poems are in German

Tracklist:

01. Ian & The Zodiacs: That´s Nice (Dallon) 2.56

02. Hubert Fichte: Jaeckis erster Besuch in der Palette (Fichte) 4.12

03. Ian & The Zodiacs: Ride Your Pony (Newville) 2.42

04. Hubert Fichte: Vierter Besuch (Fichte) 3.00

05. Ferre Grignard: Alabamy Bound (Traditional) 3.43

06. Hubert Fichte: Lexicon (Fichte) 6.14

07. Ferre Grignard: Rssstt Blues (Grignard) 2.05

08. Hubert Fichte: Passionsmarsch (Fichte) 7.57

09. Ferre Grignard: Drunken Sailor (Traditional) 3.08

10. Hubert Fichte: Die Blume zu Saaron (Fichte) 6.41

11. Ian & The Zodiacs: Respect (Redding) 2.35

12. Hubert Fichte: Gabelung vor der Palette (Fichte) 0.36

13. Ian & The Zodiacs: No Money - No Honey (Doldinger/Edwaerds/Flynn) 1.55

ARMU 1015

Wallace Coleman - The Bad Weather Blues (2003)

2012-02-04T14:38:00.000-08:00

Wallace Coleman is a 2002 Living Blues Award Winner for Most Outstanding Harmonica. Coleman earned his professional status as a Robert Jr. Lockwood sideman for 10 years, traveling the world to play Traditional Blues. In 1997, Coleman formed his own band and began a new professional music path. He also formed his own label and each of the first 2 releases garnered Living Blues Award Nominations; with a win in 2002.

Living Blues Award Winner (Harmonica) Wallace Coleman turns the tables in this 3rd release on his Pinto Blue Music label. This time it is predominantly original (10 originals; 4 covers). In addition, Coleman and band are joined by Blues veterans Bob Stroger (bass) and Billy Flynn (guitar). The result is a driving Chicago sound when called for, with Coleman at the fore; or sweet, thoughtful sounds, such as the original instrumental "Blue Mist," among others. Flynn also lends masterful slide guitar on several tracks. This album offers something for everyone, but Traditional Blues lovers will especially appreciate what they hear.

A superb blues album !

Personnel:
Wallace Coleman (vocals, harmonica)
Fred Goodnight (drums, percussion, background vocals)
Mike Modlin (guitar)
Bob Stroger (bass, background vocals)
+
Ray DeForest (bass on 01., 03., 05., 07. + 11.)
Jody Getz (guitar, background vocals on 06., percussion on 11.)
Billy Flynn (guitar on 03, background vocals on 01.)
Mark Hoffmann (guitar on 01.)

Tracklist:
01. Bad Weather Blues (Coleman) 6.58
02. Pretty All Over (Getz) 5.05
03. Southern Comfort (Henderson) 5.53
04. Better Way To Live (Getz) 4.41
05. Everybody Needs Somebody (Jacobs) 4.23
06. Standing Still (Coleman) 3.44
07. Blue Mist (Coleman) 5.44
08. Mean Red Spider (Lockwood) 5.21
09. Cloudy (Coleman) 5.21
10. Billy Bob Jam (Coleman) 5.42
11. Seems Like (Coleman) 4.49
12. Old Fashioned Guy (Getz/Coleman) 7.08
13. High Tech Blues (Coleman) 4.29
16. Goin´ Down Slow (Oden) 3.59

ARMU 1014

John Barry - Cotton Club (OST) (1984)

2012-02-04T14:15:00.000-08:00

While director Francis Coppola's potboiling crime drama set against the gloriously tumultuous backdrop of Harlem's famed Cotton Club nightspot of the '20s and '30s didn't quite come together as a cinematic whole, John Barry's efforts at supervising, scoring, and recreating the energetic jive and wail of the era very nearly carry the day.

The opportunity was likely a dream come true for the former jazzman turned film scorer; his adaptations of standards by Ellington and Cab Calloway are reverent yet energetic, infused by original music that weaves it into an accessible and rewarding tapestry of time, place, and art. So-so film, great soundtrack. (by Jerry McCulley)

John Barry

Personnel:
John Barry (conductor)
Priscilla Baskerville (vocals)
Brian Brake (drums)
Danny Druckman (chimes)
Lawrence Feldman (clarinet)
Dave Brown (trumpet, vocals)
Gordon Gottlieb (chimes)
Joel Helleny (trombone)
Gregory Hines (vocals)
Larry Marshall (vocals)
Lonette McKee (vocals)
Chuck Riggs (percussion)
Eandy Sandke (trumept)
Mark Shane (piano)
Lew Soloff (trumpet)
Joe Temperley (saxophone)
Bob Wilber (saxophone, clarinet)
Britt Woodman (trombone)

Tracklist:
01. The Mooche (Ellington/Mills) 3.32
02. Cotton Club Stomp # 2 (Parrish/Mills) 2.42
03. Drop Me Off In Harlem (Ellington/Kenny) 3.05
04. Creole Love Call (Ellington) 3.03
05. Ring Dem Bells (Ellington/Mills) 2.47
06. East St. Louis Toodle-O (Ellington/Mulley) 3.21
07. Truckin' (Bloom/Koehler) 2.03
08. Ill Wind (Arlen/Koehler) 2.20
09. Cotton Club Stomp # 1 (Ellington/Carney) 2.50
10. Mood Indigo (Ellington/Mills/Biggard) 3.37
11. Minnie The Moocher (Calloway/Mills) 3.09
12. Copper Colored Gal (Coots/Davis) 1.19
13. Dixie Kidnaps Vera (Barry) 2.39
14. The Depression Hits / Best Beats Sandman (Ellington) 2.46
15. Daybreak Express Medley (Ellington) 3.42

ARMU 1013

Melanie - Candles In The Rain (1970)

2012-02-04T14:02:00.000-08:00

By far the best album of Melanie's "Early" period. Significantly more sophisticated than her previous efforts in terms of both writing and instrumentation, Lay Down (Candles in the Rain) rightfully brought Melanie to a much wider audience than she had previously enjoyed. It also garnered what may have been the highest level of respect of her career. It contains her first big hit, the stirring, gospel flavored anthem to the Woodstock generation "Lay Down (Candles in the Rain)" but it's truly solid throughout. Production values are high and the support personnel are first rate. In addition to Lay Down, it also includes her own version of "What Have They Done to My Song, Ma?" as well as extremely impassioned and effective covers of both James Taylor's "Carolina in My Mind" and Jaggers/Richard's "Ruby Tuesday". As much rock as folk on this outing, the ravaged, marvelous "Lovin' Baby Girl" really should have been a hit. The studio version of "Leftover Wine" is rich and beautiful and the odd but effective "The Good Guys" manages to transcend what could have been a disastorous bout with a toy drum. The only sour tract for me here is "Citiest People" and even that objection is more philosophical than musical. It's one of the more memorable of Melanie's dissertations on the "city bad/ country good" theme she has visited so often. It's a position I've always found simplistic and cloying, but even Citiest People has a lovely and graceful presentation here. Two or three albums might vie for the title of Melanie's "second best" and Candles in the Rain surely a prime contender among them. Only "Gather Me", which she released a couple years later, would clearly surpass it. (by anuadarto)

This album was arranged by John Abbott & Lee Holdridge and recorded at the Wessex Studios, London

Alternate frontcover

Personnel:
Herbie Flowers (bass)
Alan Hackshaw (keyboards)
Edwin Hawkins (keyboards)
Harold McNair (fiddle, flute)
Melanie (vocals, guitar)
Barry Morgan (drums)
Alan Parker (guitar)
Rico reyes (persussion)
+
The Edwin Hawkins Singers

Tracklist:
01. Candles In The Rain (Safka) 1.44
02. Lay Down (Candles In The Rain) (Safka) 3.49
03. Carolina In My Mind 3.46 (Taylor)
04. Citiest People Safka) 3.38
05. What Have They Done To My Song Ma (Safka) 4.02
06. Alexander Beelte (Milne/Safka) 3.01
07. The Good Guys (Safka) 3.08
08. Lovin´ Baby Girl 4.05
09. Ruby Tuesday (Jagger(Richards) 4.32
10. Leftover Wine (Safka) 6.07
+
11. Almost Like Being In Love (Safka)3.51
12. Dream Seller (Safka) 3.32

ARMU 1012

Patti Smith - New Years Eve (2008)

2012-02-04T13:50:00.000-08:00

Now if we all had a choice, wouldn’t we all have wanted to have spent New Year’s Eve 2008 with Patti Smith?

Smith was in fine form and good spirits, joking and cajoling the audience, even telling them her old birthday (she was born on Dec 30th) stories. Her jokes crackle with electricity as much as the music, as the band rip through Kimberly (a loving tribute to her sister, who was in the audience), Dancing Barefoot, Pissing in a River and the chestnuts, Because the Night and People Have the Power.

Since 1998, Smith has been keeping a three-night year-end tradition at New York’s Bowery Ballroom and tonight, Smith puts everyone in the right frame of mind about 2009, the Chinese astrological Year of the Ox, by reminding the audience that it’s going to be a year of putting their noses to the grind and working hard.

But essentially, the gig is a celebratory emotion of hope and affirmation. After the countdown and the obligatory Auld Lang Syne, Smith rocks into People Have the Power but it’s the track after that which surprises, a cover of The Four Tops’ Reach Out I’ll Be There. The lyrics become more poignant in Smith’s impassioned delivery: “If you feel like you can’t go on / ’cause all your hope is gone / And your life is filled with much confusion / And happiness is just an illusion / And your world around is crumbling down / C’mon reach out…”

Perhaps the song was in memory of Levi Stubbs, the lead vocalist of The Four Tops, who died on October 17, 2008 but against the backdrop of the current Israeli attacks on the people of Gaza, the song becomes a cry for people power to end the fighting and the suffering there.

It’s a true reminder that rock ‘n’ roll can save lives and it can also send a chill down your spine.

Thanks to ccrider895 for sharing these tracks on the Dime site and to gthecock for the artwork.

Recorded live at the Bowery Ballroom, New York City, NY, December 31, 2008
Very good audience recording.

Personnel:
Jay Dee Daugherty (drums)
Lenny Kaye (guitars, vocals)
Tony Shanahan (bass, keyboards, vocals)
Jackson Smith (guitars)
Jessie Smith (keyboards)
Patti Smith - guitars, clarinet, vocals
+
Kimberly Smith (acoustic guitar on 07. - CD 2)

Tracklist:

CD 1:
01. A Pythagorian Traveler(poem) (Smith) 5.49
02. Year of the Ox intro / In My Blakean Year (Smith) 8.02
03. Kimberly (Smith/Lanier/Kral) 7.15
04. Revenge (Smith/Kral) 7.46
05. Dead To The World (with snippet of Space Monkey acapella) (Smith) 6.37
06. The Setting and the Stone (poem) / ‘Edit your pictures’ rap (Smith) 1.42
07. Lo and Beholden (with Salome improv) (Kaye/Smith) 8.13
08. Boy Cried Wolf (Smith) 7.56
09. Dancing Barefoot (Smith/Kral) 7.57

CD 2:
01. Ain’t It Strange (Smith/Kral) 8.10
02. Wilderness (poem) (Smith)
03. Pissing In A River (Smith/Kral) 5.40
04. Are You Experienced? (Hendrix) 13.51
05. Because the Night (Springsteen/Smith) 5.59
06. Beneath the Southern Cross / New Year’s Countdown / Auld Lang Syne (Kaye/Smith/Traditional) 10.23
07. People Have the Power (Smith/Smith) 6.09
08. Reach Out I’ll Be There (Holland/Dozier/Holland) 5.38
09. Rock n’ Roll Nigger (Smith/Kaye) 12.15

ARMU 1011A (CD 1)

ARMU 1011B (CD 2)

Freedom And Whiskey - Same (2003)

2012-02-04T13:29:00.000-08:00

Freedom and Whiskey is from the Louisville, Kentucky / Jeffersonville, Indiana area in the heart of the Ohio Valley. The style of music is a mix of classic / modern / southern rock and blues.

This music is a refreshing change from most new music. It's about time Southern Rock experienced a revival. The Classic Southern Rock sound that I've missed so much is there in abundance, yet there is a fresh edge to the songs that makes the music stand out from the hordes of Skynyrd wannabes. I recommend Hit The Bricks,one of the most unusual break up songs I've ever heard; The Slide, bluesy and reminiscent, somehow, of Bourbon Street; and the ominous Ghost of Mary Green. Great hooks, too. You'll be humming or singing along before you know it.

Personnel:
Bill Goins (bass, vocals)
Mike Huettig (drums, vocals)
Chuck Mingis (guitar)
Todd Smith (Keyboards)
+
Debbie Belt (background vocals)
Griffin P. Torrance (bass)

Tracklist:
01. No More (Goins/Huettig) 4:39
02. Freedom (Goins/Huettig) 3:25
03. Rev It Up (Goins/Huettig) 3:48
04. Hit the Bricks (Goins/Huettig) 4:29
05. Ghost of Mary Green (Goins/Huettig) 4:12
06. You and I (Goins/Huettig/Torrance) 3:57
07. The Slide (Goins/Huettig) 3:02
08. Kettlebottom Blues (Goins/Goins/Huettig) 3:43
09. Dog House (Goins/Huettig) 4:23
10. The Stranger (Goins/Goins/Huettig) 4:38

ARMU 1010

Grand Funk Railroad - Live At The Forum (1974)

2012-02-04T13:19:00.000-08:00

Back then even in $ingapore, there was nothing but derision written in reviews by locals who listened to Grand Funk Railroad albums. They had stepped on the toes of music fans who grew up on blues rock. But the Funk were raw rock and rollers. You can hear that on Footstomping Music here.

While Grand Funk could play to large audiences, rock critics still put them down. Didn't Lester Bangs? In an attempt to establish cred, Grand Funk Railroad shortened their name to Grand Funk, removed their sevengli Terry Knight, and added keyboard player Craig Frost. They also jettisoned their raw sound in favour of a produced album. Todd Rundgren was hired and actually produced two hits for the group, "We're An American Band" (from We're An American Band) and "The Loco-Motion" (from Shinin' On). The latter was a pop cover, something of a first. They got nowhere with rock critics and elitist music fans.

What could not be denied was their appeal especially live. They opened shows with that 2001 theme song - Thus Spake Zarathustra [check out Live Album II live in Osaka, 1971], the one Elvis used. They imitated Cream's powerhouse trio lineup. They were much younger and muscular and macho. There was your likely answer. Grand Funk were a generation gap band between older rock fans and younger rock fans.

Here is a show caught in that transitional time bubble in full flight as a pop rock band. Lengthy songs are banished in favor of crunchy rock star poses. The only survivors are the instrumental T.N.U.C. and the lengthy Inside Looking Out. Members of Wet Willie are said to have joined in on Loco-motion.

In the end, Grand Funk never did understand credibility. They evolved and lost it. Grand Funk needn't have worried about record sales or empty halls. That wasn't a problem. They just didn't trust enough in themselves. Unlike say The New York Dolls who never sold many records or played in front of millions. The Dolls did what they wanted to do and nevermind their critics who said they couldn't play. At least the Dolls were influential.

As far as we can tell, this show seems to be sourced from a circulating pro-shot video but said video has not had an official release. A boot DVD is on sale at some websites for US$12. This show was shared by anthony at Hunger City. Thanks. The "original" boot CD cover claims this show is "live in San Diego".

Recorded live at The Forum Los Angeles, CA, June 2, 1974. Excellent SBD stereo.

Personnel:

Don Brewer (drums, vocals)

Mark Farner (vocals, guitar)

Craig Frost (keyboards)

Mel Schacher (bass)

Tracklist:

01. Footstomping Music

02. Rock & Roll Soul

03. Heartbreaker

04. Shinin´ On

05. The Loco-Motion

06. We´re An American Band

07. T.N.U.C.

08. Inside Looking Out

ARMU 1009

Will Lee - Bird House (2002)

2012-02-04T09:57:00.000-08:00

Former Letterman Show house-bassist Will Lee gets the credit for this sparky tribute to Charlie Parker - and it's certainly his connections in the music business that allowed him to attract both Brecker brothers, Carla Bley trumpeter Lew Soloff and others as guests on this session. But maybe the real star is Will's pianist father Bill, 72 at the time of this five-year-old recording, one of American jazz education's great movers and shakers, and driven to recapture the feeling of jamming with Charlie Parker over half a century ago. Bill Lee plays piano on all these classic Parker tracks, and if his occasionally wayward timing hints at all the years he's spent in the classroom rather than on the bandstand, he's startlingly full of ideas within a Bud Powell frame, and prods at his fellow players with an expressive relish. Of course it's all classic bebop, played generally in a classic bebop manner. But with the wonderful Billy Hart on drums, Randy Brecker interpreting the tunes in a muted Milesian way and the firebrand Lew Soloff operating somewhere between Dizzy Gillespie and Louis Armstrong, the music exudes good humour and pleasure in such enduringly challenging materials.

Michael Brecker plays tenor on only two tracks, but his volcanic improvisation on the opening Confirmation is almost worth the set on its own. There's a delicious duet between Soloff and Lee on Lover Man, and some eccentrically hip bop-scat from veteran singer Bob Dorough too. (by John Fordham)

Personnel:

Michael Brecker (saxophone)

Randy Brecker (trumpet)

Warren Chiasson (vibraphone)
Bob Dorough (vocals)

Billy Hart (drums)

Bill Lee (piano)

Will Lee (bass)

Lew Soloff (trumpet)

John Tropea (guitar)

Tracklist:
01. Confirmation (Harris/Parker) 4.29

02. Now's The Time (Parker) 4.39

03. Charles Yardbird Parker Was His Name (Yardbird Suite) (Parker/Dorough) 4.09

04. Ornithology (Harris/Parker) 3.30

05. My Little Suede Shoes (Parker) 5.55

06. Cheryl (Parker) 2.52

07. Au Privave (Parker) 3.43

08. Lover Man (Davis/Sherman/Ramirez) 6.23

09. Donna Lee (Parker) 4.30

10. Hot House (Dameron) 3.53

11. Quasimodo (Parker) 4.14

12. Anthropology Parker/Gillespie) 4.09

ARMU 1008

Little Feat - St. Louis (1990)

2012-02-04T09:12:00.000-08:00

In 1987 surviving members of Little Feat reformed with ex-Pure Prairie League guitarist Craig Fuller and had notable success with their comeback album Let It Roll, which was certified gold.

This is one of their reunion concerts during the year 1990 and it´s a wonderful comeback !

And of course this is another wonderful FM broadcast recording. recorded live at the Fox Theatre/St. Louis, May 22, 1990

Personnel:
Paul Barrére (guitar, vocals)
Sam Clayton (percussion, vocals)
Craig Fuller (guitar, vocals)
Kenny Gradner (bass)
Richie Hayward (drums, vocals)
Bill Payne (keyboards, vocals)
Fred Tackett (guitar, trumpet)

Tracklist:
01. Hate To See You Loving (Barrére/Fuller) 4.28
02. That´s Her She´s Mine (Barrére/Payne/Clayton) 4.03
03. Fat Man In The Bathub (George) 4.50
04. One Clear Moment (Barrére/Fuller/Fuller) 5.31
05. All That You Dream (Barrére/Payne) 5.54
06. 44 Blues (Sykes) 3.29
07. Rock N Roll Doctor (George) 3.53
08. Rocket In My Pocket (George) 3.59
09. Rat Gumbo (Barrére/Clayton/Gradney/Kibbee/Payne) 3.33
10. Texas Twister (Barrére/Kibbee/Payne/Tackett) 4.46
11. Let It Roll (Barrére/Payne/Kibbee) 5.10
12. Dixie Chicken (George/Martin) 13.15
13. Tripe Face Boogie (Payne/Hayward) 7.34
14. Woman In Love ((Barrére/Payne/Tackett) 3.45

ARMU 1007

Steve Skaith Band - Empire & Us (2005)

2012-02-04T08:27:00.000-08:00

Steve Skaith Band's excellent debut album 'Mexile' must have been a tough album to follow; the fusion of Steve's essentially English songs with the very latin sound of the rest of the band made for fascinating and above all, enjoyable listening.

Empires & Us takes this sound into a new dimension, a bit more up tempo, more positive, more varied, with hints of lilting reggae blending with pop, folk and rock, the overall feel having gelled and developed into a coherent, solid sound that carries the songs to tremendous heights.

This may not be an album for someone wanting run of the mill, throwaway pop, but more a revelation for those willing to explore something a bit different, those bored with the mainstream. For those people, whether new to Steve Skaith's music or familiar from his last album or 'Latin Quarter', this album will delight from the outset, but the real quality shows with repeated plays, when the listening experience is enhanced rather than diminished.

For originality, lyrical and musical quality and sheer enjoyability, this is the best album I've heard in years. (by Roger Richards)

Personnel:
Javier Gámiz (guitar, background vocals)
Ricardo Serrano (drums, background vocals)
Steve Skaith (guitar, vocals)
Beto Tenorio (bass)
+
Luis F.Gutierez (violin on 07. + 08.)

Tracklist:
01. The Big Pit (Skaith/Jones) 3.56
02. Cut The Cord (Skaith/Jones) 4.30
03. Keywords (Skaith/Jones/Tenorio) 3.52
04. The Special Relationship (Skaith) 4.58
05. Home (Skaith/Grings) 4.19
06. 5 Point Star (Skaith/Jones) 4.33
07. Other Mothers (Skaith) 3.18
08. (Don't Give Me) Sweet Love (Skaith/Jones) 4.32
09. Near Me (Skaith/Jones/Gámiz) 2.35
10. The Aftermath (Skaith/Jones) 4.29
11. Come Alive (Skaith) 6.32

ARMU 1006

Bud Shank & Clare Fischer - Bossa Nova Jazz Samba (1961)

2012-02-03T23:33:00.000-08:00

Bud Shank a wonderful artist (sax) with a great identification with Brazilian music and Bossa Nova and Clare Fischer (piano), that has a particular meaning to zecalouro, Clare Fischer and his record Clare Fischer Plays Antonio Carlos Jobim and Clare Fischer - So Danco Samba was one of the first Caetano Rodrigues contribution, the start of the "international Bossa Nova" releases at Loronix.

This is Bud Shank and Clare Fischer - Bossa Nova Jazz Samba (1962), for Pacific Jazz, a nice blend of West Cost Jazz, Bossa Nova and Samba rhythms. It is amazing that this album is out of print. Bossa Nova Jazz Samba was released before Stan Getz and Charlie Byrd made Bossa Nova a big hit in the US. Bossa Nova Jazz Samba features Bud Shank (sax), Clare Fischer (piano), Ralph Pena (bass) and Larry Bunker, Bob Neel, Milt Holland and Frank Guerrero (percussion).

Personnel:
Larry Bunker (percussion)
Clare Fischer (piano)
Frank Guerrero (percussion)
Milt Holland (percussion)
Bob Neel (percussion)
Ralph Pena (bass)
Bud Shank (saxiophone)

Tracklist:
01. Samba da Borboleta (Fischer) 3.32
02. Illuso (Fischer) 3.23
03. Pensativa (Fischer) 3.28
04. Joao (Fischer) 3.54
05. Misty (Burke/Garner) 2.35
06. Que Mais? (Fischer) 3.56
07. Wistful Samba (Fischer) 4.16
08. Samba Guapo (Fischer) 4.20

ARMU 1005

Chris Connor - Sings Gentle Bossa Nova (1965)

2012-02-03T22:22:00.000-08:00

Upon seeing the title Sings Gentle Bossa Nova, one might assume that this is an album of Antonio Carlos Jobim and Luiz Bonfá songs. Well, the title of this album is technically accurate; a bossa nova beat is employed much of the time. But Connor doesn't inundate listeners with Brazilian songs on Bossa Nova, which isn't nearly as Astrud Gilberto-ish as one would expect from a vocalist who came out of jazz's cool school and could be described as the vocal equivalent of Stan Getz, Zoot Sims, or Paul Desmond. Actually, this album is a departure from the cool jazz that Connor was best known for. With Ken Greenglass (known for his work with Steve Allen and Eydie Gorme) serving as producer, and Pat Williams handling the arrangements, Bossa Nova is really an album of jazz-influenced easy listening pop rather than an album of straight-ahead jazz. But that isn't to say that it isn't enjoyable. Whether Connor is tackling Henry Mancini's "Dear Heart," the Beatles' "A Hard Day's Night," Johnny Mandel's "The Shadow of Your Smile," or the Petula Clark hit "Downtown," Bossa Nova is a pleasant listen even though it falls short of the excellence that characterized so many of her straight-ahead cool jazz recordings of the '50s and '60s. As it turned out, Connor's flirtation with pop-oriented settings didn't last long; the easy listening albums she recorded for ABC/Paramount were designed to expose her to a larger audience, but they didn't sell. And so, Connor returned to straight-ahead cool jazz, which was obviously for the best, since that was what she was truly great at. But again, Bossa Nova is a decent effort even though it isn't among the essential albums that she recorded in the '60s. (by Alex Henderson)

Personnel:
Chris Connor (vocals)
+
a bunch of unknown studio musicians conducted by Pat Williams

Tracklist:
01. Hard Days Night (Lennon/McCartney) 2.29
02. Downtown (Hatch) 2.13
03. Taste Of Honey (Marlow/Scott) 3.08
04. Shadow Of Your Smile (Webster) 3.38
05. Feeling Good (Bricusse/Newley) 3.26
06. Who Can I Turn To (When Nobody Needs Me) (Bricusse/Newley) 1.56
07. Can't Get Over the Bossa Nova (Gorme/Lawrence) 2.39
08. Quiet Thing (Ebb/Kander) 3.31
09. Dear Heart (Mancini) 2.43
10. Hush, Hush, Sweet Charlotte (DeVol/David) 2.15
11. Baby The Rain Must Fall (Sheldon) 2.37
12. Stranger On The Shore (Bilk/Mellin) 2.44

ARMU 1004

Sir Douglas Quintet - Honkey Blues (1968)

2012-02-03T21:01:00.000-08:00

It is hard to believe that this is the first entry in the extensive Sir Douglas Quintet discography, as it seems like the kind of experimental venture an artist might throw out after a handful of successful albums have already been released. The electic nature of bandleader Doug Sahm is undisputed, but this has got to be his album with the most experimental jazz leanings, again not something one would expect. The type of themes that Sahm would return to again and again in his songwriting are here, delivered by a grouping that lacks one of the essential sparkplugs in the Sir Douglas Quintet engine, keyboard man Augie Meyers. There is presumed to be compensation in the form of a total of five horn players, including Bay Area session whiz Mel Martin, but someone decided to record them with enough reverb to submerge a whale. A total of seven songs, none of them really extended enough to account for paucity of titles, get a loping, jamming treatment that gets the message across, although a little vaguely at times. Certainly a promising, original album well above the level of most rock-bands-with-horns experiments of this era, but not as inspiring as this band's music would soon become. (by Eugene Chadbourne)

Personnel:
Jack Barber (bass)
Augie Meyers (keyboards, vocals)
Frank Morin (saxophone, trumpet,keyboards)
George Rains (drums)
Doug Sahm (fiddle, guitar, violin, vocals)
+
Bill Atwood (horn)
Terry Henry (horn)
Mel Martin (horn)
Frank Morin (horn)
Wayne Talbert (piano)

Alternate frontcover

Tracklist:

01. Are Inlaws Really Outlaws? (Sahm) 3.15
02. Sell A Song (Sahm) 5.25
03. Song Of Everything (Sahm) 4.04
04. Can You Dig My Vibrations? (Sahm) 3.12
05. I'm Glad for Your Sake (But I'm Sorry for Mine) (Traditional) 4.30
06. Whole Lotta Peace Of Mind (Sahm) 5.50
07. You Never Get Too Big And You Sure Don't Get Too Heavy, That You Don't Have To Stop And Pay Some Dues Sometime (Sahm) 2.37

ARMU 1003

Sonny Rollins - Graz (1966)

2012-02-03T14:59:00.000-08:00

The first two tracks are of particular interest because this is where Freddie Hubbard gets into a war of words with the audience, with the famed trumpet player letting fly a number of "muthaf...s."

Reacting to the heckling and whistling, Hubbard told the audience: "FUCK YOU WHITE MOTHERFUCKERS! FUCK YOU WHITE MOTHERFUCKERS! ("Go home!") Well okay, I'll go home. If you don't like me KISS MY ASS! That's right, cuz you jive, you JIVE, YOU JIVE! You white mother FUCKERS! YOU THE ONES WHO STARTED THIS SHIT! Lemme show you - you the ones - FUCK YOU! FUCK YOU, you white motherFUCKERS! {starts crying} If you don't like me kiss MY BLACK ASS! YOU MOTHERFUCKERS! {drums start} Fuck it, I won't do it!"

In an email, BigO reader Johannes Probst wrote: "I was talking to James Spaulding, who was in that group, and he remembered the night vividly. Hubbard was drunk and started cussing out the audience. So in the intermission the police kicked in the dressing-room door and took both Hubbard and Spaulding into custody. James was very angry with Freddie, because he had to spend the night in jail."

Apart from Sonny Rollins, Hubbard and Spaulding, the lineup in this June 1966, Austrian gig is said to feature Jymie Merritt and Ronnie Mathews.

The other three tracks feature Sonny Rollins, Max Roach and Jymie Merritt at a show in Graz, Austria on November 12, 1966.

Thanks to Bluenote2006 for sharing these tracks. According to Bluenote2006: "The sound is too good for an audience source in 1966. At least I think. It may be a second generation SBD."

As lgotrich noted in a post on the internet: "Once you get over the tape hiss, this is a spectacular show. Some of Sonny’s most primal wailing."

Personnel:
Jymie Merritt (bass)
Sonny Rollins (saxophone)
Max Roach (drums)
+
Freddie Hubbard (trumpet on 01. + 02.)
Ronnie Mathews (piano on 01. + 02.)
James Spaulding (saxophone on 01. + 02.)

Tracklist:
01. Nommo 8.21
02. Drum Solo 3.57
03. Love Walked In 10.38
04. Lover 18.26
05. Poinciana 18.06

ARMU 1002

Blind Faith - Compensation For Betrayal (1969)

2012-02-03T14:50:00.000-08:00

When Paddington released their six-disc anthology of well-known Blind Faith performances at the end of 2006, we were curious about the set's title, Compensation For Betrayal. We do not own an original copy and have not seen the artwork. So we can only speculate.

Just who was betrayed? Mojo magazine in a 1996 article suggests that it was the idea of the band, at the time a "supergroup" composed of two parts Cream, one part Traffic and Rick Grech of Family. Blind Faith, a name invented by Clapton, was supposed to be the precursor of the superstar bands which less than a decade later would reap tens of millions for their management and labels. Corporate rock was just an idea at this point.

But an unwieldly arrangement had Winwood managed by Chris Blackwell, while Clapton's manager was Robert Stigwood. Two heads were in this case not better but a source of conflict. Management wanted their new band to start playing and the label wanted a record. According to Winwood, there was no time for the four to gel first, rehearse together and write songs.

"Who would let a million-dollar-a-week potential in a band sit around and rehearse?" he asked.

The famous debut at Hyde Park proved their undoing. Nervous and without much chemistry, Blind Faith crumbled in front of 100,000 fans. At the end of the gig, you could hear fans calling for Cream. But Robert Stigwood was oblivious to this.

"They are going to make a lot of money in appearance and on records, and this concert was the best possible beginning. I am going to make a great deal of money out of it from the film and television rights all over the world," said Stigwood. The Hyde Park concert was finally released on DVD in 2006.

Stigwood committed the band to a brief European tour and a major US tour opening at Madison Square Garden. Of the European tour, the Gotoberg concert was recorded. Judging from quite a number of audience recordings of the US tour, there was much anticipation. But as Winwood has noted, Blind Faith were unrehearsed, had only one album of songs to play and needed Cream and Traffic tunes to fill up the set. Clapton has admitted as soon as the tour started, he was already thinking of how to leave the band.

Inside America, Blind Faith faced a dead end, playing Cream songs to please the fans. In effect, Blind Faith had betrayed themselves. The tour was a financial success but Blind Faith failed to win an audience for themselves.

The Blind Faith album cover was another betrayal of the idea of artistic freedom. The naked young girl with the silver winged jet was too much for America and orders were quickly cancelled. A quick reprint had the back cover of the band on the front, the naked girl banished from sight. Within a week of the change, the album was a gold record.

When the tour ended, so did the band. Blind Faith's short lifespan has never been properly archived by their record label. So Paddington's work is welcomed bringing together very good audience recordings, a compensation for betrayal.

The only quality soundboard in the set is on Disc One - the show in Sweden, just 11 days after Blind Faith's debut at Hyde Park as guests for the Rolling Stones. The entire Blind Faith album was played in Goteberg plus some other songs. Now you can have a taste of Blind Faith live.

Recorded live at Konserthallen, Liseberg Nojespark, Goteborg, Sweden, June 18, 1969

Personnel:
Ginger Baker (drums)
Eric Clapton (guitar, vocals)
Ric Grech (bass)
Steve Winwood (keyboards, vocals)

Tracklist:
01. Well All Right (Petty/Holly/Allison/Mauldin) 6.09
02. Sleeping In The Ground (Myers) 5.09
03. Sea Of Joy (Winwood) 9.05
04. Under My Thumb (Jagger/Richards) 7.24
05. Can´t Find My Way Home (Winwood) 8.45
06. Do What you Like (Baker) 19.29
07. Presence Of The Lord (Clapton) 6.31
08. Means To An End (Winwood/Capaldi) 5.47
09. Had To Cry Today (Winwood) 7.57

ARMU 1001

Family - A Song For Me (1970)

2012-02-03T14:36:00.000-08:00

Twenty eight years after the fact, this might well be the best of the early Family recordings. A combination of hard rock (bordering on metal) and wistful folk-rock (it sounds as if Chapman and Whitney were listening to a lot of Incredible String Band), A Song for Me veers toward early progressive rock, but isn't as nakedly indulgent as some early prog-rock recordings (e.g., they didn't try to sound like a jazz band, they wanted to sound like a rock band screwing around with jazz). Perhaps their most experimental record, it seems as though the credo in making this disc was that anything went. And on tracks like "Drowned in Wine," it works quite well. Again, Chapman offers more proof of his vocal greatness, and again the record sells large quantities in England and nearly nothing in America.

Personnel:

Roger Chapman (vocals, harmonica, percussion)

John Palmer (keyboards, flute)

Poli Palmer (bass, keyboards)

Rob Townsend (drums, percussion, harmonica)

John Weider (bass, guitar, violin, vocals)

Charlie Whitney (guitar, keyboards, banjo)

George Bruno (aka Zoot Money) (keyboards)

Tracklist:

01. Drowned In wine (Chapman/Whitney) 4.10

02. Some Poor Soul (Chapman/Whitney) 2.44

03. Love Is A Sleeper (Chapman/Whitney) 4.02

04. Stop For The Traffic (Through The Heart Of Me) (Chapman/Whitney) 2.11

05. Wheels (Chapman/Whitney) 4.43

06. Song For Sinking Lovers (Chapman/Whitney) 4.06

07. Hey - Let It Rock (Chapman/Whitney) 0.59

08. The Cat And The Rat (Chapman/Whitney/Weidner) 2.32

09. 93´s Ok J (Chapman/Whitney) 3.59

10. A Song For Me (Chapman/Whitney) 9.20

11. No Mule´s Fool (Chapman/Whitney) 3.13

12. Good Friend Of Mine (Chapman/Whitney) 3.31

ARMU 1000

Simon & Garfunkel - Sounds Of Silence (1965)

2012-02-03T14:27:00.000-08:00

Simon and Garfunkel's first "folk rock" album from early 1966 is an essential purchase. This does not mean that the duo didn't improve considerably during the rest of the sixties. Still, the moody excitement is here, starting with the classic hit rocked-up version of "Sounds of Silence" and the catchy "I Am a Rock." Simon's guitar playing is excellent throughout, as are Garfunkel's evocative tenor harmonies. True, some of the lyrics on this album seem immature and self-conscious compared to Simon's later work; often they are depressing and lonely. But darnit, these are some *good songs* - "Kathy's Song" and "April Come She Will" remain achingly poignant after all these years, and the hurried tempo and bright harpsichord of "Leaves That Are Green" drive home its message of youth and loss memorably.

Personnel:

Art Garfunkel (vocals)

Paul Simon (vocals, guitar)

Hal Blaine (drums)

Mike Bloomfield (guitar)

Harvey Brooks (bass)

Larry Knechtel (keyboards)

Tracklist:

01. The Sound Of Silence (Simon) 3.02

02. Leaves That Are Green (Simon)

03. Blessed (Simon) 3.14

04. Kathy´s Song (Simon) 3.16

05. Somewhere They Can´t Find Me (Traditional) 2.34

06. Anij (Graham) 2.34

07. Richard Cory (Simon) 2.56

08. A Most Peculiar Man (Simon) 2.29

09. April Come She Will (Simon) 1.49

10. We´ve Got A Groovy Thing Goin´ (Simon) 1.55

11. I Am A Rock (Simon) 2.50

ARMU 0999

Cuby & Blizzards - Groeten Uit Grollo (1967)

2012-02-03T14:14:00.000-08:00

Look at them. Farmer boys gone astray. Sheep grazing in the background, emerging from a mouldy old shed. An angel holding a banner: “Greetings from Grollo.” Village boys from the Dutch province of Drenthe. Menacing, moody, doffed up in spray-on paisley. Every head in Holland circa 1967 knew that Cuby + Blizzards were keepers of the blues flame up North. Scandalous hair, living with loose birds in a commune and roaming the country leaving a trail of empty whisky bottles. Eelco Gelling was the Dutch Jimi Hendrix, only whiter. Less flamboyant, maybe. But smoking whenever he got hold of a pick and his Les Paul. Harry “Cuby” Muskee was the grumpy old man, even at 21. He had to be, he was a BLOOOOZE singer. Harry knew, he had been there. Pianist Herman Brood was the wild card, a timid juvenile delinquent who could not yet hold a candle to his later superstar self. But daring all the way, even in his choice of stimulants. “Medicine,” he called the little blue pills that he first got from servicemen in Germany. Helped to keep him awake during five hour barroom sessions playing everything Little Richard ever recorded. Herman, too, had paid his dues.

High time we elaborated on the “peat, gin and suspicion” theme mentioned in the Hunebed section of The Megalitic European by His Copeness. People from Drenthe kept themselves alive through the ages by hacking peat from the soggy ground of their Hunebed country, leaving it out to dry and selling it for fuel. Gin, or Dutch “jenever” kept them happy through the hard times. And hard times they were. Them were suspicious people, the Drenths. Didn’t trust no one. “When God created the Drenthe farmer,” goes an old saying, “the Drenthe farmer said to God: Get off of my land!” Cuby + Blizzards fitted neatly in that sad and lonely profile. They were drunk, often. They trusted no one. And when they made music, they were delving deep. They were smoking.

Graffity turned up along the one highway leading up North. “Cuby + Blizzards” was all it said, painted in crude letters on a concrete viaduct. The mighty Philips label let them record. Singles first, very unsimilar to the tidy pop music of The Golden Earrings and The Motions from way out west in The Hague. Cuby's “Back home” made it to the top 40 in 1966. The “Desolation” album breathed the dark depths of the inside of a Hunebed at night. (If you don’t know what I’m on about at this time, check The Megalithic European). But nothing could prepare the emerging Dutch rock world for the raw onslaught of “Groeten Uit Grollo”, the album that put Dutch psychedelica on the map. Opening track “Another day, another road” was accessible enough, Cuby’s first top 20 hit. But then came “The Big Bell”, an Eddy Boyd chestnut turned upside down with way out guitar rumblings and a voice from deep within that mouldy old shed. “Somebody will know someday” followed as a reminder that the Drenthe sky is always crying, except on those rare occasions when the peat is left out to dry. “So many roads,” mused Harry Muskee on the amount of traveling he would have to do, before all of The Netherlands would be converted to the Cuby aesthetic of way out blues with the smell of jenever on its breath.

Side two brings us John Lee Hooker and Big Joe Williams covers, telling baby not to go back to New Orleans and if you do, don’t expect Cuby to buy you new shoes. Then it’s the grand finale of “Another land” where Eelco Gelling shits and pisses all over Clapton, Beck and Pagey. Cuby + Blizzards were never made for world domination. They were suspicious of the business types who always seemed to have wads of cash when all they could spare for the band was their nightly crate of whisky. That kept them happy, but not in the long run when Robbie van Leeuwen made his fortune with Shocking Blue, Golden Earring fucked off to The States to make it with “Radar love” and Dutch rock & roll became synonimous with “Stars on 45” and Pussycat’s “Mississippi”. Harry Muskee kept plowing on, even today when he’s still singing every night and presenting radio shows that benefit from his profound knowledge of and love for the blues. But “Groeten Uit Grollo” was never just a blues record. It breathed the spirit of the Hunebed, the ancient tombs that could never have been built by human hands. It has the ghosts of ancient Drenthe inside its grooves. (by Hunebatman)

Personnel:
Herman Brood (keyboards,& vocals)
Eelco Gelling (guitar)
Hans Kinds (guitar)
Harry Muskee (harmonica, vocals)
Willy Middel (bass)
Hans Waterman (drums)

Tracklist:
01. Another Day, Another Road (Brood/Muskee) 1.54
02. The Big Bell (Boyd) 3.53
03. Somebody Will Know Someday (Gelling/Muskee) 6.56
04. So Many Roads (Muskee) 3.44
05. King Of The World (Hooker) 4.49
06. Baby Please Don´t Go (Williams) 1.41
07. No Shoes (Hooker) 4.35
08. Another Land (Gelling/Muskee) 4.35

ARMU 0998

Greg Kihn Band - Live In Springfield (1983)

2012-02-03T14:03:00.000-08:00

Kihnspiracy, the album Greg Kihn released in 1983, was the big breakthrough album that would firmly establish him as an MTV rock ’n’ roll hero. Featuring the infectious single “Jeopardy”, the album would be his most successful to date, and that single would take Kihn to the #2 spot on the Billboard Hot 100.

Kihn had been working the country (especially his own Northern California region) with his super-tight Greg Kihn Band since 1976, and by the time this show was recorded for the King Biscuit Flower Hour, GKB was one of the best live acts in the US.

Musically, Kihn, during this period of the 80s, was rivaled only by Tom Petty & the Heartbreakers and the Boss. In addition to the obvious, original hits (“Talkin' To Myself,” “Jeopardy,” “The Break-Up Song,” and “Testify”) he surprises the audience with a handful of great covers, most notably Little Richard’s “Keep A Knockin’” and Patsy Cline’s immortal country gem “I Fall To Pieces.”

Kihn, an aspiring singer-songwriter who had migrated from his native Baltimore, Maryland, to San Francisco in 1974, had worked on and off as a disc jockey while developing his own musical chops.

Shortly after landing in the Bay Area, Kihn became one of the first artists signed to Matthew Kaufman’s fledgling indie label, Beserkley Records. Beserkley had made a splash with such Bay Area artists as Jonathon Richman & the Modern Lovers and Earthquake. But it was Kihn, with his keen sense of radio-friendly melodies, who went on to be Beserkley’s bestselling artist. After a slot on a popular Beserkley compilation, Kihn formed the first version of the Greg Kihn Band with Ronnie Dunbar on guitar and backing vocals, Steve Wright on bass, and Larry Lynch on drums.

Kihn stayed with Beserkley for several years, and the success of his later hit singles, “The Break Up Song” and “Jeopardy,” secured a major-label distribution deal for the cutting-edge record company from the late 1970s, onward. By 1985, Kihn’s popularity began to wane and he started working with smaller labels, such as Clean Cuts out of his native Baltimore.

He returned to work as a morning DJ, and kept touring sporadically through the 1990s. He launched a third career as a successful novelist and author in 1996. His first book, Horror Show, was nominated for the Bram Stoker Award.

Personnel:
Greg Douglass (guitar, vocals)
Greg Kihn (vocals, guitar)
Larry Lynch (drums, vocals)
Gary Phillips (keyboards)
Steve Wright (bass)

Tracklist:
01. Every Love Song (Carpender/Kihn/Lynch/Phillips/Wright) 7.48
02. Fascination (Kihn) 2.58
03. Tear That City Down (Douglass/Kihn/Lynch/Phillips/Wright) 4.26
04. Can´t Love Them All (Kihn/Wright) 4.19
05. Can´t Stop Hurting Myself (Kihn) 5.00
06. Curious (Kihn/Lynch) 3.55
07. Talkin´ To Myself (Kihn) 5.53
08. Jeopardy (Kihn/Wright) 5.21
09. Valerie (Kihn/Rosen) 3.03
10. Keep A Knockin´(Penniman) 3.04
11. The Breakup Song (Kihn/Phillips/Wright) 4.10
12. Testify (Kihn/Wright/Lynch/Lewis) 3.37
13. I Fall To Pieces (Cochran/Howard) 3.17
14. Keep On Walkin´ (Hurly/Sims/Williams) 2.57

ARMU 0998

Ginger Baker Band - Bell Up Club (1988)

2012-02-03T07:58:00.000-08:00

Drummer Ginger Baker may be best known for his work with Cream and Blind Faith but he has never stayed within the rock orbit. He was played with avant artistes such as Bill Laswell, and jazz stalwarts such as Art Blakey, Charlie Haden and Fela Kuti.

Music writer George Varga remembers this Solana Beach gig:

In 1988, former Cream drummer Ginger Baker gave his first San Diego area performance in 20 years at the Belly Up. It was a clumsy, bumbling “classic-rock” set better suited for the soundtrack to a bad acid trip. “We’ve got some problems up here,” bassist Tim Bogert said, after Baker nearly took out an audience member’s eye by smashing off the wing nut from one of his cymbal stands with a drum stick.

The set may be loose but it’s far from being the ramshackle show it has been made out to be. For instance, ignore the first 3:21 mins (”teething” problems?) of Aiko Biaye and the track ends up being a scorching display. And especially for Cream and Blind Faith fans, this is a slice of rock history.

Thanks to the person who shared the tracks on the net in 2005.

Personnel:
Ginger Baker (drums)
Tim Bogart (bass, vocals)
Michael Monarch (guitar)
Walter Trout (guitar)
Alan White (drums)

Tracklist:
01. White Room (false start) (Bruce/Brown) 1.31
02. White Room (Bruce/Brown) 5.00
03. Born Under A Bad Sign (Jones/Bell) 7.05
04. Drum Solo (Baker) 6.48
05. Aiko Biaye (Kabaka/Osei) 11.12
06. Outside Woman Blues (Reynolds) 5.19
07. Gates To The City (Bond) 6.28
08. Do What You Like (Baker) 6.50
09. Sitting On Top Of The World (Vinson/Chatmon) 5.19
10. Spoonful (Dixon) 10.00
11. Toad (Baker) 16.15

ARMU 0996

Volker Kriegel - House-Boat (1978)

2012-02-03T07:37:00.000-08:00

Guitarist Volker Kriegel was widely considered the father of European jazz-rock thanks to his influential stint with the Dave Pike Set as well as a subsequent series of pioneering solo LPs for the MPS label. Born in Darmstadt, Germany, on December 24, 1943, Kriegel was studying sociology under the famed philosopher Theodor W. Adorno when he began playing in a Frankfurt-based group with German jazz legends Albert and Emil Mangelsdorff, eventually abandoning his education to pursue a full-time career in music. Kriegel signed on with expatriate American vibraphonist Pike in 1968, joining what would quickly emerge as one of the most popular and influential jazz fusion combos in Western Europe via the acclaimed 1969 album Noisy Silence -- Gentle Noise. While continuing his association with Pike, Kriegel also founded his own group, the Mild Maniac Orchestra, and in 1970 collaborated with violinist Don "Sugarcane" Harris on the MPS date Keep on Driving. The guitarist then signed his own deal with the label to issue the 1971 jazz-rock landmark Spectrum, the first of ten MPS releases including such classic dates as 1973's Lift! and 1975's Topical Harvest.
On this fantastic jazz-rock album Volker Kriegel meets Wolfgang Schluter, another German musician, who plays marimba, vibraphone, percussion and similar instruments.

Personnel:
Thomas Bettermann (synthesizer,clavinet)
Evert Fraterman (drums)
Volker Kriegel (guitar)
Wolfgang Schluter (vibraphone,marimbaphone, percussion)
Hansi Stroer (bass, bass synthesizer)

Tracklist:
01. Houseboat (Kriegel) 8.28
02. Are You Really Living Next to Me? Stroer 4:03
03. Achterbahn (Kriegel) 5:13
04. See The Changes (Stills) 3:53
05. In Your Way (Bettermann) 5:08
06. Your Face, Your Voice (Kriegel) 5:34
07. Chateau Sentimental (Kriegel) 6:32
08. Memory Delay (Kriegel) 5.10

ARMU 0995

Stan Getz - Autumn Leaves (2001)

2012-02-02T22:24:00.000-08:00

In January 1980, Stan Getz was working a date in Fort Lauderdale, FL when he was offered to be flown in to play the MIDEM convention in Cannes. Getz accepted, flying round trip, literally a 72-hour "tour." This disc is a document of that performance, which finds Getz in top form. His music at this stage in time was being rejuvenated by a band of young, fusion-minded Turks, a format that allowed him new freedoms while still letting him put his signature stamp to everything on here. Keyboardist Andy LaVerne shines brightly, providing color and splash along with guitarist Chuck Loeb against an inventive and rock-solid rhythm section consisting of bassist Brian Bromberg and drummer Victor Jones. Sitting in at various points during the performance are Joe Farrell, Mike Garson, and harmonica man Sugar Blue, fresh from his work with the Rolling Stones when this concert was recorded. Highlights include LaVerne's "Empty Shells," Loeb's "Heart Place," Wayne Shorter's "Lady Day," a nice take on "Autumn Leaves," and an 11-minute plus blowout jam on "Billie's Bounce." Getz would return to straight acoustic jazz shortly after this set was recorded, and, as such, this concert makes a marvelous document of an artist at the tail-end of an interesting chapter. As an added bonus, top-flight liner notes from William Ruhlmann complete the package. (by Cub Koda)

Personnel:
Brian Bromberg (drums)
Stan Getz (saxophone, flute)
Victor Jones (drums)
Andy Leverne (keyboards)
Chuck Loeb (guitar)

Tracklist:
01. Autumn Leaves (Prevert/Mercer/Kosma) 7.20
02. Billie´s Bounce (Parker) 12.07
03. Heart Place (Loeb) 5.46
04. Kali - Au (Loeb) 8.39
05. Chappaqua (Laverne) 9.21
06. Nature Boy (Getz) 3.49
07. Empty Shells (Laverne) 13.56

ARMU 0994