tag:blogger.com,1999:blog-21657912068222261192024-03-05T12:27:50.304+01:00EVERMORE BLUESTHE MUSIC OF THE HIPPIEST GENERATION
A non-profit , educational purpose only blog.Unknownnoreply@blogger.comBlogger548125tag:blogger.com,1999:blog-2165791206822226119.post-2079784860378655842020-07-05T00:06:00.003+02:002020-07-05T00:14:25.512+02:00KANSAS - MIRACLES OUT OF NOWHERE<div style="background-color: white; clear: both; font-family: "open sans", arial, sans-serif; font-size: 13px; height: auto; margin-bottom: 10px; text-align: justify;">
The story of one band’s rise from small town obscurity to touring the world with Queen and taking over the charts with some of rock’s most legendary hits, in the 2015 documentary <strong style="line-height: inherit;"><em style="line-height: inherit;">Kansas: Miracles Out Of Nowhere.</em></strong></div>
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In this preview, members <strong style="line-height: inherit;">Kerry Livgren</strong>, <strong style="line-height: inherit;">Dave Hope</strong>, <strong style="line-height: inherit;">Rich Williams</strong>, and <strong style="line-height: inherit;">Phil Ehart</strong> reflect on the recording process behind their celebrated 1976 album <em style="line-height: inherit;">Leftoverture</em>. After a string of early releases failed to reach a large audience, the band looked to <em style="line-height: inherit;">Leftoverture</em> as their last chance at success. Things got off to a rocky start when frontman Steve Walsh failed to produce any new songs in time for the band’s opening rehearsals, forcing Livgren to step in and pick up the slack. “I call <em style="line-height: inherit;">Leftoverture</em> the ‘pressure album’, and that pressure fell on me, it didn’t fall on the band,” Livgren explains. Having already written two songs for the new album, the guitarist went home that night and put his nose to the grindstone coming back with the blueprint for what would become “The Wall.”</div>
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The pressure Livgren felt ultimately produced several diamonds, and earned the respect of his fellow bandmates who marveled at the new songs coming into the studio each day. Drummer Phil Ehart recalls, “It was so exciting, because we would just go… ‘Here comes Kerry, what’s he got today?’ ‘Oh, it’s this song I have called ‘The Wall’! We’re just goin’, ‘When did you write this?’ ‘Well, I kind of threw it together last night.’ We’re like, ‘Seriously?’” By the time all was said and done, Livgren would write or co-write every song on <em style="line-height: inherit;">Leftoverture</em>—including the band’s first hit, “Carry On Wayward Son.” <em style="line-height: inherit;">Leftoverture</em> went on to become certified platinum four times, and one of Kansas’ bestselling works to date.</div>
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Preview <a href="https://players.brightcove.net/5553822109001/B1uLav4tz_default/index.html?videoId=5851083395001">HERE</a></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com0tag:blogger.com,1999:blog-2165791206822226119.post-78516943466859162052015-08-04T11:48:00.001+02:002015-08-04T11:48:11.513+02:00THE SILENT STRANGERS - IT'S ALL OVER NOW 1965<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: arial, helvetica; font-size: 14px;"><span style="color: white;">"It's All Over Now" by The Silent Strangers on LP. Very hard to find, Private Press Garage Rock style LP. Somewhat recently discovered obscure Rock n Roll LP. Mix of Garage, Frat, Good ol Rock n Roll, Cool Instrumentals & maybe a touch of British Invasion. 5 tracks are Instros. It is on Brs label #391 from 1965.</span></span><br />
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<span style="color: white; font-family: arial, helvetica;"><span style="font-size: 14px;">Album Preview <a href="https://www.youtube.com/results?search_query=The+Silent+Strangers+%22It%27s+All+Over+Now%22+Jaguar+1965">HERE</a></span></span><br />
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<span style="color: white; font-family: arial, helvetica; font-size: 14px;">tape on seams. Tough One!</span>preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com0tag:blogger.com,1999:blog-2165791206822226119.post-65977235651153704242015-07-29T13:20:00.000+02:002015-07-29T13:20:19.307+02:00CALVIN RUSSELL - SOUNDS FROM THE FOURTH WORLD 1991<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht3OEIHFMFp1qwL3z0B0KQs9FJUFkc-Fw1QK1UiFoFFxbTlTo63D_BoJ_YM4o5WCJuSFSuxY8CJSP-W9GUGDbF_SCAq62q7hng7YzER0ym4QaSZOG82E7MN4TCvY6ssrLSwYfWjxEemF0k/s1600/Front.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><span style="color: white;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht3OEIHFMFp1qwL3z0B0KQs9FJUFkc-Fw1QK1UiFoFFxbTlTo63D_BoJ_YM4o5WCJuSFSuxY8CJSP-W9GUGDbF_SCAq62q7hng7YzER0ym4QaSZOG82E7MN4TCvY6ssrLSwYfWjxEemF0k/s400/Front.jpg" width="400" /></span></a></div>
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<span style="color: white;">Typical for the music of Calvin Russell was the abrupt change between no-frills, punchy, from the Electric blues -influenced roots rock and guitar -dominated, but equally expressive songs in singer-songwriter and folk style - a style that sometimes with the the US band Steppenwolf was compared. As an important intention of his musical creation Russell called the struggle for dignity, respect and acceptance. About the way to relieve the pain associated with success, he spoke against the Neue Zürcher Zeitung pessimistic: "I went through hell on earth, and this pain (...) one can never get by so great nor success." [3] Skeptical he commented in the late 1990s and the prospects of roots music in the USA: "Our sound is not applicable in the United States just as cool. Funny is that young rock groups like the Smashing Pumpkins live on the roots and we Americana -Musikern give much attention. Your CDs are not overproduced, wild and lyrical, I like that, " </span></div>
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<span style="color: white;">European media certified Calvin Russell especially an exceptionally high degree of authenticity. Another unique feature of Russell applies the straightforwardness and dot precision of his music. Heinz-Jürgen Rippert wrote in an obituary on the website Suite101.com : "Calvin Russell impressed itself on a fast with his face marked by life. His voice was hard, rough and his songs seemed authentic. The songs are about life away from the established strata in the United States, beyond the glossy pages that are so happy paraded in the media. They tell of life on the streets, in prisons and the longing for dignity and a little luck. It is no accident called to the singer-songwriter as Charles Bukowski of music. " The music website musik-base.de wrote on the occasion of the release of the album In Spite Of It All: "Calvin Russell is one of the most authentic songwriters America. He wears his heart on his tongue, every angle of his great soul can be clearly seen for music fans. Russell's bluesy songs tell of freedom and adventure, of longing and vulnerability, of the undying love and deep disappointments, from the prairie, of never their goal reaching overland trains and the rugged beauty of the Wild West as it also today still existent is. " </span></div>
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<span style="color: white;">01. You're My Baby 03:46</span></div>
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<span style="color: white;">02. Last Night 04:44</span></div>
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<span style="color: white;">03. One Meat Ball 03:54</span></div>
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<span style="color: white;">04. Crossroads 07:32</span></div>
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<span style="color: white;">05. May Be Someday 05:35</span></div>
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<span style="color: white;">06. Rockin' The Republicans 04:40</span></div>
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<span style="color: white;">07. Baby I Love You 02:21</span></div>
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<span style="color: white;">08. Love Stealer 04:12</span></div>
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<span style="color: white;">09. You Don't Know 05:08</span></div>
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<span style="color: white;">10. Down Down Down 03:41</span></div>
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<span style="color: white;">11. One Meat Ball (Acoustic) 03:58</span></div>
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<a href="http://www.last.fm/music/Calvin+Russell/Sounds+from+the+fourth+world"><span style="color: white;">Album Preview</span></a></div>
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<span style="color: white;">Recorded At – Arlyn Studios</span></div>
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<span style="color: white;">Phonographic Copyright (p) – New Rose Records</span></div>
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<span style="color: white;">Credits</span></div>
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<span style="color: white;">Backing Vocals – Kimmie Rhodes</span></div>
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<span style="color: white;">Bass – David Waddell</span></div>
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<span style="color: white;">Design [Sleeve] – Huart / Cholley*</span></div>
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<span style="color: white;">Drums – Leland Waddell</span></div>
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<span style="color: white;">Guitar – Gary Craft</span></div>
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<span style="color: white;">Photography By – Alain Duplantier</span></div>
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<span style="color: white;">Photography By [Treatments] – Renaud Marot</span></div>
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<span style="color: white;">Producer – Joe Gracey*</span></div>
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<span style="color: white;">Saxophone – Tomas Ramirez*</span></div>
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<span style="color: white;">Vocals, Guitar – Calvin Russell</span></div>
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<span style="color: white;">Recorded at Arlyn Studios, Austin, TX. </span></div>
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<span style="color: white;">This album is dedicated to Austin, Angie and Red with all my love. </span></div>
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<span style="color: white;">(P) New Rose Records 1991 / Made in France</span></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com1tag:blogger.com,1999:blog-2165791206822226119.post-38791221289208280962015-07-29T13:09:00.000+02:002015-07-29T13:10:22.917+02:00CALVIN RUSSELL - SOLDIER 1992<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNlE3I2iZf79wrgu4ECQZG_TfZ2UhfJGc97CdUPy2djVIlXs4HMQ1tCk1vDQNSuh0QVbVj6buzR5dKxBaZS5Y_IM0otLjVqd7uz3Orsw1xmKI6RSdbf2_v8FfPS04V-pJdD1z8Nz2zhC7C/s1600/booklet1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNlE3I2iZf79wrgu4ECQZG_TfZ2UhfJGc97CdUPy2djVIlXs4HMQ1tCk1vDQNSuh0QVbVj6buzR5dKxBaZS5Y_IM0otLjVqd7uz3Orsw1xmKI6RSdbf2_v8FfPS04V-pJdD1z8Nz2zhC7C/s400/booklet1.jpg" width="400" /></a></div>
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<span style="color: white;">Once heard, usually on one of the BBC radio programmes presented by Bob Harris, Calvin Russell's gravelly voice, his tales of love and loss and his protest songs, stayed with you. An ex-convict and one-time associate of Townes Van Zandt, a Texan singer-songwriter he had much in common with, Russell never rose above cult status in the US or the UK, but found success throughout continental Europe in the 1990s. Already 40 when he signed to the French independent label New Rose in 1989, he seemed determined to make up for lost time, releasing 15 albums in 20 years, and maintaining a busy touring schedule. Last seen in Europe in November 2009, he still wore one of his trademark cowboy hats cut around the brim that made him look like an undertaker straight out of a Lucky Luke cartoon, but he was the real outlaw deal.</span></div>
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<span style="color: white;">Calvert Russell Kosler was the fourth of nine children born to a short-order cook and a waitress at the Sho'Nuff Café in Austin, Texas. His parents struggled to make ends meet and the family often did a midnight flit when they fell behind with the rent. He was a troubled teenager, keener to listen to Elvis Presley and Chuck Berry and imitate his elder sister's guitar-playing boyfriend than to study. In the early 1960s he formed The Cavemen and began playing the Chicago and Delta blues he heard Wolfman Jack play on the radio.</span></div>
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<span style="color: white;">At the age of 15 he ran away to San Francisco but soon drifted back to his native state, where he sold marijuana and LSD. In 1968, he was arrested after trying to use someone else's credit card while high on drugs and sent to the Texas State Penitentiary at Huntsville. "I didn't think I was going to make it," he said. "The guards were a sorry, sadistic bunch and they'd look for any excuse to whale on you."</span></div>
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<span style="color: white;">Encouraged by a cellmate with the colourful name Shotgun McAdams, he began writing poems and songs. However, he spent the next 15 years in and out of jail for small-time drug dealing, including 18 months in a Mexican prison. Back in Austin, he fell in with Van Zandt, another reprobate and a gifted songwriter: "He had this magical use of words. I remember he played 'Pancho and Lefty', that's when I realised just what a song could do. I shut up around Townes and listened. All my intelligence just went right to him."</span></div>
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<span style="color: white;">Now calling himself Calvin Russell, since no one ever seemed to be able to say or spell Calvert, he honed his songwriting skills and recorded a tape containing 22 of his compositions. He intended to present the cassette to Charlie Sexton, a Texan guitar prodigy with a hit album who he heard was paying a return visit to Austin. Instead, he gave it to Patrick Mathé, the co-founder of the New Rose label, who had complimented him on his singing and guitar-playing at a party they both attended at Austin's Continent Club. "I took the tape out of my pocket, like a cowboy drawing a pistol in a Western. Patrick said, 'I want to put a record out,' and I thought, well, Warner Brothers ain't knocking my door down, so, yeah, go ahead. I didn't expect anything to happen."</span></div>
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<span style="color: white;">Russell joined New Rose's roster of garage and psychedelic rock legends – Alex Chilton, Sky Saxon, Roky Erickson, Arthur Lee – as well as British and French alternative artists, and became one of its best acts. His critically acclaimed 1990 debut, A Crack In Time, sold 100,000 copies, and he became a fixture on television and on the touring circuit throughout continental Europe, where his blend of blues, country and rock appealed to Hell's Angels as much as to fans of what was just starting to be called Americana.</span></div>
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<span style="color: white;">Russell made the most of the redemptive opportunities that finally came his way. He recorded two albums produced by the legendary Jim Dickinson, Soldier in 1992 and Calvin Russell in 1997, the latter featuring the Green On Red guitarist Chuck Prophet and the Muscle Shoals session stalwarts David Hood on bass and Roger Hawkins on drums. In 1993, he played 178 concerts in Europe, as documented on the Le Voyageur live album. In 1994, he appeared in a TV commercial for Motorex Oil of Switzerland, performing the evocative "Crossroads", his best-known composition. After another drugs bust back in Texas in the mid-'90s, he lived in France, Amsterdam and Switzerland, and was put on probation when he eventually returned to the States with his fourth wife, Cynthia, a Swiss citizen who was 27 years his junior.</span></div>
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<span style="color: white;">A rootsy singer-songwriter in the vein of JJ Cale, Steve Earle and Lucinda Williams, Russell was never a prophet in his own country. "I'm not easy to pigeonhole," he said. "I don't just play the blues, or rock or country music. And my life in the US is so wrapped up with all my past misdemeanours. I blew it there, that's all."</span></div>
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<span style="color: white;">Despite undergoing a liver transplant last year, he died of liver cancer.</span></div>
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<span style="color: white;">info by Pierre Perrone</span></div>
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<span style="color: white;">Tracklist:</span></div>
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<span style="color: white;">-Soldier calvin russell </span></div>
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<span style="color: white;">-Strangers </span></div>
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<span style="color: white;">-Characters </span></div>
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<span style="color: white;">-I dreamed I saw </span></div>
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<span style="color: white;">-Rats & roaches </span></div>
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<span style="color: white;">-Down in Texas </span></div>
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<span style="color: white;">-Shackles and chains </span></div>
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<span style="color: white;">-This could be the day </span></div>
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<span style="color: white;">-This is your world (Memphis mix) </span></div>
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<span style="color: white;">-White rails (bonus track)</span></div>
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<a href="http://www.last.fm/music/Calvin+Russell/Soldier"><span style="color: yellow;">Album Preview</span></a></div>
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<span style="color: white;">Phonographic Copyright (p) – New Rose Records</span></div>
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<span style="color: white;">Copyright (c) – New Rose Records</span></div>
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<span style="color: white;">Licensed From – New Rose Records</span></div>
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<span style="color: white;">Record Company – SPV GmbH</span></div>
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<span style="color: white;">Distributed By – SPV GmbH – 084-92652</span></div>
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<span style="color: white;">Pressed By – BOD Berlin Optical Disc</span></div>
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<span style="color: white;">Recorded At – Arlyn Studios</span></div>
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<span style="color: white;">Mixed At – Three Alarm Studios</span></div>
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<span style="color: white;">Credits</span></div>
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<span style="color: white;">Backing Vocals – J. Dickinson*</span></div>
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<span style="color: white;">Bass – David Waddell</span></div>
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<span style="color: white;">Design [Sleeve] – Cloe*</span></div>
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<span style="color: white;">Drums – Leland Waddell</span></div>
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<span style="color: white;">Engineer – Stewart Sullivan*</span></div>
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<span style="color: white;">Lead Guitar, Acoustic Guitar – Gary Craft</span></div>
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<span style="color: white;">Mandolin – Luther Dickinson</span></div>
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<span style="color: white;">Mixed By – Bob (Cruiser) Krusen* (tracks: 1 to 8), Jim Dickinson (tracks: 9)</span></div>
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<span style="color: white;">Organ, Piano – Jim Dickinson</span></div>
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<span style="color: white;">Photography By [Landscapes] – Huart/Cholley</span></div>
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<span style="color: white;">Photography By [Portrait] – Alain Duplantier</span></div>
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<span style="color: white;">Producer – Jim Dickinson</span></div>
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<span style="color: white;">Songwriter [Songs By] – Calvin Russell (tracks: 1 to 5, 7 to 9)</span></div>
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<span style="color: white;">Vocals, Acoustic Guitar – Calvin Russell</span></div>
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<span style="color: white;">Notes</span></div>
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<span style="color: white;">Recorded at Arlyn Studios, Austin Texas, mixed at Three Alarm Studios, Memphis Tenn. Track 9 mixed in Memphis Tenn. </span></div>
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<span style="color: white;">℗1992 New Rose Records ©1992 New Rose Records </span></div>
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<span style="color: white;">Under license from New Rose Records </span></div>
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<span style="color: white;">1992 SPV Records a Division of SPV GmbH. </span></div>
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<span style="color: white;">Made in Germany</span></div>
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preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com0tag:blogger.com,1999:blog-2165791206822226119.post-70184866905657908062013-03-21T14:54:00.000+01:002013-03-21T14:54:24.987+01:00TONY JOE WHITE - TONY JOE 1970<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWiX8IrWA2gJZ5FUpX8x-Yf9CSx78NgeqUz_SsbwHDwW2dKFimerJgz68tLjdD4TGt6x2_YsJRmb99iIlODXLP96wCBYSq0yWolJ4kVjmM1m5qpXXeLBGIW67wxSMn8TQwpX8TwhqpKE05/s1600/TonyJoe-Front.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="color: white;"><span class="Apple-style-span"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5605795419756611410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWiX8IrWA2gJZ5FUpX8x-Yf9CSx78NgeqUz_SsbwHDwW2dKFimerJgz68tLjdD4TGt6x2_YsJRmb99iIlODXLP96wCBYSq0yWolJ4kVjmM1m5qpXXeLBGIW67wxSMn8TQwpX8TwhqpKE05/s320/TonyJoe-Front.jpg" style="cursor: pointer; float: left; height: 320px; margin: 0px 10px 10px 0px; text-align: justify; width: 320px;" /></span></a><br />
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<span class="Apple-style-span" style="font-family: Georgia,serif; font-size: 14px; line-height: 18px;"><span class="Apple-style-span">Tony Joe White has accomplished much in the years since he emerged from his home in Louisiana’s swamp country and the hardscrabble circuit of Texas honky-tonks. His music is part of America’s soundtrack – sparse and elegant, filled with shadows, sadness and beauty. Nobody else writes songs like these – songs that evoke both the mysteries of the place were he was raised and the spirits that haunt us all in our most private, lonely moments.</span></span></div>
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<span class="Apple-style-span">Nobody sings them like White either. That dark baritone, scarred and sweet, brings these songs to life like none other. Even so, others have memorably interpreted his songs, from Brook Benton’s unforgettable take on “Rainy Night in Georgia” in 1970 to Tina Turner’s intensely soulful rendition of “Steamy Windows.” Elvis Presley, Ray Charles, Roy Orbison, Dusty Springfield, Etta James – iconic artists in their own right have honored “the Swamp Fox” by cutting his tunes. Others have joined White, with Eric Clapton, Mark Knopfler, Michael McDonald, Waylon Jennings, Emmylou Harris, Lucinda Williams and Shelby Lynne among those who have paid tribute as guests on recent, theme-oriented projects such as <i style="font-family: inherit; font-size: 14px; font-style: normal; font-weight: normal; margin: 0px; outline-width: 0px; padding: 0px; vertical-align: baseline;">The Heroines</i> and <i style="font-family: inherit; font-size: 14px; font-style: normal; font-weight: normal; margin: 0px; outline-width: 0px; padding: 0px; vertical-align: baseline;">Uncovered</i>.</span></div>
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<span class="Apple-style-span">But with <i style="font-family: inherit; font-size: 14px; font-style: normal; font-weight: normal; margin: 0px; outline-width: 0px; padding: 0px; vertical-align: baseline;">The Shine</i>, released September 28 on White’s Swamp Records imprint, this long road circles and comes back toward where it began. Before exploding onto the Top 10 with “Polk Salad Annie” in 1969, before beginning his ongoing commitment to perform regularly for fans in markets as distant as Europe and Australia, White built his vision on a bedrock of blues, backwoods country, and sounds too much his own to categorize. This foundation is simple yet seductive and strong: Within its fabric of raw guitar, hypnotic rhythm and spellbinding lyrical imagery, White’s soul pulls from its roots and reasserts itself with deep conviction.</span></div>
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<span class="Apple-style-span">There are no all-star cameos on <i style="font-family: inherit; font-size: 14px; font-style: normal; font-weight: normal; margin: 0px; outline-width: 0px; padding: 0px; vertical-align: baseline;">The Shine</i> – only White on guitar, harmonica and vocals, bassist George Hawkins, drummer “Swamp Man” Jack Bruno, Tyson Rogers on keyboards, John Catchings on cello, and a selection of songs that had sprouted in White’s imagination over the previous few months. “They just started stacking up on me and my wife Leann over the wintertime,” White says. “They hit me every day and every night. When I’d go to bed, they were going through my mind. It was really cool stuff, and I was like, ‘Man, I’ve got to put these down, just to see what they sound like.’”</span></div>
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<span class="Apple-style-span">Each one told a different story, but taken together they seemed to call White back to the well that had first nourished him. From the feverish, dreamlike images that course through “Season Man” to the heartbreak that colors the romantic nostalgia of “All,” these tracks live on their own yet exist together as memories and premonitions of a single story.</span></div>
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<span class="Apple-style-span">“They’re all about truth and life and daily or nightly happenings,” White says. “They all came to me, the guitar parts and the words, maybe at a campfire down by the river with a few cold beers. I’ll sit there, strum a little bit, and all of a sudden a lick will come – except for the ones I wrote with Leann. She’s a real word person, so she’ll say ‘what do you think about this,’ and all of a sudden a little light goes off in my head, a guitar chord will pop up and here we go.”</span></div>
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<span class="Apple-style-span">“Paintings on a Mountain” is one example of this collaboration between Tony Joe and Leann White. “We have a place up in Taos, New Mexico,” he says. “Our house sits on land that backs up to an Indian village. It’s a magic spot. In the late afternoon, the sun makes so many paintings on the mountainside; they change as the sun moves on. A lot of that was written by Leann.”</span></div>
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<span class="Apple-style-span">The guiding principle for <i style="font-family: inherit; font-size: 14px; font-style: normal; font-weight: normal; margin: 0px; outline-width: 0px; padding: 0px; vertical-align: baseline;">The Shine</i> can be heard in one of its details, from “Tell Me Why,” which preaches “it’s all about the song, keeping it simple. Got to have passion. Got to have soul.” That was the mission when White and his musicians began cutting these tracks in the living room of his home south of Nashville. Beneath high ceilings, on original hardwood floors in a building old enough to have been used as a battlefield hospital during the Civil War, they played with minimal direction, trusting in the moment as they brought these songs to life. “Sometimes I would say ‘simplify,’ but that’s all,” White remembers. “It was almost like I was a bystander. I had this weird feeling of looking at everybody as we played, watching the song happen without really trying very hard to make it happen.”</span></div>
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<span class="Apple-style-span">Most songs were captured in one take. The emotions and connections were so strong that even without any rehearsal, with only the barest indication of which chord followed the next, each one seemed to draw deeper from somewhere within White. He sensed this himself, sometimes not even singing where he was supposed to because the music they were laying down was so compelling. “All of a sudden I’d remember, ‘Hey, you should have been singing right there,’” White says, chuckling. “So I’d go back later and punch it in. But we were all very aware that something was happening in the air between us. Maybe there were some spirits walking about.”</span></div>
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<span class="Apple-style-span">They roamed especially free on the one track where White recorded solo, “Roll Train Roll.” “I think that one was a matter of being taken back,” he reflects. “That’s what made it sound like I was going back to listening to Lightnin’ Hopkins, when I lived on the Boeuf River in Goodwill, Louisiana, first learning the guitar. That’s the kind of stuff I’d play out on the porch at night.”</span></div>
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<span class="Apple-style-span">One doesn’t have to have been a Tony Joe White fan to appreciate that there is something elusive and hard to define in this music. But these depths surface in <i style="font-family: inherit; font-size: 14px; font-style: normal; font-weight: normal; margin: 0px; outline-width: 0px; padding: 0px; vertical-align: baseline;">The Shine</i>. More than a return to an artist’s seminal references, this project seeks the seed from which his work took form. White finds it on <i style="font-family: inherit; font-size: 14px; font-style: normal; font-weight: normal; margin: 0px; outline-width: 0px; padding: 0px; vertical-align: baseline;">The Shine</i>; from here, all that he produced before and all that will follow come into a revealing and enduring light.</span></div>
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<span class="Apple-style-span">Tracks :</span></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-size: 12px;">01 - Tony Joe White - Stud Spider<br />02 - Tony Joe White - High Sheriff of Calhoun Parrish<br />03 - Tony Joe White - Widow Wimberly<br />04 - Tony Joe White - Groupy Girl<br />05 - Tony Joe White - Conjure Woman<br />06 - Tony Joe White - Save Your Sugar For Me<br />07 - Tony Joe White - Hard To Handle<br />08 - Tony Joe White - What Does It Take<br />09 - Tony Joe White - My Friend<br />10 - Tony Joe White - Stockholm Blues<br />11 - Tony Joe White - Boom Boom </span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: 12px;"></span></span><span class="Apple-style-span" style="font-family: Verdana,Arial,Helvetica,sans-serif; font-size: 12px;">12 - Tony Joe White - I protest</span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-size: 12px;">Artwork Included</span></span></div>
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preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com10tag:blogger.com,1999:blog-2165791206822226119.post-19417532621522853202012-07-10T22:09:00.003+02:002013-03-13T13:06:41.495+01:00EAGLES - HELL FREEZES OVER 1994 (concert)<div class="separator" style="clear: both; text-align: center;">
<a href="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcTMGxILa6mm5zqcOBX7twQLf3cSNoqUKyPRR98nQtKYpxCFfBRQEg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://encrypted-tbn0.google.com/images?q=tbn:ANd9GcTMGxILa6mm5zqcOBX7twQLf3cSNoqUKyPRR98nQtKYpxCFfBRQEg" /></a></div>
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Hell Freezes Over is a live album by the Eagles, released in 1994. It contains four new studio tracks and eleven tracks recorded live for an MTV special. The album went to #1 on the Billboard album chart upon its release where it stayed for two weeks. It is the band's second live album behind their live album in 1980. The Eagles had reformed after a fourteen-year-long break up. Their resumption tour would be given that title after the statement Don Henley once gave when asked when the band would get back together. The album proved to be as successful as the tour, selling over six million copies and releasing two Top 40 singles in "Get Over It" and "Love Will Keep Us Alive". The band's lineup consisted of the Long Run era: Don Henley, Glenn Frey, Joe Walsh, Don Felder, and Timothy B. Schmit. The tour would last from 1994-96 and became one of the most successful tours in music history. The album also features an acoustic version of "Hotel California". Hell Freezes Over was also released in video form on VHS, LaserDisc and DVD.<br />
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"Get Over It"* (Don Henley, Glenn Frey) - 3:31<br />
"Love Will Keep Us Alive"* (Pete Vale, Jim Capaldi, Paul Carrack) - 4:03<br />
"The Girl from Yesterday"* (Frey, Jack Tempchin) - 3:23<br />
"Learn to Be Still"* (Henley, Stan Lynch) - 4:28<br />
"Tequila Sunrise" (Henley, Frey) - 3:28<br />
"Hotel California" (Don Felder, Henley, Frey) - 7:12<br />
"Wasted Time" (Henley, Frey) - 5:19<br />
"Pretty Maids All in a Row" (Joe Walsh, Joe Vitale) - 4:26<br />
"I Can't Tell You Why" (Henley, Frey, Timothy B. Schmit) - 5:11<br />
"New York Minute" (Henley, Danny "Kootch" Kortchmar, Jai Winding) - 6:37<br />
"The Last Resort" (Henley, Frey) - 7:24<br />
"Take It Easy" (Jackson Browne, Frey) - 4:36<br />
"In the City" (Walsh, Barry De Vorzon) - 4:07<br />
"Life in the Fast Lane" (Henley, Frey, Walsh) - 6:01<br />
"Desperado" (Henley, Frey) - 4:17</div>
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<br />preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com5tag:blogger.com,1999:blog-2165791206822226119.post-70201550379467444072012-07-05T17:30:00.000+02:002013-03-13T13:07:25.413+01:00DENNY GERRARD - SINISTER MORNING 1970<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWQB4wVL4QDGSjwRN61PgiwpCxI2HwYEE01GnVpQmEg7b0-8ji5wz-ktYczAgFmqpC2znO3RM9q_RzC1xImsbGhptO1IHlTxJuvf2LPBqvPuNIicEB-15wuF2wa5KjtvrC7XX603ndfBI/s1600/o356880%5B1%5D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWQB4wVL4QDGSjwRN61PgiwpCxI2HwYEE01GnVpQmEg7b0-8ji5wz-ktYczAgFmqpC2znO3RM9q_RzC1xImsbGhptO1IHlTxJuvf2LPBqvPuNIicEB-15wuF2wa5KjtvrC7XX603ndfBI/s320/o356880%5B1%5D.jpg" width="320" /></a></div>
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<span style="color: white;"><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">It wasn't long after arriving in the U.K. that South African student </span><a class="name-link" href="http://www.allmusic.com/artist/denny-gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Denny Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> began making his mark on the music scene. In 1965, </span><a class="name-link" href="http://www.allmusic.com/artist/jimmy-page-mn0000089021" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Jimmy Page</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> picked him to become one half of the duo </span><a class="name-link" href="http://www.allmusic.com/artist/the-fifth-avenue-mn0001901552" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">the Fifth Avenue</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">, while </span><a class="name-link" href="http://www.allmusic.com/artist/rolling-stones-mn0000894465" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Rolling Stones</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">' manager </span><a class="name-link" href="http://www.allmusic.com/artist/andrew-loog-oldham-mn0000034759" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Andrew Loog Oldham</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> brought him in as arranger for his project</span><a class="name-link" href="http://www.allmusic.com/artist/the-variations-mn0000262915" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">the Variations</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">. </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> then linked up with Barry Younghusband, and as </span><a class="name-link" href="http://www.allmusic.com/artist/warm-sounds-mn0000238126" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Warm Sounds</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> they promptly unleashed the Top 30 hit "Birds and Bees." Swiftly bored with pop the duo soon split, and </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> moved into production, overseeing </span><a class="name-link" href="http://www.allmusic.com/artist/high-tide-mn0000822466" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">High Tide</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s critically acclaimed 1969 debut album, </span><a class="album-link" href="http://www.allmusic.com/album/sea-shanties-mw0000347874" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Sea Shanties</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">. No surprise then, that when the South African began work on his own debut, self-produced, full-length, </span><a class="name-link" href="http://www.allmusic.com/artist/high-tide-mn0000822466" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">High Tide</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">were by his side. However, the resulting album, </span><a class="album-link" href="http://www.allmusic.com/album/sinister-morning-mw0000785473" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Sinister Morning</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">, was far more a reflection of </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s vision than </span><a class="name-link" href="http://www.allmusic.com/artist/tide-mn0000822466" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Tide</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s sound. Much of the set has a folkie feel, accentuated by the prolific use of </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s acoustic guitar and harmonica. Only on "Native Sun" is the band given a real chance to rock out, with the rest of the set given over to more midtempo numbers. These gave </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> the opportunity to explore his roots and showcase his arrangement skills. His epiphany is found on the final track, a haunting, seven-plus minute instrumental, whose rich "Atmosphere" is conjured up by his acoustic guitar and</span><a class="name-link" href="http://www.allmusic.com/artist/simon-house-mn0000042498" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Simon House</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s delicate organ and rich violin. J.J. Mackey provides the spoken word segments that, sadly, are virtually buried in the mix. The album's other epic track, "True Believer" takes folk to church, with</span><a class="name-link" href="http://www.allmusic.com/artist/house-mn0000042498" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">House</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s hymnal organ juxtaposed against a rich, Americana tapestry. "Autumn Blewn," in contrast, counterpoints '60s R&B with C&W, with </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s harmonica adding a folkie feel to the intricate piece. "Rough Stuff" also has an R&B bend, but a down-home, Southern rock tinge, while "Stop or Drop It" is even more rousing, as </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> plays his pusillanimous acoustic guitar off against </span><a class="name-link" href="http://www.allmusic.com/artist/tony-hill-mn0000002735" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Tony Hill</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s electric leads. Although kept on a tight leash, </span><a class="name-link" href="http://www.allmusic.com/artist/high-tide-mn0000822466" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">High Tide</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"> still bring an energy to the set, turning up the heat on virtually all the songs, particularly the poppy "Hole in My Shadow," which was probably intended for singledom. The production gives the entire album a warm sound, although on CD it comes across as a tad too pristine. The only flaw within is </span><a class="name-link" href="http://www.allmusic.com/artist/gerrard-mn0002056058" style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Gerrard</a><span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;">'s decision to overutilize layered vocals instead of true harmonies, and paying far less attention to his vocals than he did to the rest of the album's sound. Released on Decca's mid-price imprint Nova, the album surprisingly sank without a track, but swiftly became a much sought-after collector's item. Finally after all these years, Esoteric has now lovingly remastered and reissued this splendid album on CD. </span></span></div>
<span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"><span style="color: white;">~ Jo-Ann Greene</span></span><br />
<span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"><span style="color: white;"><br /></span></span>
<span style="font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"><span style="color: white;">Tracks : </span></span><br />
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<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Native Sun</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">True Believer</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Hole In My Shadow</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Last But One</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Rough Stuff</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Stop Or Drop It</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Autum Blewn</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Eye For Eye</span></span><br />
<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Atmosphere</span></span><br />
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<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Artwork Included</span></span><br />
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<span style="color: #222222; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"><br /></span>preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com6tag:blogger.com,1999:blog-2165791206822226119.post-48022769103441026202012-07-05T17:14:00.001+02:002013-03-13T13:07:43.191+01:00SAVOY BROWN - LION'S SHARE 1972<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPGoYC8F6SfDLysblyOM8j50Uu2Z_dxlBbuuo8mBLzHHODHWf2K1L4136qpojZAxZI0hiGgWWuMHuCOebR-YVLTHpO2h5xeu5EeP_8AwsOPBpfC_ibvOjqMKY-x_uI6N7b_TStcKIm4LAE/s1600/front.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPGoYC8F6SfDLysblyOM8j50Uu2Z_dxlBbuuo8mBLzHHODHWf2K1L4136qpojZAxZI0hiGgWWuMHuCOebR-YVLTHpO2h5xeu5EeP_8AwsOPBpfC_ibvOjqMKY-x_uI6N7b_TStcKIm4LAE/s320/front.jpg" width="320" /></a></div>
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<span style="color: white;">Lion's Share CD music "Shot in the Head," the slide guitar showcase that opens this solid set, became a staple of this veteran English band's live act. Lion's Share music CDs In his only full-time stint as singer for demanding bandleader Kim Simmonds, Dave Walker proves a serviceable, if unremarkable, successor to Chris Youlden. Besides their own tunes, the lads cover Howlin' Wolf and Little Walter. ~ Mark Allan</span></div>
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<span style="color: white;">Tracks : </span><br />
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<span style="color: white;">Shot In The Head</span><br />
<span style="color: white;">Second Try</span><br />
<span style="color: white;">The Saddest Feeling</span><br />
<span style="color: white;">I Can't Find You</span><br />
<span style="color: white;">Howling For My Darling</span><br />
<span style="color: white;">So Tired</span><br />
<span style="color: white;">Denim Demon</span><br />
<span style="color: white;">Love Me Please</span><br />
<span style="color: white;">I Hate To See You Go</span><br />
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<span style="color: white;">Artwork Included</span><br />
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preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com1tag:blogger.com,1999:blog-2165791206822226119.post-8803005257801251232012-07-05T12:25:00.002+02:002013-03-13T13:08:11.239+01:00CHARLIE DANIELS BAND - UNEASY RIDER 1973<div style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPvj7YDJAvRkRHtaaJgSJd3GzoTghUZ80-NY5Nl62WsV6kkmkRvLyXdJsWFZ9lGCzQ1QX2p6pmCHKjeO0UIAIimAv37cRq_MCCLt7a_mwsuzzSPRkFsFv2ip1kd0WKyGBY0mvRU-8lZ_C/s1600/Front.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPvj7YDJAvRkRHtaaJgSJd3GzoTghUZ80-NY5Nl62WsV6kkmkRvLyXdJsWFZ9lGCzQ1QX2p6pmCHKjeO0UIAIimAv37cRq_MCCLt7a_mwsuzzSPRkFsFv2ip1kd0WKyGBY0mvRU-8lZ_C/s400/Front.JPG" width="400" /></a></div>
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<span style="color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif;"><span style="font-size: 15px; line-height: 22px;">Originally titled HONEY IN THE ROCK and later renamed for its hit song (Daniels's first chart entry), UNEASY RIDER is the third Charlie Daniels album, but the first to put his name on the map. In addition to his previous southern-rock-meets-Western-swing sound, the album includes a significant R&B influence, making for an intriguing country-funk style. The title track's talking blues is particularly significant for espousing a hippie/counterculture perspective on the part of a man who'd later become known for championing more conservative values.</span></span></div>
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<span style="background-color: white; font-family: Georgia, 'Palatino Linotype', 'Book Antiqua', serif; font-size: 15px; line-height: 22px;"><span style="color: white;">Tracks : </span></span></div>
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<span style="color: white;"><i style="font-family: Verdana, Helvetica, Arial, sans-serif; font-size: 13px; text-align: -webkit-auto;">01. Funky Junky (03:14)<br />02. Big Man (06:16)<br />03. Why Can't People (05:47)<br />04. Revelations (07:34)<br />05. Uneasy Rider (05:18)<br />06. Midnight Lady (04:39)<br />07. Somebody Love You (03:44)<br />08. No Place To Go (10:08)</i>
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<br />preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com0tag:blogger.com,1999:blog-2165791206822226119.post-37823145264808377452012-05-17T14:06:00.001+02:002013-03-21T14:48:08.499+01:00BIG HOUSE - BIG HOUSE 1997<div class="separator" style="clear: both; color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiR8GVWuFOF3JuK1Ee6h0keHb0V3sTm478WRFxHuEYCf6TqXILf9aqZkJGLIkyfrPkSmAuEPMjClnJuBbRbBDzYJ3IDZ_teqC9vqMecd6rF7GaOvcN6xr-9EhQekjQikm8AejsQaRkUVtq/s1600/Big+House+-+Big+House.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiR8GVWuFOF3JuK1Ee6h0keHb0V3sTm478WRFxHuEYCf6TqXILf9aqZkJGLIkyfrPkSmAuEPMjClnJuBbRbBDzYJ3IDZ_teqC9vqMecd6rF7GaOvcN6xr-9EhQekjQikm8AejsQaRkUVtq/s320/Big+House+-+Big+House.jpg" width="315" /></a></div>
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Big House is a self-labeled "blues" band from Nashville via Bakersfield, California.<br />
Lead vocalist/guitarist Monty Byron and keyboardist/slide guitarist Dave
Neuhauser comprise the core of Big House; they've been writing and
playing music together for fifteen years. Bassist Steve Vines and
drummer Bernie Rappa complete the current manifestation of the band.
Together they form a tight ensemble, at times reminiscent of a fine jazz
quartet. There are no "stars" here, no ego-tripping showmanship. These
musicians clearly respect the part each contributes to the whole.<br />
Byron's voice is, to my ear, more country than bluesy, although I
suspect such distinctions are more useful to marketers and promoters
than to listeners. I find his strong voice warm and soulful, even a bit
raspy where the music requires.<br />
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<i>CDBaby's definition:</i><br />
Big House is somewhere between the west coast country of the Eagles and
the Memphis Stax /Volt sound of Otis Redding and the M.G.'s Soul
Country.</div>
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Tracks :</div>
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01. You Ain't Lonely Yet<br />
02. Cold Outside<br />
03. Amarillo<br />
04. Love Ain't Easy<br />
05. Walkin' On Me<br />
06. Sunday In Memphis<br />
07. Blue Train<br />
08. Soul Country<br />
09. Cryin' Town<br />
10. Whose Baby Will You Be Tonight<br />
11. Road Man</div>
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preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com1tag:blogger.com,1999:blog-2165791206822226119.post-7833114380529819952012-05-16T15:58:00.003+02:002013-03-21T14:47:55.043+01:00JOE COCKER - WITH A LITTLE HELP FROM MY FRIENDS 1969<div class="separator" style="clear: both; color: white; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK92_J_pjntmj6SXzqc24OX4yuxoAZYEyTT46cbdVnsHBV8W35t-xzldMGHtWAI0Def9xAw551ViMiJVswtV7hcpVBA1zeOlzY9uMQbRtJ8fgvRo9nA3SA74ZkqD_fKineqCGhZz0OH0uS/s1600/%5BAllCDCovers%5D_joe_cocker_with_a_little_help_from_my_friends_1998_retail_cd-front.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK92_J_pjntmj6SXzqc24OX4yuxoAZYEyTT46cbdVnsHBV8W35t-xzldMGHtWAI0Def9xAw551ViMiJVswtV7hcpVBA1zeOlzY9uMQbRtJ8fgvRo9nA3SA74ZkqD_fKineqCGhZz0OH0uS/s320/%5BAllCDCovers%5D_joe_cocker_with_a_little_help_from_my_friends_1998_retail_cd-front.jpg" width="320" /></a></div>
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Joe Cocker's debut album holds up extraordinarily well across four
decades, the singer's performance bolstered by some very sharp playing,
not only by his established sideman/collaborator Chris Stainton, but
also some top-notch session musicians, among them drummer Clem Cattini,
Steve Winwood on organ, and guitarists Jimmy Page and Albert Lee, all
sitting in. It's Cocker's voice, a soulful rasp of an instrument backed
up by Madeline Bell, Sunny Weetman and Rossetta Hightower that carries
this album and makes "Change in Louise," "Feeling Alright," "Just Like a
Woman," "I Shall Be Released," and even "Bye Bye Blackbird" into
profound listening experiences. But the surprises in the arrangements,
tempo, and approaches taken help make this an exceptional album. Tracks
like "Just Like a Woman," with its soaring gospel organ above a lean
textured acoustic and light electric accompaniment, and the
guitar-dominated rendition of "Don't Let Me Be Misunderstood" -- the
formal debut of the Grease Band on record -- all help make this an
exceptional listening experience. The 1999 A&M reissue not only
includes new notes and audiophile-quality sound, but also a pair of
bonus tracks, the previously unanthologized B-sides "The New Age of
Lily" and "Something Coming On," deserved better than the obscurity in
which they previously dwelt. </div>
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http://www.allmusic.com/album/r4235/review</div>
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Tracks : </div>
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<br /></div>
<dl style="color: white;">
<dt>Side one</dt>
</dl>
<ol style="color: white;">
<li>"<a href="http://en.wikipedia.org/wiki/Feelin%27_Alright" title="Feelin' Alright">Feeling Alright</a>" (<a href="http://en.wikipedia.org/wiki/Dave_Mason" title="Dave Mason">Dave Mason</a>) – 4:10</li>
<li>"<a href="http://en.wikipedia.org/wiki/Bye_Bye_Blackbird" title="Bye Bye Blackbird">Bye Bye Blackbird</a>" (<a href="http://en.wikipedia.org/wiki/Ray_Henderson" title="Ray Henderson">Ray Henderson</a>, <a href="http://en.wikipedia.org/wiki/Mort_Dixon" title="Mort Dixon">Mort Dixon</a>) – 3:27</li>
<li>"Change in Louise" (Joe Cocker, <a href="http://en.wikipedia.org/wiki/Chris_Stainton" title="Chris Stainton">Chris Stainton</a>) – 3:22</li>
<li>"Marjorine" (Joe Cocker, Chris Stainton) – 2:38</li>
<li>"<a class="mw-redirect" href="http://en.wikipedia.org/wiki/Just_Like_a_Woman_%28song%29" title="Just Like a Woman (song)">Just Like a Woman</a>" (<a href="http://en.wikipedia.org/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a>) – 5:17</li>
</ol>
<dl style="color: white;">
<dt>Side two</dt>
</dl>
<ol style="color: white;">
<li>"Do I Still Figure in Your Life?" (<a href="http://en.wikipedia.org/wiki/Pete_Dello" title="Pete Dello">Pete Dello</a>) – 3:59</li>
<li>"Sandpaper Cadillac" (Joe Cocker, Chris Stainton) – 3:16</li>
<li>"<a href="http://en.wikipedia.org/wiki/Don%27t_Let_Me_Be_Misunderstood" title="Don't Let Me Be Misunderstood">Don't Let Me Be Misunderstood</a>" (Gloria Caldwell, Sol Marcus, <a href="http://en.wikipedia.org/wiki/Bennie_Benjamin" title="Bennie Benjamin">Bennie Benjamin</a>) – 4:41</li>
<li>"<a href="http://en.wikipedia.org/wiki/With_a_Little_Help_from_My_Friends" title="With a Little Help from My Friends">With a Little Help from My Friends</a>" (<a href="http://en.wikipedia.org/wiki/John_Lennon" title="John Lennon">John Lennon</a>, <a href="http://en.wikipedia.org/wiki/Paul_McCartney" title="Paul McCartney">Paul McCartney</a>) – 5:11</li>
<li>"<a href="http://en.wikipedia.org/wiki/I_Shall_Be_Released" title="I Shall Be Released">I Shall Be Released</a>" (<a href="http://en.wikipedia.org/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a>) – 4:35</li>
</ol>
<br /><div style="color: white;">
Artwork Included </div>
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preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com1tag:blogger.com,1999:blog-2165791206822226119.post-20008450068433575112012-04-02T12:48:00.003+02:002013-03-21T14:48:29.079+01:00PHOENIX - CANTAFABULE 1975<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrChbVUcXyBbnyFu1UDcSq-yuu-p7A5SR5RTwj4Uc72g5pIF5eWAAyESBWkrQ9EYuQOE39fJb487pQE-1Hpf4tpgrMDVsvntCCDym8sVD37_XUNT9YleZXFJtYJfnRbiRSvDlLE8v5nhA/s1600/0020ed9d.jpeg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5726754114868324194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrChbVUcXyBbnyFu1UDcSq-yuu-p7A5SR5RTwj4Uc72g5pIF5eWAAyESBWkrQ9EYuQOE39fJb487pQE-1Hpf4tpgrMDVsvntCCDym8sVD37_XUNT9YleZXFJtYJfnRbiRSvDlLE8v5nhA/s320/0020ed9d.jpeg" style="cursor: hand; cursor: pointer; float: left; height: 288px; margin: 0 10px 10px 0; width: 320px;" /></a>Still not sure whether this album is called Cantofabule (fabulous song) or Cant Of A Bule (as the disc label being called so) or as my Romanian stepsister said Cantafabule, but the track listing is correct. The artwork being similar but monochromic red and carrying the cat # Fanny 100, it is most likely a bootleg, but this was the only way to get to listen (outside the PA's samples) to a full album. This sextet's third album is maybe the best appreciated by progheads, but apparently the last one before the fled the Ceaucescu regime.<br />
<br />
The original double album was a concept based on some traditional Romanian themes based on adaptation of poets Seban Foarta and Andrei Ujica and inspired on a Dimitri Bolintineanu book called Istoria Ieroglifa (speaking of a "bestiaire" of fantastic mythical creatures), this almost 70 min-long piece is indeed one of the best thing to come from the old Dacian province. If I speak of Dacia (relating it to the Roman Empire times instead of Valachia or Moldavia-Bessarabia), it is because the general feel relates a bit to Italian prog (this is greatly due to the similarity of both languages), but the Timisoara (in Transylvania where the revolt started) group developed a very ambitious project that mixed some medieval folk with hard rock fronted by a fuzzed-out guitar.<br />
<br />
The two-parts lengthy opening track Invocatie gives out right away the main dimension of their music, a fairly hard prog dominated by a fuzz-guitar, where all musicians hold their own. Surprising how modern for the day they sounded apparently having a moog synth. During this track, the group moves to different moods and passages including a "folk" one and there is a harpsichord thrown in there too and the track is a very captivating intro. Moving from the Harpsichord/flute piece Unicorn (sung in Old French) to the mediocre beat-rock of the sacred beetle (Scarabeului), the albums moves quickly to another highlight about dolphins (Delfinul), where the group shows the extent of their considerable talent in this folky ballad. Going through the dragon (semi-hard rocking), the snake (with a terrible sounding violin), a special kind of bird (Calandrinon) that's supposed to accompany you into the underworld (another highlight in my book with superb bass work), the moose and the mongoose, the siren and a few other mythical creatures, the group continues tirelessly (even if you do, partly due to the length and the repetition of tracks that hammer on the same nail and the Romanian singing) until another pure psych-beat-RnR (track 11, a bit of a filler really) breaks the cycle of prog/folk tracks alternating.<br />
<br />
The album gets back on track with the splendid Cintic-Lu (hawk) track which definitely seals the fate of the concept as excellent (just short of brilliant), followed by another fabulous Zoomahia (starting with the same electronic sounds that you found on the start of the album, but much longer and sounding like Gong) and the album closing on their fetish Phoenix, rising from the ashes.<br />
<br />
Overall this album holds very few flaws (given its communist era background), few fillers and a bunch of superb if inhabitual prog folk tracks, which makes this album a masterpiece of its own. Clearly this album should get the honours from a full remastering and mini-Lp treatment, as it stands in the top 10 of the ex-soviet block.<br />
<br />
Review by Sean Trane<br />
SPECIAL COLLABORATOR Prog Folker<br />
<br />
Tracks:<br />
<br />
01. Invocatie<br />
02. Norocul Inorogului<br />
03. Scara Scarabeului<br />
04. Delfinul, Dulce Dulful Nostru<br />
05. Uciderea Balaurului<br />
06. Stima Casei<br />
07. Pasarea Calandrinon<br />
08. Filip Si Cerbul<br />
09. Vasiliscul Si Aspida<br />
10. Sirena<br />
11. Pasarea Roc...K and Roll<br />
12. Cintic-Lu a Cucuveaua-Lliei<br />
13. Zoomahia<br />
14. Phoenix<br />
<br />
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<br />
Artwork Inc.<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com4tag:blogger.com,1999:blog-2165791206822226119.post-18693491804917103242012-04-02T12:42:00.001+02:002013-03-21T14:48:49.474+01:00ROY HARPER - BULLINAMINGVASE 1977<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbHDq4hqlou29-mCn7-1mTnOh9tz1vzhTiaUVhY7JWrvyZx2-oWdzWoHxjeVpHD1OQidcuTADRooO77hFyrllMOAgQsGNkxNdCWKcpcasbxtySEg-t2Aer70obi7A8R1lN4opk489XIbDY/s1600/%255BAllCDCovers%255D_roy_harper_bullinamingvase_2004_retail_cd-front.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5726752608805572290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbHDq4hqlou29-mCn7-1mTnOh9tz1vzhTiaUVhY7JWrvyZx2-oWdzWoHxjeVpHD1OQidcuTADRooO77hFyrllMOAgQsGNkxNdCWKcpcasbxtySEg-t2Aer70obi7A8R1lN4opk489XIbDY/s320/%255BAllCDCovers%255D_roy_harper_bullinamingvase_2004_retail_cd-front.jpg" style="cursor: hand; cursor: pointer; float: left; height: 313px; margin: 0 10px 10px 0; width: 320px;" /></a>Roy Harper followed HQ with another superb rock-oriented classic, 1977's interestingly titled Bullinamingvase. The album will forever be remembered for its controversial track "Watford Gap," with lyrics that supposedly defamed the service station of Watford Gap. Harper ran into legal problems when the station owners voiced their extreme distaste of the song, resulting in the record company's removal of the composition from the album. It was replaced with the light but solid "Breakfast with You." Both songs are included in the 1996 CD re-release, remastered with 20-bit supermapping. But the album's strengths lie elsewhere. The compositions are laced with beautiful passages, both musically and lyrically, and the vibrant acoustic guitar work on tracks like "Cherishing the Lonesome," "Naked Flame," and the epic "One of Those Days in England (Pts. 2-10)" are likely to never be surpassed. The powerful, energetic passion, brilliant lyrics, and driving force of "Cherishing the Lonesome" make for one of Harper's greatest accomplishments. "Naked Flame" impresses equally with its clean, country-tinged guitar work. The jewel in the crown, though, is "One of Those Days in England (Pts. 2-10)." The lyrical content, a collection of reminiscences, is striking, being at once trenchant/biting and beautiful. The piece is comprised of many movements, opening (with guitar) like a looming cloud foreshadowing the storm and darkness that lie ahead. Suddenly, after the introductory verses, the guitar picks up and the clouds begin breaking apart, allowing the sun to shine through. The song becomes hopeful before changing moods once again, with Harper's voice at its peak. The song benefits from wonderful use of lap steel guitar with strings fleshing out several movements. Bullinamingvase also contains the radio-friendly pop tune "One of Those Days in England," the closest Harper ever came to having a hit single. This is also the alternate title of the album. It is interesting to note that, even though most of the lyrical content is presented in the CD booklet, several lines/verses have been purposefully omitted from the printing, such as much of "Watford Gap" and the opening of "One of Those Days in England (Pts. 2-10)." Upon listening to the tunes, the reason becomes quite clear. Listen for uncredited vocal contributions from Paul and Linda McCartney.<br />
<br />
Tracks :<br />
<br />
1. One of Those Days in England<br />
2. These Last Days<br />
3. Cherishing the Lonesome<br />
4. Naked Flame<br />
5. Watford Gap<br />
6. One of Those Days in England, Pts. 2-10<br />
7. Breakfast With You<br />
<br />
<br />
Artwork Inc.<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com1tag:blogger.com,1999:blog-2165791206822226119.post-41415637121733894622012-03-08T11:05:00.008+01:002013-03-21T14:48:59.371+01:00CHARLES MANSON - LIE: THE LOVE AND TERROR CULT 1970<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrdONxyG6mdQirMxOsRrZzi6Lccrjmq60sf5dJVhbWYzGWBr1MNRYD9PssyBSjY86ArEKqpAwRj6l6HoJ9iBl0T6rN-FHm3bC5kqvAmSzPSLdoy7u-xudar5IbG8epINygW3VpD3cEddEi/s1600/untitled-2-3.jpg" style="color: white;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5717964363213827490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrdONxyG6mdQirMxOsRrZzi6Lccrjmq60sf5dJVhbWYzGWBr1MNRYD9PssyBSjY86ArEKqpAwRj6l6HoJ9iBl0T6rN-FHm3bC5kqvAmSzPSLdoy7u-xudar5IbG8epINygW3VpD3cEddEi/s320/untitled-2-3.jpg" style="cursor: hand; cursor: pointer; float: left; height: 320px; margin: 0 10px 10px 0; width: 319px;" /></a><span style="color: white;">It is quite surreal to handle a copy of Lie: The Love and Terror Cult, and certainly a very bizarre feeling to know that someone so twisted as Charles Manson and his cult, The Family, were the artists behind it all. Still, no matter how outrageous it appears, artists they are—albeit questionable ones. Or are they...? The reaction to Manson's music here is determined by the bias (rightfully and justifiably so) resulting from being guilty of the horrific Tate-LaBianca murders. This is probably what tainted the sales of the record when it first was released, with just three hundred of the two thousand copies sold. But that was the sixties. America was at the height of its reactionary politics, and the hippie movement had adopted Manson as an icon, but the tragic events associated with The Family's involvement in the Tate-LaBianca murders put paid to not only the popular, hippie counterculture, but also to the future of Manson's music career</span><br />
<br style="color: white;" />
<span style="color: white;">At first blush, and this is exactly what this record will be to many listeners today, the record may not be path breaking, musically or otherwise. But it is, nevertheless, a significant musical document, considering it is a reflection of the popular counterculture. As a musical event it does have several moments, however. Significantly, most of folksy tracks have stood up to the test of time. "Look at Your Game Girl" and "Eyes of a Dreamer" are iconic, as is "Cease to Exist" and "The More You Learn to Love." "Cease To Exist" was, in fact, co-written by the Beach Boys' Dennis Wilson and was also recorded by the group, but as "Never Learn To Love"—first as a single and then on 20/20 (Capitol, 1968). Other tracks have since been covered, hidden in or just blatantly swiped by various artists who show varying degrees of admiration for Manson's musicality.</span><br />
<br style="color: white;" />
<span style="color: white;">If it is possible to put aside the cynicism or angst towards Charles Manson then it is possible to enjoy this record. Although the music does, at times, come across as being a tad simple—even simplistic—it also has its moments of freshness. What effectively destroys any pleasure that may be derived from listening to the music are the events that Manson helped unfold. Still, while he is no Dylan or John Sebastian, Manson was indeed driven by the same existentialism that drove many of his generation. He was cruelly distracted by the hidden impulses contained in his songs, and the rest is a sordid history. But it is hoped that that fact will not diminish the experience of listening to this music for what is hoped to be. The booklet accompanying the music includes liners by Bernard Stollman of ESP-Disk and liners by Phil Kaufman, the record's original producer. Those, together with Steve Alexander's "Charles Manson Interview" make the 2008 release quite historic.</span><br />
<br style="color: white;" />
<span style="color: white;">Track Listing: Look At Your Game, Girl; Ego; Mechanical Man; People Say I'm No Good; Home Is Where You're Happy; Arkansas; I'll Never Say Never To Always; Garbage Dump; Don't Do Anything Illegal; Sick City; Cease To Exist; Big Iron Door; I Once Knew A Man; Eyes Of A Dreamer; Devil Man; The More You Love; Two Pair Of Shoes; Maiden With Green Eyes (Remember Me); Swamp Girl; Bet You Think I Care; Look At Your Game, Girl (alternate version); Interview; Who To Blame; True Love You Will Find; My World; Invisible Tears.</span><br />
<br style="color: white;" />
<span style="color: white;">Personnel: Charles Manson: guitar and vocals; The Family: other instruments and background vocals.</span><br />
<br style="color: white;" />
<br /><span style="color: white;"> </span><br />
<br style="color: white;" />
<span style="color: white;">Artwork Included</span><br />
<br style="color: white;" />
<br style="color: white;" />
<br style="color: white;" /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com4tag:blogger.com,1999:blog-2165791206822226119.post-24890529100190422042012-02-03T07:39:00.004+01:002013-03-21T14:49:14.307+01:00AN EVENING WITH MIKE McCLELLAN - LIVE 1977<div style="text-align: justify;">
<span style="color: white; font-size: 100%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqlcDKcLhjSmbx5RNFMvom-Iskbz4yYClnqTeV5EXsPWfUMxpc37kpeb16mageLVNaBYFdM8A1LgLSQfcFHc1SWjjd8UQ1235j8m4qbhzRyxcDnmeg1Ybb16jHYSrIVHqDZGD-xS1dxCKV/s1600/front.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5704795636405738962" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqlcDKcLhjSmbx5RNFMvom-Iskbz4yYClnqTeV5EXsPWfUMxpc37kpeb16mageLVNaBYFdM8A1LgLSQfcFHc1SWjjd8UQ1235j8m4qbhzRyxcDnmeg1Ybb16jHYSrIVHqDZGD-xS1dxCKV/s320/front.jpg" style="cursor: hand; cursor: pointer; float: left; height: 308px; margin: 0 10px 10px 0; width: 320px;" /></a>When<span class="Apple-converted-space"> </span><i>Song and Danceman</i><span class="Apple-converted-space"> </span>was released in 1974 Mike McClellan was already an established performer on the acoustic music scene. That song topped the charts bringing him national recognition and a following that has remained loyal to his highly personal brand of music for almost 40 years. For those who had already experienced his talent his first hit single did no more than reinforce what they already knew: that he was one of the best songwriters to emerge from this country in many years and among its most talented singer/guitarists.</span></div>
<div style="background-color: black; color: white; font-family: Verdana, Geneva, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span style="font-size: 100%;">He had began performing in the late 60’s and released his first album, titled simply<span class="Apple-converted-space"> </span><i>Mike McClellan</i><span class="Apple-converted-space"> </span>in 1972. It was regarded as one of the most auspicious debut albums from any writer/singer of his era. He toured extensively for the next 2 years playing the songs and previewing the material that would make up his breakthrough record.</span></div>
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<span style="font-size: 100%;">His second album,<span class="Apple-converted-space"> </span><i>Ask Any Dancer</i><span class="Apple-converted-space"> </span>went Gold and<span class="Apple-converted-space"> </span><i>Song and Danceman</i><span class="Apple-converted-space"> </span>was voted Song of the Year at the Annual Music Industry Awards in February 1975. He hit the cover of every magazine in the country and played concerts from Darwin to Tasmania. It hardly needs repeating that<span class="Apple-converted-space"> </span><i>Song and Danceman</i><span class="Apple-converted-space"> </span>has become an Australian classic having been recorded many times, both here and overseas.</span></div>
<div style="background-color: black; color: white; font-family: Verdana, Geneva, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span style="font-size: 100%;">Tours with such performers as Roger Miller, Melanie, Dr. Hook, The Hollies and Leo Kottke expanded his audience even further and he earned rave reviews for his capacity to hold his own in the company of such internationally recognised stars. That recognition took a giant leap forward when Rick Nelson recorded one of his most acclaimed songs,<span class="Apple-converted-space"> </span><i>Rock’n Roll Lady</i>, in 1975 and John Farnham covered<span class="Apple-converted-space"> </span><i>Saturday Dance.</i></span></div>
<div style="background-color: black; color: white; font-family: Verdana, Geneva, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">
<span style="font-size: 100%;">1976 saw the release of what many regard as his finest album of the 70’s -<span class="Apple-converted-space"> </span><i>Until the Song is Done. The Gamble</i><span class="Apple-converted-space"> </span>topped the country charts and<span class="Apple-converted-space"> </span><i>Lovers Never Wind up Friends</i><span class="Apple-converted-space"> </span>and<span class="Apple-converted-space"> </span><i>Midnight Flight</i><span class="Apple-converted-space"> </span>were covered overseas.</span></div>
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<span style="font-size: 100%;">It was inevitable that he would record a live album. For alone on stage with just a guitar there was a magic that couldn’t be easily captured in the studio. <span class="Apple-converted-space"> </span><i>An Evening With Mike McClellan</i><span class="Apple-converted-space"> </span>was released in 1978 and included some of his most requested concert tunes, among them several brilliant demonstrations of his unique guitar playing.</span></div>
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<span style="font-size: 100%;">1979 saw him compering his first television series<span class="Apple-converted-space"> </span><i>National Star Quest</i><span class="Apple-converted-space"> </span>which lead to his being asked to take over the highly successful ABC program<span class="Apple-converted-space"> </span><i>Country Road.</i> Within a year it became<i>Mike McClellan’s Country Music</i><span class="Apple-converted-space"> </span>and he continued to present the show for a further 3 years, touring extensively behind the national profile it sustained for him.</span></div>
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<span style="font-size: 100%;">1980 marked a change in direction. He parted company with EMI and, working with Harry Vanda and George Young of the Easybeats, released<span class="Apple-converted-space"> </span><i>Laughing in the Dark</i><span class="Apple-converted-space"> </span>on the Albert’s label. It became his second gold album on the strength of the single<span class="Apple-converted-space"> </span><i>The One I Love</i>. One of his most requested songs, it joined the growing list of McClellan classics and was covered many times internationally.</span></div>
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<span style="font-size: 100%;">1982 took him overseas to the UK and America. He was away for 12 months, gathering enthusiastic reviews wherever he played and establishing valuable contact with international publishers.</span></div>
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<span style="font-size: 100%;">His return to Australia in ‘83 marked another change in his career. Weary of the constant travelling he sought more stability for he and his family. Mojo, then regarded as the most dynamic ad agency in the country, persuaded him to write for them. For 2 years he contributed some of the most memorable advertising on television, writing the concepts, words and music for clients such as Australian Airlines, Red Rooster, Channel 9 and growing the already established XXXX and Tooheys campaigns for the agency. Invigorated by new challenges he and a partner left Mojo and set up their own agency which they called Kazoo. It grew rapidly over the period from ‘86 to ‘91. The 2 partners became 3, the staff went from 3 to 30 and the billings through the roof.</span></div>
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<span style="font-size: 100%;">Through all the demands on his time he still managed to release a new album in 1990. <span class="Apple-converted-space"> </span><i>The Heartland</i><span class="Apple-converted-space"> </span>is considered by many who know his work to be as good as anything he has recorded and marked a return to the EMI label.</span></div>
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<span style="font-size: 100%;">He subsequently sold his share holding in Kazoo to re-establish Mike McClellan Pty Ltd and take complete control of his own destiny once more. He needed the time to write for himself and take advantage of the dramatic changes that had been happening in the communications industry.</span></div>
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<span style="font-size: 100%;">1998 marked the release of a single commissioned for Warner Music. But the three songs it contained were a little different to past McClellan discs. They were tributes to three great Australian sportsmen, Mark Taylor, the much-admired former Aussie cricket captain, the great Sir Donald Bradman, and David Campese, often called “the Bradman of Rugby.”</span></div>
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<span style="font-size: 100%;">Late 2001 saw the release of a comprehensive retrospective of his recording career. Personally chosen and carefully remastered from the original tapes<span class="Apple-converted-space"> </span><i>Time. And Time Again</i>. is a double CD containing 35 of his best songs. Among them are re-recordings of two from his very first album, a studio version of<span class="Apple-converted-space"> </span><i>California Cool</i><span class="Apple-converted-space"> </span>that was only ever released as a B side on a single and<span class="Apple-converted-space"> </span><i>New York City Blues</i>, a never before released gem that was recorded during the sessions for<span class="Apple-converted-space"> </span><i>The Heartland</i><span class="Apple-converted-space"> </span>CD but didn’t fit comfortably with the other songs.</span></div>
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<span style="font-size: 100%;">Late 2001 also saw the first of what were standout concerts with his old friends Kevin Johnson (who wrote<span class="Apple-converted-space"> </span><i>Rock’n Roll I Gave You All The Best Years of My Life</i>) and Doug Ashdown (<i>Winter In America</i>). A sell out crowd at Sydney’s Basement and a standing ovation said it all – “Their artistic and intelligent acoustic alchemy had a capacity house singing, stamping and tingling beyond the witching hour. A night indelibly imprinted”, said Glenn A. Baker.</span></div>
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<span style="font-size: 100%;">In 2005, in conjunction with Andrew Pattison, who established Melbourne’s premier acoustic venue the Troubadour, he brought to Australia and shared the bill with the wonderful US singer/songwriter Danny O’Keefe. The concert crowds reinforced his belief that there was still a sizeable, enthusiastic audience in Australia for acoustic music of depth, conviction and real quality. </span></div>
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<span style="font-size: 100%;">Since 2005 he has been a senior tutor at the CMAA Country Music Academy in Tamworth and a Senior Visiting Fellow at the Australian International Conservatorium of Music where he teaches a course in song writing. Ironically, after many, many years his original training as a school teacher is being put to good use once again and his song writing workshops have become an important part of his creative life.</span></div>
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<span style="font-size: 100%;">Now, in 2011, he’s back doing concerts, renewing old friendships and playing extensively. As a performer he just seems to get better with time and it is a tribute to his talent that many in his audiences have been coming to see him sing for well over 35 years. Reviewing one of Mike’s Troubadour performances for the Melbourne Age some years ago journalist Paul Speelman wrote, “McClellan is a national asset”. His new CD,<span class="Apple-converted-space"> </span><i>If only for a moment…</i><span class="Apple-converted-space"> </span>will only add to his illustrious history as one of our finest singer songwriters.</span></div>
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<span style="font-size: 100%;">Tracks :</span></div>
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<span style="font-size: 100%;"><br />1. Jelly Roll Baker - traditional<br />2. Saturday Dance (McClellan)<br />3. Midnight Flight (McClellan)<br />4. The One I love (McClellan)<br />5. High Flyin' Bird (Billy Ed Wheeler)<br />6. Rock 'n' Roll Lady (McClellan)<br />7. California Cool (McClellan)<br />8. Hot Chilli (McClellan) (instrumental)<br />9. You're going to need somebody on your bond. (traditional - accompanied by Graham Lowndes)<br />10. Mr. Bojangles (Jerry Jeff Walker)<br />11. Song and Danceman (McClellan)</span></div>
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<span style="font-size: 100%;">Artwork Included</span></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com2tag:blogger.com,1999:blog-2165791206822226119.post-55343857370264558882012-01-11T18:57:00.003+01:002013-03-21T14:49:47.731+01:00BILL PERRY - CRAZY KIND OF LOVE 2002<div style="color: white; text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3FnM0LZ0TaC2rQHX4AIHVaDFb6o42slbcQbUl7NdKPp9f4aIBysk_6SQHdmDROOgmpfuEZqMIW4ProKr1GpvJ1Gk2NcGSnKNvRkoIydoCsAPv4fKhx5-trljHbcf_MUvNfVUKZGJFAwNc/s1600/Folder.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5696435379226669122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3FnM0LZ0TaC2rQHX4AIHVaDFb6o42slbcQbUl7NdKPp9f4aIBysk_6SQHdmDROOgmpfuEZqMIW4ProKr1GpvJ1Gk2NcGSnKNvRkoIydoCsAPv4fKhx5-trljHbcf_MUvNfVUKZGJFAwNc/s320/Folder.jpg" style="cursor: hand; cursor: pointer; float: left; height: 320px; margin: 0 10px 10px 0; width: 320px;" /></a>Crazy Kind Of Life, is a natural progression of Bill Perry continued growth as an artist, his most complete and self-assured recording to date. While not seeking to break any stylistic barriers, it nonetheless offers an alluring package of what Bill calls "modern traditional" blues.<br />
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With Jimmy Vivino and Paul Orofino once again at the helm, Perry's gutsy vocals, guitar ferocity, and go-for-broke intensity highlight the album. Perry was much more involved in the songwriting this time around. He and Vivino had a hand in writing all the songs, with the exception of the Rolling Stones chestnut "No Expectations," on which special guest Richie Havens achingly interprets one of best blues tunes to ever come out of the rock idiom. <br />
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Perry's songwriting is very personal, going far beyond the usual "woke up this morning..." approach, while at the same time, his songs have a universal "everyman" appeal with an underlying sense of humor. "I really felt this album," says Bill. "I felt good making it."<br />
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Tracks :<br />
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1. Trouble in the Shotgun 2:50<br />
2. Crazy Kind of Life 5:00<br />
3. Too Hot 3:12<br />
4. Honey Pie 3:22<br />
5. Take You Down 3:35<br />
6. 500 Miles 3:42<br />
7. Junkie 3:01<br />
8. Can't Buy My Love 4:36<br />
9. Morning Spiritual 3:51<br />
10. Girl's Gone Crazy 3:40<br />
11. No Expectations 5:54<br />
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Artwork Included</div>
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<br style="color: white;" />preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com2tag:blogger.com,1999:blog-2165791206822226119.post-81320679210741057572011-12-26T14:14:00.000+01:002013-03-21T14:49:59.722+01:00TINY TIM - CONCERT IN FAIRYLAND 1974<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNpf4Jc0V0psx38NhJvAvva5TC5_nCuxWVg4WlMsgUOGi1PRH-eYga0byV3WINMQBbuhbseMVgZsYDeTqCiIlc8wA6Gl7rA5okAmwwKj6Zf46ZYA4dDYEBN1JhRAkT3VAcNCXnLn9DMkA/s1600/1.jpeg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690426184704831970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNpf4Jc0V0psx38NhJvAvva5TC5_nCuxWVg4WlMsgUOGi1PRH-eYga0byV3WINMQBbuhbseMVgZsYDeTqCiIlc8wA6Gl7rA5okAmwwKj6Zf46ZYA4dDYEBN1JhRAkT3VAcNCXnLn9DMkA/s320/1.jpeg" style="cursor: hand; cursor: pointer; float: left; height: 320px; margin: 0 10px 10px 0; width: 316px;" /></a><span style="color: white;">During his proverbial 15 minutes of fame in the late '60s, Tiny Tim was one of the most bizarre spectacles on television: a heavy, six-foot-tall man with long, unkempt ringlets of hair, an enormous nose, and a garish plaid wardrobe; warbling the old-time pop standard "Tip-Toe Through the Tulips" in a quavering, shockingly high falsetto while accompanying himself on the ukulele. Pegged as strictly a novelty act, Tim actually possessed an encyclopedic knowledge of vintage American pop and vaudeville songs; he was an avid collector of 78 rpm records and sheet music, and often scoured the New York Public Library's musical archives for material. And, although he was best-known for his falsetto, Tim was also a creditable baritone crooner in the pre-Bing Crosby mold, which allowed him to sing duets with himself. Tiny Tim's initial novelty wore off with the public after a couple of years, but he was so genuinely, guilelessly eccentric that he was never really forgotten, remaining something of a pop-culture icon for decades to come.</span><br />
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<span style="color: white;">Tiny Tim was born Herbert Khaury, and gave his birth date as April 12, 1933, though some sources list 1932, 1930, and even 1926. The son of a Lebanese father and Jewish mother, he grew up in the Washington Heights section of Manhattan, and was (unsurprisingly) a misfit and loner, eventually dropping out of high school. His interest in American popular music (chiefly from the 1890s to the 1930s) began at a young age, as did his desire to be a singer, and accordingly he learned guitar and ukulele. His first performances -- under the alias Larry Love -- took place in the early '50s, and according to legend, he debuted at a lesbian cabaret in Greenwich Village called the Page 3, where he became a regular. Khaury performed at small clubs, parties, and talent shows under a variety of names; his parents tried to discourage him at first, but relented when they saw that not every gig ended in ridicule. By the early '60s, he had gained a cult following around the thriving Greenwich Village music scene, particularly after he began to incorporate bizarre renditions of contemporary songs into his repertoire. He finally settled on the name Tiny Tim after the character in Dickens' A Christmas Carol (according to some accounts, it was suggested by a manager accustomed to working with midgets).</span><br />
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<span style="color: white;">Tim's appearance in the film You Are What You Eat led to a booking on the hugely popular comedy series Rowan and Martin's Laugh-In. He was an instant sensation; whether or not he was seen as an object of ridicule, no one had ever seen anything like him. He appeared several more times on Laugh-In, and became a frequent guest on Johnny Carson's Tonight Show, also performing on the Ed Sullivan and Jackie Gleason variety shows. His eccentric personality became as well-known as his music: he was obsessed with bodily cleanliness, and his distaste for sex seemed logical when paired with his gentle, asexual demeanor. A hot commodity, Tim signed a record deal with Reprise and issued his debut album, God Bless Tiny Tim, in 1968. His signature rendition of "Tip-Toe Through the Tulips" became a hit, and the LP sold over 200,000 copies. Striking while the iron was hot, Tim recorded a follow-up, Tiny Tim's Second Album, which was released in 1969; so was its follow-up, an album of children's songs titled For All My Little Friends. On December 17 of that year, Tim pulled off one of the highest-rated stunts in television history: he actually married his girlfriend, 17-year-old Victoria Budinger (known as Miss Vicki, in typically respectful Tim fashion), on the Johnny Carson show. The couple later had a daughter, Tulip, but mostly lived apart, and divorced after eight years.</span><br />
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<span style="color: white;">Following his wedding, Tim continued to perform around the country, including some lucrative gigs in Las Vegas; unfortunately, many of his business associates took advantage of his naïveté, leaving him with few savings from his run of success. By the early '70s, perhaps due to simple familiarity, America's fascination with Tiny Tim had waned. Even after the TV appearances and high-profile gigs dried up, Tim kept plugging away, performing whenever and wherever he could. He spent around a decade off records before returning in 1980, and subsequently recorded steadily for a series of mostly small labels. He remarried in 1984 to 23-year-old Miss Jan, but the relationship dissolved after just under a month; the following year, Tim literally joined a circus for 36 weeks. In the late '80s, he moved to Australia for a few years, then returned to the U.S. to live in Des Moines, IA. In 1993, he married for a third time to Miss Sue, and the couple soon moved to Minneapolis. During the mid-'90s, Tim raised his public profile with appearances on the Conan O'Brien and Howard Stern shows; however, in September of 1996, he suffered a heart attack while performing at a ukulele festival in Massachusetts. Upon his release from the hospital, Tim resumed his concert schedule, but sadly, on November 30, he suffered another heart attack in Minneapolis while performing "Tip-Toe Through the Tulips," and died several hours later. ~ Steve Huey, Rovi</span><br />
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<span style="color: white;">Tracks :</span><br />
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<span style="color: white;">A1 Oh How I Miss You Tonight </span><br />
<span style="color: white;">A2 Let Me Call You Sweetheart </span><br />
<span style="color: white;">A3 On the Good Ship Lollipop </span><br />
<span style="color: white;">A4 Secret Love </span><br />
<span style="color: white;">A5 Animal Crackers </span><br />
<span style="color: white;">A6 Indian Love Call </span><br />
<span style="color: white;">B1 Don't Take Your Love From Me </span><br />
<span style="color: white;">B2 If I Didn't Care </span><br />
<span style="color: white;">B3 You Make Me Feel So Young </span><br />
<span style="color: white;">B4 I Got a Pain in My Sawdust </span><br />
<span style="color: white;">B5 Be My Love </span><br />
<span style="color: white;">B6 Toot-Toot-Tootsie / Goodbye</span><br />
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<br /><span style="color: white;">Artwork Included</span><br />
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preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com4tag:blogger.com,1999:blog-2165791206822226119.post-7971230183118047602011-12-26T14:04:00.000+01:002013-03-21T14:50:09.393+01:00McKENDREE SPRING - McKENDREE SPRING 3 1972<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJGc3JIQpHmmW9ObCghXG0asBQJodX9B-TuG5r4WylEgK9cEw6k763QReHxRv72Q88hhTvKf3SPo_cTaFEDwLsC90RK5LQ9k-gR401gJx_Lmhuaj8t25ayvIEGphD5R2Thj-Ff1WFgiEyl/s1600/mckendree+spring+3+-+front%2528full%2529.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690422558298965170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJGc3JIQpHmmW9ObCghXG0asBQJodX9B-TuG5r4WylEgK9cEw6k763QReHxRv72Q88hhTvKf3SPo_cTaFEDwLsC90RK5LQ9k-gR401gJx_Lmhuaj8t25ayvIEGphD5R2Thj-Ff1WFgiEyl/s320/mckendree+spring+3+-+front%2528full%2529.jpg" style="cursor: hand; cursor: pointer; float: left; height: 157px; margin: 0 10px 10px 0; width: 320px;" /></a>In the McKendree Spring exhibit at the Rock & Roll Hall of Fame & Museum in Cleveland, Ohio is an attribution that says: Experimental and innovative, McKendree Spring mixed blues, folk and country with a progressive musical vision. Over the course of seven albums, they highlighted the songs of singer/guitarist Fran McKendree and offered up unique interpretations of songs by Bob Dylan, Neil Young and James Taylor. McKendree Spring built much of its reputation as a live act by featuring the virtuosity of guitarist Marty Slutsky and violinist Mike (Doc) Dreyfuss. McKendree Spring formed in 1969 as a drumerless four-piece folk-rock ensemble that promoter/manager Bill Graham dubbed "one of the best unknown bands in the world." McKendree Spring toured with some of the most exciting artists of the 70's and shared the stage with performers such as the Everly Brothers, Fleetwood Mac, Frank Zappa & the Mothers of Invention, Elton John, Ike & Tina Turner, Joni Mitchell, Randy Newman, the Byrds, Jethro Tull, and Van Morrison. McKendree Spring played various memorable venues as well including Carnegie Hall, the Fillmore East, Lincoln Center, and Kennedy Center. Not to mention venues that got them there - like My Father's Place on Long Island, the Agoras in Columbus and Cleveland, the College Coffee House Circuit, and Ohio University in Athens. On May 8th, 1972 McKendree Spring performed with Billy Preston in the first-ever rock concert at legendary New York Radio City Music Hall. The band played to a million plus people at the Washington Monument to protest war in Vietnam, and starred on the BBC TV’s Old Grey Whistle Test in London with Cleo Lane. McKendree Spring has a knack for covering songs that sounded as if they were written by them or for them. The group is noted for its live shows that brought the crowds - and there are crowds - to their feet.<br />
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Tracks :<br />
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1. Down By The River<br />
2. Fading Lady<br />
3. Flying Dutchman<br />
4. Heart Is Like A Wheel<br />
5. Feeling Bad Ain*t Good Enough<br />
6. Hobo Lady<br />
7. Oh, In The Morning<br />
8. God Bless The Conspiracy <br />
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Artwork Included<br />
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preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com3tag:blogger.com,1999:blog-2165791206822226119.post-13186368217531433862011-12-26T13:48:00.000+01:002013-03-21T14:50:18.318+01:00MARK HENLEY - RIVERSONG 1976<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghzJaCHNEqmvMlUm870rxIGL2s0VZyh4qzyED616Z2Tccu9z_EsCeDUrZdWz-b6lvlG2wXlstU8UL2G6CAnnsfkhZ9XCWpwCwQtRqKYj-xhAL0eiKAub1GNau1RfW7BxNrZmKxEBspXrlE/s1600/Riversong+-+front.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690419676769358162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghzJaCHNEqmvMlUm870rxIGL2s0VZyh4qzyED616Z2Tccu9z_EsCeDUrZdWz-b6lvlG2wXlstU8UL2G6CAnnsfkhZ9XCWpwCwQtRqKYj-xhAL0eiKAub1GNau1RfW7BxNrZmKxEBspXrlE/s320/Riversong+-+front.jpg" style="cursor: hand; cursor: pointer; float: left; height: 316px; margin: 0 10px 10px 0; width: 320px;" /></a>Mark Henley is a song writer from the Been There and Done That School of Hard Knocks. He writes from his heart about his life and experiences during the long, strange trip. Some of his influences are Neil Young, John Prine and David Allan Coe.<br />
His style is plain, based in southern rock and modern country. Some of his songs are spiritual and others are definitely in the flesh. Some are silly and others slice to the bone. He shares his love for Jesus as well as his struggle to reach for a better life.<br />
<br />
Tracks :<br />
<br />
1.Everyone Tuesday <br />
2.Full Moon Of April <br />
3.Mona Ray <br />
4.Don't You Go Under <br />
5.After Saturday <br />
6.Give Me Time <br />
7.Place And Old Friends <br />
8.Froggin' <br />
9.Riversong <br />
10.Strawberry Moon <br />
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<br />
<br />
<br />
Artwork Inluded<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com0tag:blogger.com,1999:blog-2165791206822226119.post-14937211908194332442011-12-26T13:35:00.000+01:002013-03-21T14:50:37.710+01:00MAN - MAN 1969 US<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQhT505ApMjih5TtTGr_CAdEiMxGnIfveX7FWWJnqc5TnH7A1SKeVoqeu7KOZVX-GjCGIB90eRAJfkwM2N04vgqCWg1RNnognbkMUH5fV9lBHyxMkYEriRyu68ljG8FIb0NU11TMQciPhe/s1600/ManF.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690416917667454450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQhT505ApMjih5TtTGr_CAdEiMxGnIfveX7FWWJnqc5TnH7A1SKeVoqeu7KOZVX-GjCGIB90eRAJfkwM2N04vgqCWg1RNnognbkMUH5fV9lBHyxMkYEriRyu68ljG8FIb0NU11TMQciPhe/s320/ManF.jpg" style="cursor: hand; cursor: pointer; float: left; height: 320px; margin: 0 10px 10px 0; width: 320px;" /></a>Man consisted of Richard Supa (lead guitar, acoustic guitar, vocals), Dennis Belline (rhythm guitar, piano, vocals), Richie Cardenas (bass, vocals), Gilbert Slavin (organ, piano, harpsichord, flute), Antony Krasinski (drums, percussion, harmonica).<br />
<br />
The production was done by the legendary Bob Johnston. The album gets five stars for extraordinary songwriting. "Riverhead Jail", "Brother John" and "Far Too Many Changes Came" hold up well today.<br />
<br />
<br />
<br />
If you've heard anything, it's probably "Sister Salvation", a "turntable hit" on a few progressive rock stations at the time the record was released. "Man" has a high degree of imagination, is very accessible, and has a unique singer with Richard Supa. Unfortunately, the group never jelled, and broke up after this record. It's a great addition to a 60s collection, and a long lost musical treasure.<br />
<br />
<br />
<br />
The album jacket has a misty photo of the band members. Richard Supa and Dennis Belline collaborated in an obscure band called Denny Belline and The Rich Kids. They released one album on RCA in 1966. Richard Supa went onto a career as a session player and songwriter. His song "Chip Away The Stone" has been covered by Aerosmith and Humble Pie among others. Supa also released four solo albums between 1971 and 1978.<br />
<br />
<br />
<br />
Man also produced a cover of Bob Dylan's "Girl From The North Country" that has to be heard to be believed. As far as we know it was only available on 45 rpm.<br />
<br />
Info taken from http://cousin-mike.ucoz.com/blog/man_man_us_band_1969/2011-04-14-863<br />
<br />
Tracks :<br />
<br />
<br />
1. Sleepy Eyes And Butterflies (5:50)<br />
2. Riverhead Jail (4:20)<br />
3. When Can I Call You Friend (4:57)<br />
4. Brother John (3:58)<br />
5. Far Too Many Changes Came (8:21)<br />
6. Sister Salvation (2:58)<br />
7. Camp Of The Gypsies (3:36)<br />
8. O, Child, In Time (4:4<br />
<br />
<br /><br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com2tag:blogger.com,1999:blog-2165791206822226119.post-62196755350702720122011-12-26T13:25:00.000+01:002013-03-21T14:51:44.582+01:00<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBg9rlYvLmY9fsrFrcQ9eCVwJC9_QZ9KhbbJW6WipnccZprYa49p5bJZpeFg5p0oVIEJQ55e-RCMC8P3FLhyfY43Ky6ImFTMlgGyOyJZ_6N2R7oVzrZcAsMtEZCCww-opwdosjN8MfHvyV/s1600/Front+Cover001.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690413115240326386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBg9rlYvLmY9fsrFrcQ9eCVwJC9_QZ9KhbbJW6WipnccZprYa49p5bJZpeFg5p0oVIEJQ55e-RCMC8P3FLhyfY43Ky6ImFTMlgGyOyJZ_6N2R7oVzrZcAsMtEZCCww-opwdosjN8MfHvyV/s320/Front+Cover001.jpg" style="cursor: hand; cursor: pointer; float: left; height: 315px; margin: 0 10px 10px 0; width: 320px;" /></a>Hokus Poke were a early UK British blues band on the Vertigo label. They only released Earth Harmony in 1972. Essentially, Hokus Poke follow along the lines of the electric blues pioneered by Cream five years earlier. However, the first half of the album is much more acoustic based which gives them their own sound.<br />
<br />
Tracks :<br />
<br />
01.H.P. Boogie <br />
02.Sunrise Sunset(The Sunset) <br />
03.Big World Small Guy <br />
04.Down in the Street <br />
05.Hag Rag <br />
06.Living in Harmony <br />
07.Time and Space<br />
08.The Poke<br />
<br />
<br />
<br />
Artwork Inluded<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com0tag:blogger.com,1999:blog-2165791206822226119.post-65376637859393928252011-12-26T13:18:00.000+01:002013-03-21T14:51:55.554+01:00FLEETWOOD MAC - PENGUIN 1973<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH00udzw_M-kh4lNWwRE9gKGvtmz7vCxdb_Q2fA90G35Vv5hQODi_9XRArnjQlTSvyS0A18Ht2DR5rQ6-5P98pVKSbIq9083gLSVZt247NhrssO5d0eTDiHSog37DdV8ixcx6gkGsiHlDs/s1600/FullFront.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690410713088241410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH00udzw_M-kh4lNWwRE9gKGvtmz7vCxdb_Q2fA90G35Vv5hQODi_9XRArnjQlTSvyS0A18Ht2DR5rQ6-5P98pVKSbIq9083gLSVZt247NhrssO5d0eTDiHSog37DdV8ixcx6gkGsiHlDs/s320/FullFront.jpg" style="cursor: hand; cursor: pointer; float: left; height: 160px; margin: 0 10px 10px 0; width: 320px;" /></a>Fleetwood Mac's first album made after the departure of Danny Kirwan features the additions of guitarist Bob Weston and singer Dave Walker. By now Bob Welch and Christine McVie were the dominant forces in the band, and all traces of blues-rock were gone, replaced by Welch's hypnotic melodies and McVie's romantic sentiments married to up-tempo pop tunes. This album gave Fleetwood Mac its best U.S. chart showing yet, but the wonder is that this phase in the band's career wasn't even more popular.<br />
<br />
Review by William Ruhlmann<br />
<br />
Tracks :<br />
<br />
01. Remember Me (Christine McVie) – 2:41<br />
02. Bright Fire (Bob Welch) – 4:31<br />
03. Dissatisfied (Christine McVie) – 3:41<br />
04. (I'm A) Road Runner (Brian Holland, Lamont Dozier, Edward Holland) – 4:52<br />
05. The Derelict (Dave Walker) – 2:45<br />
06. Revelation (Welch) – 4:57<br />
07. Did You Ever Love Me (Christine McVie, Welch) – 3:41<br />
08. Night Watch (Welch) – 6:16<br />
09. Caught In The Rain (Bob Weston) – 2:41<br />
<br />
<br />
<br />
<br />
Artwork Inluded<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com0tag:blogger.com,1999:blog-2165791206822226119.post-7460232671480675782011-12-26T13:13:00.001+01:002013-03-21T14:52:06.977+01:00FERMATA - FERMATA / PIESEN Z HOL 1975-76<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7pAMbs7gbchWni8gB9PrZz1mk-GBMvSoGQ-RV3WE3G33BE9EKEzWybMS2hXqeYig2flFtvCXEcs0TlpK_WJ8m5JO81Pe3GlPBIOT6zUi7ZkAvWlTm-90nF8d63ua_RapmEx8hnFMjbUry/s1600/Fermata+-+Fermata++Piesen+Z+Hol+-+Front.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690409158839510114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7pAMbs7gbchWni8gB9PrZz1mk-GBMvSoGQ-RV3WE3G33BE9EKEzWybMS2hXqeYig2flFtvCXEcs0TlpK_WJ8m5JO81Pe3GlPBIOT6zUi7ZkAvWlTm-90nF8d63ua_RapmEx8hnFMjbUry/s320/Fermata+-+Fermata++Piesen+Z+Hol+-+Front.jpg" style="cursor: hand; cursor: pointer; float: left; height: 320px; margin: 0 10px 10px 0; width: 320px;" /></a>What an underrated band!. If you like your jazz rock fusion with prog overtones and excellent musicianship than this is for you. In the same vein as late Missus Beastly, Release Music Orchestra and maybe even a bit of Brand X and Coloseum II. But Fermata deserves more recognition because even when you fell all these influences what comes out is quite theirs. Their second is also great! Looking foward to hearing their 3rd called 'Huascaran' which everybody says is their best. Highly recommended if any of the bands mentioned tickle your fancy. (reviewed by mhiraldo)<br />
<br />
Info taken from PROGNOTFROG<br />
<br />
Tracks :<br />
<br />
Fermata -75<br />
<br />
1. Rumunska rapsodia (5:52)<br />
2. Perpetuum II (10:27)<br />
3. Postavim si vodu na caj (4:19)<br />
4. Valcik pre krstnu mamu (7:03)<br />
5. Perpetuum III (11:06)<br />
<br />
<br />
Piesen z hol' -76<br />
<br />
6. Piesen z hol (11:08)<br />
7. Svadba na medvedej luke (4:17)<br />
8. Posledny jarmok v Radvani (4:32)<br />
9. Priadky (7:38)<br />
10. Dolu Vahom (2:21)<br />
11. Vo Zvolene zvony zvonia (10:10)<br />
<br />
<br />
<br />Artwork Inluded<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com2tag:blogger.com,1999:blog-2165791206822226119.post-23786975184032442782011-12-26T12:56:00.000+01:002013-03-21T14:52:27.703+01:00DEARDORFF & JOSEPH 1976<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCzbFAV6pX5sMCL41m1szgChYijbKfPoCdrTR0tE0J2gLSAaHd4xShw6yTaOV4KQOQIjQmavd8aiTFHOzTDvSZL-MDyEsCBmROhXR__usABDnmQyvJccEyK8nygxWeY3juVJfY2qY76rK/s1600/deardorff+%2526+joseph+-+st+1976+front.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690404992585423170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCzbFAV6pX5sMCL41m1szgChYijbKfPoCdrTR0tE0J2gLSAaHd4xShw6yTaOV4KQOQIjQmavd8aiTFHOzTDvSZL-MDyEsCBmROhXR__usABDnmQyvJccEyK8nygxWeY3juVJfY2qY76rK/s320/deardorff+%2526+joseph+-+st+1976+front.jpg" style="cursor: hand; cursor: pointer; float: left; height: 320px; margin: 0 10px 10px 0; width: 320px;" /></a>Deardorff & Joseph were not widely heard or remembered, but that doesn't mean they were forgotten or even felt. Their 1976 debut became a cult item for collectors of soft Californian '70s pop, and it also marked the first time Jeffrey Comanor's "We'll Never Have to Say Goodbye Again" was heard (a few years later, England Dan & John Ford Coley brought it into the Top Ten). At the time, the album was largely ignored, even if it was a first-class professional production firmly within the Californian commercial sound of the mid-'70s and featured musical support by such luminaries as Dan Seals, Jeff Porcaro and his brothers Mike and Joe, Dean Parks, Jim Horn, and David Paich. Perhaps there was simply too much soft rock in the market in 1976, or perhaps listeners found Danny Deardorff's voice slightly thin and whiny, two things that would have killed any hopes of big commercial success for the duo. Nevertheless, time has treated Deardorff & Joseph well. Deardorff's voice remains just this side of an acquired taste -- in contrast, Marcus Joseph's voice is sweet and friendly, perfectly fitting the breezy feel of the music -- but both the songs and production are better than average, with a nicely enveloping lush, layered sound and some very good tunes, largely written by Deardorff, who may not break from the laid-back singer/songwriter tradition but does some nice work within it. Though the album sags a bit on the slower songs, this is a remarkably consistent, enjoyable record that sounds as if it could have been a hit at the time, even if it doesn't really have a cut that sounds like a lost classic. Nevertheless, the album as a whole is a bit of a lost classic of sorts for fans of Crosby, Stills & Nash-influenced Californian soft rock singer/songwriters -- think America, Seals & Crofts, England Dan & John Ford Coley, in particular -- because it is both rare and very good. Unlike some cult items, this winds up delivering on its promise and is worth seeking out for those listeners who can never get enough of the mellow Californian sound.<br />
<br />
Review by Stephen Thomas Erlewine<br />
<br />
Tracks :<br />
<br />
01. One More Story To Tell (3:26)<br />
02. We'll Never Have To Say Goodbye Again (3:22)<br />
03. Chicago Blue (3:05)<br />
04. Nighttime Love (3:00)<br />
05. Sentimental Lady (3:47)<br />
06. The Castle (2:39)<br />
07. Golden Road (3:14)<br />
08. Lovely Lady (3:03)<br />
09. Sing My Song (2:39)<br />
10. Little Kings Of Earth (3:50)<br />
<br />
<br />
<br />
<br />
Artwork Inluded<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com2tag:blogger.com,1999:blog-2165791206822226119.post-83643537444497786802011-12-26T12:47:00.001+01:002013-03-21T14:52:36.520+01:00AMAZING BLONDEL - MULGRAVE STREET 1974<div style="color: white; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3b2zuICL4tzNCMOMZuHGL_zve8mEo0eURu5wBdp1aldoroYvy06PdZ36tQrVLBcfKbBVTtA_8o1kXnUJM6aTDV_i0H8mxrJrsMsMgO4j_K5nr_jRIzm4897PFOVoidVCdhwMwwtPF_uTG/s1600/Amazing+Blondel+-+Mulgrave+Street+-+front%252Binside.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5690402503699128050" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3b2zuICL4tzNCMOMZuHGL_zve8mEo0eURu5wBdp1aldoroYvy06PdZ36tQrVLBcfKbBVTtA_8o1kXnUJM6aTDV_i0H8mxrJrsMsMgO4j_K5nr_jRIzm4897PFOVoidVCdhwMwwtPF_uTG/s320/Amazing+Blondel+-+Mulgrave+Street+-+front%252Binside.jpg" style="cursor: hand; cursor: pointer; float: left; height: 160px; margin: 0 10px 10px 0; width: 320px;" /></a><span class="value"></span>British Folk-Rock / Prog group Amazing Blondel, one of the most unique and sophisticated bands to appear on the scene in the 1970s. After recording four wonderful albums for the Island label, the band switched to the DJM label, where they recorded four additional albums before disbanding. With the departure of John Galdwin following the recording of "England", the duo of Terry Wincott and Edward Baird continued to carry the band's tradition, utilizing well-known Rock musicians as guest artists and modifying the sound to a more contemporary rockier song format. However, the Folk elements and occasional medieval music elements were still incorporated into the music, with their vocal harmonies remaining second to none. On this album the guests include Free's guitarist Paul Kossoff, drummer Simon Kirke and keyboardist John Bundrick. This is quite different from the first incarnation of the group, but still a great testimony of the times now long gone. Worth investigation!<br />
<br />
Tracks :<br />
<br />
1. Mulgrave Street (7:24)<br />
2. Iron & Steel / Leader of the Band* (4:52)<br />
3. Light Your Light (3:03)<br />
4. Hole in the Head (2:17)<br />
5. Help Us Get Along (3:48)<br />
6. See 'em Shining (2:34)<br />
7. Love Must Be the Time of Your Life (2:32)<br />
8. All I Can Do (2:40)<br />
9. Goodbye Our Friends* (3:15)<br />
10. Sad to See You Go (3:20)<br />
<br />
<br />
<br />
Artwork Inluded<br />
<br /></div>
preacherhttp://www.blogger.com/profile/13915115795105751092noreply@blogger.com1