NED DOHENY - HARD CANDY 1976

Ned Doheny's music really defies categorisation - West Coast, but very funky; sometimes disco-flavoured; with jazz undertones; and his voice is superb. This album exudes sheer class.

'Hard Candy' is his second album, originally released as an LP in 1977 but latterly released twice on CD in Japan, first as a conventional CD and latterly as a card-sleeved LP replica CD. His subsequent albums - including the outstanding 'Prone' and the excellent 'Life After Romance (+5 Bonus Tracks)' - were also released in Japan.

Tracks :

A1 Get It Up For Love

A2 If You Should Fall

A3 Each Time You Pray

A4 When Love Hangs In The Balance

B1 A Love Of Your Own

B2 I've Got Your Number

B3 On The Swingshift

B4 Sing To Me

B5 Valentine (I Was Wrong About You)

MONTORO - ESENCIA 1991

Spanish to English translation...

In 1991 the Andalusian band called Montoro, edit a single album called "Essence" for the record label pequenya Profile - Divucsa, seal Barcelona, where he also recorded musicians as diverse as Burning, Lola Flores and Donkeys. embryo group of The Last of the Fila.
The truth is that I found Montoro for the search of groups who were influenced in part by Triana and thus the only known album appeared in the early 90's de Montoro.
... and actually, the sound of Montoro is very influenced by the Andalusian rock Triana, although it is true that its composition and instrumentation is a light Anyos group Jesus De la Rosa, Tele Palacios and Eduardo A. Rodway.
The combination of flamenco and electric guitar makes appear reasonable, although the keyboard of one of the brothers who make up the Canton sound distant and foreign.
We have a first issue touches very commercial and air "The Last of the Row" that has raged for those Anyos in its own way of playing rock Andalusia. The only issue that would save would be the third "Captive on whether" a subject close to 10 minutes long which accommodates the rhythmic changes and some developed but that the theme after all has many resonances to the sound of Triana.

Tracks :


UN CUENTO DE FANTASMAS
SUEÑO ZINGARO
CAUTIVO EN SI (Reflejos De Amor)
MANOJO DE SUEÑOS
ADIOS AL PASAR
HOMENAJE A JESUS DE LA ROSA
HOY HE VUELTO AL DOLOR

BOB SEGER - BEAUTIFUL LOSER 1975

Beautiful Loser winds up sounding more like Back in '72 than its immediate predecessor, Seven, largely because Bob Seger threaded reflective ballads and mid-tempo laments back into his hard-driving rock. He doesn't shy away from it, either, opening with the lovely title track. And why shouldn't he? These ballads were as much a part of his success as his storming rockers, since his sentimental streak seemed all the more genuine when contrasted with the rockers. If anything, Beautiful Loser might err a little bit in favor of reflection, with much of the album devoted to introspective, confessional mid-tempo cuts. There are a couple of exceptions to the rule, of course -- "Katmandu" roars with humor, and his cover of "Nutbush City Limits" shames Tina Turner's original -- but they are the only full-throttle rockers here, with "Black Night" coming in as a funky, swaggering cousin. It's the exact opposite of Seven, in other words, and in its own way, it's just as satisfying. Occasionally, it might be a little too sentimental for some tastes, but it's all heartfelt and he's written some terrific songs here, most notably the album's heart of "Jody Girl" and "Travelin' Man." Seger had started turning inward, searching his soul in a way he hadn't since the since-disowned Brand New Morning, and in doing so, he was setting the stage for his first genuine blockbuster. ~ Stephen Thomas Erlewine, All Music Guide

Tracks :

Beautiful Loser
Black Night
Katmandu
Jody Girl
Travelin' Man
Momma
Nutbush City Limits
Sailing Nights
Fine Memory

JOHN DENVER - AN EVENING WITH JOHN DENVER 1974

For those who know or have heard of John Denver, his life, his songs, and his experiences have been legendary. Bursting onto the scene in the early '70s, Denver used his skill of folk-rock and mastery of composition to bring light and heartfelt spirit to the world of music. This compilation is remarkably engineered and produced. "I've been looking forward to this for a long, long time," said Denver during this live recording for RCA at the California Universal Amphitheater in August/September of 1974. He also tells the audience, most attentive to say the least, that he worked on his songs late into the evening on the beach's lifeguard stands the first time he arrived in California in the late '60s. It was a long journey to the top of singing stardom, just eating in order to play for people in the early days. This is a different record from those of his individual ones. It is here that Denver is backed up by a phenomenal orchestra conducted by Lee Holdridge. Dick Kniss is there to back him up on bass guitar. Steve Weisberg adds the electric guitar, steel pedal, and dobro. Herb Lovelle sits in on drums, Hal Blaine adds the percussion, and John Sommers puts added touches with rhythm guitar, banjo, fiddle, and mandolin. The album begins with Denver's song of encouragement, "Farewell Andromeda." "Welcome to my morning/Welcome to my happiness/It pleases me to have you here for just a little while," sings Denver. Then it's off to the races with the uptempo Beatles cover "Mother Nature's Son," in which Denver received much praise for playing, keeping the spirit of the Fab Four alive. "Summer" takes the listener to their favorite vacation spot in the midst of a memory-filled season. He throws in Randy Sparks' song "Toledo" for laughs. The artist receives from the audience a strong reception for the hilarious tune. A song about Denver's uncle, "Matthew," brings to the listeners a lesson "that joy is the thing you should be raised on/And love is just a way to live and die." Denver gives the audience his version of Jim Connor's "Grandma's Feather Bed," another crowd pleaser. After quite an entertaining ending, he introduces his beautiful song "Annie's Song" in sentimental fashion, a song written and played in love of his wife. As the record seems to show, the list of songs flow with a great emphasis of highs and lows, such like the momentum of a roller coaster. It is after the soothing, sweet ballad for Annie that Denver puts on all the stops, pressing full forward with the intense and passionate tune "The Eagle and the Hawk." This song has the theme of the environment written all over its melody, as does nearly all of the artist's work. Another ballad is played with sheer eloquence and sincerity by Denver, "My Sweet Lady." This is certainly an album filled with the artist's best, and one must wonder how he manages to fit all these tunes into one concert for the listeners' enjoyment. A wonderful version of "Thank God I'm a Country Boy" ignites the audience with another rousing of applause, as do "Take Me Home, Country Roads" and his most well-known hit, "Rocky Mountain High." This is a must even for the casual John Denver listener. Only by fully taking in the music can listeners see his vision of good music and passion for protection of the environment. -- Shawn M. Haney

Tracks :

1. The Music Is You

2. Farewell Andromeda (Welcome To My Morning)

3. Mother Nature's Son

4. Summer

5. Today

6. Toledo

7. Matthew

8. Rocky Mountain Suite (Cold Nights In Canada)

9. Sweet Surrender

10. Grandma's Feather Bed

11. Annie's Song

12. The Eagle And The Hawk

13. My Sweet Lady

14. Annie's Other Song

15. Boy From The Country

16. Rhymes & Reasons

17. Forest Lawn

18. Pickin' The Sun Down

19. Thank God I'M A Country Boy

20. Take Me Home, Country Roads

21. Poems, Prayers And Promises

22. Rocky Mountain High

23. This Old Guitar

WIZZ JONES - WIZZ JONES 1969

Jones became infatuated with the bohemian image of Woody Guthrie and Jack Kerouac and grew his hair long. His mother had started calling him Wizzy after the Beano comic strip character "Wizzy the Wuz" because at the age of nine Raymond was a budding Musician. The nickname stuck throughout his school years and when he formed his first band "The Wranglers" in 1957 the name became permanent. Bert Jansch later said "I think he's the most underrated guitarist ever". In the early 1960s he went busking in Paris, France, and there mixed in an artistic circle that included Rod Stewart, Alex Campbell, Clive Palmer (Incredible String Band) and Ralph McTell. After a couple of years in Paris he married and returned to England to raise a family. In 1965 his only single was released: Bob Dylan's "Ballad of Hollis Brown". By this time the skiffle boom was over but one of the stars of that movement, Chas McDevitt, used Jones' guitar-playing on five albums in 1965 and 1966. Another musician on those sessions was the bluegrass banjo-player, Pete Stanley. In 1966 Jones and Stanley released an album Sixteen Tons of Bluegrass, but this partnership broke down in 1967, as Jones then turned solo.
Jones started to became a singer-songwriter. His first solo album was Wizz Jones in 1969. Up to 1988, ten solo albums followed and he played on Ralph McTell’s single "Take It Easy" in 1974. In a way Ralph was repaying Wizz for his help in getting McTell established on the scene, Steve Tilston was also guided by Wizz, through the easy stages of his career. Wizz was once described a having 'a right hand worthy of Broonzy', the Broonzy in question is of course Legendary Country Blues Guitarist Big Bill Broonzy. Jones is quite proud of his 'Musicians' Musician' status on the scene, always he couldn't be bothered with proper fame! Most of his recordings from this period are long out of print. A brief excursion as a member of the traditional folk band Lazy Farmer in 1975 produced an album that was reissued in 2006. Wizz has always maintained a high level of popularity in Germany, since the mid - 1970's, he stills tours mainland Europe every year. The early 1990s were a quiet period. He almost disappeared from public view. When in the mid-nineties he appeared on the Bert Jansch television documentary Acoustic Routes, there was renewed interest in his work. In 2001 he led John Renbourn and other members of Pentangle on the album Lucky The Man. In 2007 The Legendary Me and When I Leave Berlin were reissued on CD by the Sunbeam record label.

WIZZ:
Around this time I was gigging with banjo player Clive Palmer at places such as Les Cousins in Greek Street, Soho. It was there that I met Roy Harper who had recently recorded his first album "Sophisticated Beggar" for producer Pierre Tubbs. Pierre had told Roy that he was looking for artists with original material to record for Liberty and United Artists records. Roy's retort had been "Pierre why don't you record some ORIGINAL PEOPLE like Wizz Jones and Clive Palmer?"

So that was how I got to make my first solo LP (Pierre went on to record Clive as part of Henry Bartlett's group "The Famous Jug Band").

I even persuaded one of my old busking friends Long John Baldry to write the sleeve notes.

It was also the first time I recorded the fine Alan Tunbridge song "A Common Or Garden Mystery" with Beverley Martyn and it was my plan to make that the title of the album. However I was over-ruled and persuaded to climb on to a diesel engine at Clapham Junction for the photo shoot for the LP sleeve!

Tracks :

1. "Teapot Blues"
2. "Shall I Wake You from Your Sleep?"
3. "A Common or Garden Mystery"
4. "I've Got a Woman with One Leg"
5. "Shukkin' Sugar Blues"
6. "Earl's Court Breakdown"
7. "Oh My Friend"
8. "Blues and Trouble"
9. "Can't Stop Thinkin' About It"
10. "Dazzling Stranger"
11. "At the Junction"
12. "American Land"
13. "I Wanna See the Manager"
14. "Corrine's Blues"
15. "Grapes of Life"
16. "Guitar Shuffle"

FLO & EDDIE - THE PHLORESCENT LEECH & EDDIE 1972

Self-described as the Partridge Family and Redd Foxx on one album, Mark Volman and Howard Kaylan, otherwise known as Flo & Eddie, presented one of the more eclectic duos in the history of rock & roll. Their friendship and musical partnership, which began in their high school choir in Westchester, CA, led at first to a surf band called the Crossfires, which changed its name tothe Turtles after its members graduated high school. The Turtles had some of the sweetest, most feel-good sounds in pop music, but underneath the melodic pop there was always an undercurrent of mischief. When the band broke up in 1970, Volman and Kaylan became members of Frank Zappa's Mothers of Invention, which provided them a perfect breeding ground for their quirky ways. Performing under the name the Phlorescent Leech & Eddie, they eventually shortened their moniker to Flo & Eddie. They recorded seven solo albums, eventually producing inexplicably weird reggae albums, but their real name was made by their radio show, which started out in the mid-'70s in Detroit, but eventually ended up on KROQ in California and was syndicated by nearly 50 stations at its peak. Flo & Eddie scored two low-budget films, Dirty Duck and Texas Detour, and, surreally enough, also worked on music for several kids' television shows, including the animated series Strawberry Shortcake and the Care Bears. ~ Stacia Proefrock, Rovi

Tracks :

Flo & Eddie Theme

Thoughts Have Turned

It Never Happened

Burn The House

Lady Blue

Strange Girl

Who But I

I Been Born Again

Goodbye Surprise

Nikki Hoi

Really Love

Feel Older Now

Goodby Surprise

Feel Older Now

There You Sit Lonely

BERT JANSCH & JOHN RENBOURN - AFTER THE DANCE 1992

This breathtaking album showcases a series of spellbinding and perfect dialogues between two masters of acoustic guitar. Although normally classified under "folk", the album is an extraordinary and seamless fusion of blues, jazz, celtic/British, bluegrass and baroque counterpoint. The music combines strong and catchy melodies, driving rhythms and strategically advanced composition.

An extraordinarily intense driving energy pervades this album, and as the last few notes echo in your ears, you are left with the feeling of having been in the presence of pure, bright liquid light, emanating from a pitch-black background. The pieces are hauntingly beautiful, each track highly distinctive.

This album is a master course in dialogue and composition. I've listened to it an uncountable number of times, and I'm still learning from it. If my house caught on fire and I could rescue only one album, I would choose this one.

review by Dan Engelberg

Tracks :

1 Tic-Tocative
2 Waltz
3 Piano Tune
4 Goodbye Porkpie Hat
5 Hole In The Coal
6 The Wagoner's Lad
7 Lucky 13
8 Three Part Thing
9 Stepping Stones
10 Red's Favourite
11 No Exit
12 Orlando
13 Bells
14 East Wind
15 After The Dance

JANIS JOPLIN - FAREWELL SONG 1982

Janis Joplin expressed the pain of her existence in every nuance of her voice, and FAREWELL SONG is a highly confessional testimony to her short, tragic life. It contains six songs from her stint with Big Brother and three recorded after she departed their company. The live and studio recordings capture all the bitchiness, pathos and generosity of Joplin's voice and spirit, as well as the taint of self-destruction and tragedy that seemed destined to dog her until her early demise. The collection richly portrays the abandon that propelled Joplin to both worldwide fame and premature self-immolation.

There's a bone-chilling version of the highly autobiographical "Misery'n" and the Todd Rundgren-produced "One Night Stand," the latter a portrait of the paranoia and confusion of the transient life of the star. Joplin's voice positively soars in this sadly revealing tune about the fleeting nature of love on the road. Also impressive are the vocally acrobatic "Catch Me Daddy" and the mournful title track. A goofy version of "Amazing Grace" is somewhat disappointing when one considers how Joplin could have wrapped her soulful voice around this spiritual hymn, but this collection is deeply satisfying in both its diversity and the intimacy of its autobiography.

Tracks :

Tell Mama;
Magic Of Love
Misery'n
One Night Stand
Harry
Raise Your Hand
Farewell Song
Amazing Grace/Hi Heel Sneakers
Catch Me Daddy.

KIRK FLETCHER - SHADES OF BLUE 2004

As a two time W.C. Handy Award nominee, who has toured with Lynwood Slim, Janiva Magness, Charlie Musselwhite and The Fabulous Thunderbirds, as well as performing with James Cotton, Pine Top Perkins, Hubert Sumlin, Mojo Buford, Ted Harvey, Larry Carlton, Robben Ford, Michael Landau, Elvin Bishop, Ronnie Earl, Doyle Bramhall, Michelle Branch and many more… Kirk Fletcher is considered one of the best young guitar players on the blues scene today.

Born 1975 in Bellflower California, Kirk began playing guitar at age eight after watching his brother Walter perform at their father’s church. At age twelve he attended the Long Beach Blues Festival where he saw the likes of Albert Collins, Bobby Blue Bland, (accompanied by Wayne Bennett) and the Staple Singers. This was a life changing experience for him as he realized that this was the music he wanted to play.

While still in High School he discovered a small but legendary Los Angeles music store called Music Works, where he met owner Jim Foote, “Meeting Jim was invaluable in my search for tone and a better understanding of the mechanics of the instrument, and it was a very cool scene to be a part of....that’s how I met Jeff Rivera, who at the time was Robben Ford’s guitar tech. I got to assist him and be a fly on the wall to some of the most amazing musical events of my life up to that point....and it heightened my musicianship!” During this time he performed with R&B artist Christopher Williams and was playing gospel weekly at The House of Blues, with Brent Jones & The T.P. Mob, where he also shared the stage with such artists as Stephanie Mills and Jackson Browne.

In the Mid 90’s Kirk met Al Blake, frontman of the Hollywood Fats Band who became a mentor to the young guitarist. Blake introduced him to wide variety of blues music,“Al hipped me to blues artists as diverse as The Mississippi Sheiks to Tommy Johnson...we’re talkin’ pre Robert Johnson stuff...that’s how far back we went..!” and it was through Blake he also met and bonded with guitarist Junior Watson, “Junior and I would get together smoke cigars, drink tequila and talk guitars...”

Around this time Kirk met and sat in with harmonica legend Lynwood Slim, “I’m grateful to Slim for giving me a stage to play on...” and it was then that Kirk released his first solo effort “I’m Here & I’m Gone” for the JSP Label. “It gave me a chance to pay tribute to my influences and to establish my solo career”. Kirk’s reputation was growing amongst harp players around town, and through an introduction, again, by Al Blake, Kirk sat in with Kim Wilson, and about a year later, got a call to join Kim Wilson’s Blues Review. “I played on and off with Kim for over 2 years....when he wasn’t working with the T-birds”, with the results being the Grammy nominated album“Smoking Joint” .

In 2003 Kirk recorded his second album “Shades of Blue” and it brought him even greater attention in the blues community,“Charlie Musselwhite found out about me through blues musician Doug MacLeod......,Charlie needed a guitar player and called me”, this gig was special for Kirk, “He gave me the freedom to find my voice on the guitar”. He spent three years touring with Charlie and feels that this is where he developed his unique style.

A year later, after another call from Kim, he joined The Fabulous Thunderbirds, where he contributed to and recorded on their “Painted On” album. “I made lifelong friends in Nick, Ronnie, Jimi, Steve and Gene”. In 2007 he gave notice in order pursue his solo career, and this is when he met up with legendary guitarist and producer Michael Landau. “ We first played together at the Baked Potato in L.A., quickly became friends and really connected musically”.

In recent years Kirk has been performing all over Europe as a headliner and occasionally touring in the U.S. with Doyle Bramhall and Michelle Branch. When home, he gives open counseling at Hollywood’s Guitar Institute of Technology.

Tracks :

Blues for Boo Boo
Bad Boy
Welfare Blues
Don't Go No Further
Club Zanzibar
That's Why I'm Cryin'
Worried Man Blues
Country Girl
Down Home Woman
Stranded in St. Louis
Little by Little
My Home Is a Prison
River's Invitation, The
Hip Hug Her
You Don't Know - (bonus track)
Club Zanzibar - (alternate take, bonus track)
Don't Go No Further - (acoustic mix, bonus track)

ALLMAN BROTHERS BAND - WIPE THE WINDOWS, CHECK THE OIL , DOLLAR GAS 1976

Recorded live at various venues in California and New York between 1972 and 1975. Originally released on Capricorn (0177). Includes liner notes by Mike Hyland and Mark Pucci.

By 1976, it had been five years since the release of the Allman Brothers' breakthrough (and all-time classic) release LIVE AT THE FILLMORE EAST. With the band calling it quits, the Allmans record company decided this would be the perfect time to issue a follow-up--WIPE THE WINDOWS, CHECK THE OIL, DOLLAR GAS.

With original members Duane Allman and Berry Oakley deceased, the mid-'70s Allmans line-up was patched up by bassist Lamar Williams and second keyboardist Chuck Leavell, helping to show that the group still could work their in-concert magic. With "In Memory of Elizabeth Reed" the only song from the FILLMORE release to reappear here, such post-Duane gems as "Jessica" and "Ramblin' Man" shine in a live setting, making WIPE THE WINDOWS a worthy addition to any Allman fan's album collection.

Japanese only SHM-CD (Super High Material CD - playable on all CD players) paper sleeve pressing. Universal. 2009.

The Allman Brothers Band: Gregg Allman (vocals, guitar, organ, Clavinet); Richard Betts (vocals, guitar, slide guitar); Chuck Leavell (piano, electric piano, background vocals); Lamarr Williams (electric bass); Butch Trucks (drums, tympani, percussion); Jaimoe (drums, percussion).

Engineers include: Johnny Sandlin, Tom Flye, Tom Scott.

Tracks :

01.Introduction by Bill Graham
02.Wasted words
03.Southbound
04.Ramblin' man
05.In memory of Elizabeth Reed
06.Ain't wastin' time no more
07.Come and go blues
08.Can't lose what you never had
09.Don't want you no more
10.It's not my cross to bear
11.Jessica