The first album from the veteran bass player from Colosseum, Uriah Heep and Natural Gas (with Joey Molland and Jerry Shirley) has been a long time coming. After 40 years of his friends and fans asking for a solo album - here it is. And it's a masterful collection of extemely well recorded and performed tracks that rival any from the bands he's played in.
01. One Of These Days
02. A Cowboy's Song
03. Without You
04. Modeleine
05. You Save The Day
06. The Falling
07. Heaven and Hell
08. Movin' to the Moon
09. Then Forever Comes
10. A Little Something
For many Peter Banks is the forgotten man of Yes which is a shame as
Peter was a founder member of that band and as such an important part of
the jigsaw. Although Peter likes to look forward and has released a
number of fine solo albums I get the impression he is quite proud of his
time in Yes and his pre-Yes incarnation. His previous project was
Something’s Coming, a double CD containing radio and TV performances of
Yes prior to his departure in 1970.
For this release Peter goes back to recordings made between 1964 and
1968 including his appearances in The Syn and Mabel Greer’s Toyshop, two
names familiar to Yes fans as they precluded the creation of that band.
As a document of what went before Yes, this is a fascinating dig into
the past and includes material that would eventually appear on the first
Yes album.
01. Can I Play You Something? (Peter Banks)
02. Bang/Crash (Peter Banks)
03. Peter Gunn (Peter Banks) (recorded live in Los Angeles, 1980)
04. Hippie Loop (Peter Banks)
05. 14 Hour Technicolour Dream (The Syn, 1967)
06. You Better Move On (The Devil's Disciples, 1965)
07. Beyond And Before (Demo) (Mabel Greer's Toyshop, 1968)
08. Beyond And Before (What Bass? Mix) (Mabel Greer's Toyshop, 1968)
09. Lima Loop (Peter Banks)
10. Grounded (The Syn, 1967)
11. For Your Love (The Devil's Disciples, 1965)
12. Flowerman (Demo) (The Syn, 1967)
13. Flowerman (The Syn, 1967)
14. Yesterdays (Peter Banks)
15. Electric Funeral (Demo) ( Mabel Greer's Toyshop, 1968)
16. Electric Funeral (Radio Fun Mix) (Mabel Greer's Toyshop, 1968)
17. Cinnamon Touch ((Peter Banks)
18. Get Yourself Together (Demo) (Mabel Greer's Toyshop, 1968)
19. Created By Clive (The Syn, 1967)
20. Images Of You And Me (Radio Fun Mix) (Mabel Greer's Toyshop, 1968)
21. I Saw You! (Bang/Crash) (Yes, 1969?/70? "Affirmative Duo" (Banks/Bruford))
22. No Time ((Peter Banks)
From his days with Eric Clapton in Derek & the Dominoes, through his excellent session work and solo albums, Bobby Whitlock's talent has continued to spread itself across the canvas of rock & roll in shades of blue and other bright colors. With It's About Time, the colors blend into one of Whitlock's most intriguing creations yet.
Beginning with the hauntingly beautiful "There She Goes," Whitlock adds subtle nuances to the canvas, one on top of the other, until his creation has been completed. And what a creation it is, highlighted by spirited re-recordings of a couple of tunes co-written with Clapton -- "Why Does Love Got to Be So Sad" and "Bell Bottom Blues" -- and backed up with great new songs like the lovely "Standing in the Rain" and the rocking "Born to Sing the Blues." The musicians Whitlock brings to the project, including Steve Cropper, Jim Horn, and Buddy Miller, are another reason for the album's undeniable energy. "Sold Me Down the River" rocks with a Little Feat-ish vibe and features dead-on background vocals from Ashley Whitlock, while "It's Only Midnite" is filled with soul and passion. "Ghost Driver" is a haunting story of one man's final, high-speed ride through the night. "I Love You," a plea for loved ones to express their feelings for each other before it's too late, caps off this fine set from a musician we haven't heard enough from in recent years.
01. There She Goes
02. Why Does Love Got to Be So Sad?
03. It's About Time
04. A Wing and a Prayer
05. Sold Me Down the River
06. It's Only Midnite
07. Standin' in the Rain
08. Born to Sing the Blues
09. High on You
10. Bell Bottom Blues
Benjamin Hugg foi um cantor, compositor e guitarrista australiano Ele lançou dois álbuns, Early One Morning (1974) e What's Been Happening (1975). Suas músicas são basicamente folk rock com boas pitadas de uma boa pop music. Ele chegou a excursionar com a sua "The Benjamin Hugg Band" composta por Greg Johnson (guitarra), Keith Miller (baixo) e David Pitt (bateria). Após esse segundo disco ele simplesmente desapareceu de seu público.
Infelizmente, não disponho de mais informações sobre o artista, a não ser a de que ele morreu em decorrência de um câncer. Para sites como o Allmusic, ele simplesmente nunca existiu. No RateYourMusic, só umas capinhas em baixíssimas resoluções.
O Early One... já vi rolando por aí num vinil rip. Este segundo, ao que me consta, é uma raridade.
Divirtam-se todos!!!!!!!!!
Early One Morning - 1974
01 - Interlude (Early One Morning)
02 - Thanks God You´re Here With Me
03 - Such Little Time
04 - Lovely Picture
05 - Silly Minded People
06 - Alleys of Austin
07 - My Jenny
08 - Here Comes Alice And Me
09 - I´ve Found Love
10 - Hand Me Down Secondhand Smile
11 - Epilogue (Early One Morning)
Benjamin Hugg - Acoustic Guitar, Vocal
Peter Robinson - Bass, Acoustic and Eletric Guitars
Bill Pyman - Acoustic and Eletric Guitar, Back Vocals
Doug Sornan - Acoustic and Eletric Piano
Buddy England - Acoustic Guitar and Back Vocals
Garth Thompson - Drums and Percussion
Bruce Woodley - Acoustic Guitar
Barry Sullivan - Bass
Rick Berger - Bass
Joe McLaughlin - Piano
Kerryn Tolhurst - Steel Guitar
Wendy Cook - Back Vocals
01 - Needle of Misfortune
02 - What's Been Happening
03 - Loving You
04 - Don't Leave me This Way
05 - I Hear You Sing
06 - Dirty Man
07 - Without You
08 - Where is the Love
09 - Easy
Benjamin Hugg - Acoustic Guitar, Vocal
Peter Walker - Guitar
Peter Roberts - Bass
Tim Partridge - Bass (Funky)
Michael Bart - Keyboards and Synths
Russel Dunlop - Drums
Joe Tattersall - Drums
Geoff Oakes - Sax
John Sayers - Piano
Barry Leef, Peter Walker, Joe Tattersall - Back Vocals
Com o post de hoje dou como cumprida minha heróica e solitária batalha para reupar tudo de novo com uma conexão de internet sofrível. Ficou de fora uma ou outra coisa que acha-se fácil pela rede e alguns poucos que parecem não ter tido boa recepção.
Se mesmo assim alguém se deparar com um link morto, desde que não seja do único Juan Martin que postei, fiquem inteiramente a vontade para ser atendido (quase) prontamente.
Through his collaborations with the likes of Dave Stewart, Peter Blegvad, John Greaves and Pip Pyle, Jakko M. Jakszyk has become an honorary member of the Canterbury 'family', although he has led a fruitful solo career and earned fame as Level 42's guitarist between 1991 and the band's split in 1994.
In his teenage years, while at school in Watford, Jakszyk's favourite bands were Henry Cow and Hatfield and the North. A big fan of Dave Stewart in particular, he sent him tapes of his band 64 Spoons, which resulted in Stewart coming down to a few gigs, sometimes in the company of Bill Bruford, whom he he was working with at the time. 64 Spoons folded at the turn of the decade, leaving an unreleased album, which finally saw the light of day in 1992 as Landing On A Rat Column on the Freshly Cut label, thanks to the effort of enthusiast Richard Armstrong, who sadly died shortly before the project came to fruition.
Jakszyk's friendship with Stewart resulted in him singing on the original demo for "What Becomes Of The Brokenhearted?". He eventually sang backup on the final version with Colin Blunstone on lead vocals. Meanwhile, he was a founding member, as guitarist and lead vocalist, of Rapid Eye Movement, a band formed by Stewart after the Bruford group had split up, also including Pip Pyle and Rick Biddulph. This obscure outfit (which left no recorded legacy) toured Europe irregularly for about a year (1980-81). "It was a lot rougher than National Health", Jakszyk remembers, "very structured but performed in a very anarchic way". When "What Becomes Of The Brokenhearted?" became a hit in England, it was included in the setlist. "Rapid Eye Movement did record some stuff in the studio. There are also a number of reasonably good live tapes and I have recently talked to Dave about releasing something".
Jakko M.Jakszyk's Kingdom Of Dust represented an accessible and melodic fusion of Pop sensibilities and Art Rock ambition that found Jakko working alongside the ever-inventive trio of Jansen, Barbieri and Karn (ex-Japan/Rain Tree Crow)
Jakko M. Jakszyk - Guitars, Vocals
Richard Barbieri - Keyboards, Synthesizers
Mick Karn - Bass
Steve Jansen - Drums, Percussion
1. The Hands of Che Guevara
2. Drowning in My Sleep
3. It's Only the Moon
4. The Judas Kiss
Lady´s Choice é o terceiro álbum da carreira solo de Bonnie. Com uma coleção de músicas que reúnem autores como Issac Hayes, Smokey Robinson, James Brown, Bob Dylan e Sam Cooke, desfilam em suas 11 faixas o talento de gente como Gregg Almann, Bobby Whitlock, Randall Bramlett, além de toda a galera da Muscle Shoals.
01. Think (About It)
02. Hold On I'm Coming
03. You Send Me
04. Never Gonna Give You Up
05. Let's Go Get Stoned
06. Two Steps From The Blues
07. If I Were Your Woman
08. Ain't That Lovin' You Baby
09. You've Really Got A Hold On Me
10. Thrill On The Hill (Let's Go, Let's Go, Let's Go)
11. Forever Young
Bonnie Bramlett - Vocals
Gregg Allman - Organ (track 1), Vocals (track 6)
Bobby Whitlock, Vocals (track 10)
Barry Beckett - Keyboards
David Hood - Bass
Roger Hawkins - Drums
Chuck Leavell - Piano (tracks 8, 9)
Dobie Gray - Vocals (track 4)
Jimmy Hall - Vocals (track 9)
Mickey Thomas, Vocals (tracks 2, 9)
Randall Bramlett - Soprano Sax (track 3)
Harvey Thompson - Tenor Sax
Ronnie Eades - Saxophone
Johnny Sandlin, Tommy Talton - Guitar
Dickey Betts - Guitar (track 8)
Ricky Hirsch - Guitar, Horn (track 5)
Harrison Calloway - Trumpet
Paul Hornsby - Keyboards
Charles Rose - Horn
4. Circles
5. Ashes and Matchsticks
6. Roll That Train
7. The Least I Could Do
8. Fat City
9. Salad Green Geraldine
10. San Francisco Streetcar Fire
Brian Friel - Guitar, Vocals
Zoot Money - Keyboards
Mick Devonport, Tim Renwick, Andy Roberts, Arthur Rodman, Colin Pincott - Guitar
Craig Pruess - Keyboards
Paul Vigrass - Vocals Paul Francis - Drums
DeLisle Harper - Bass
Six of the thirteen songs on Nobody Left To Crown are new originals that Mr. Havens has written for this disc, while the seven covers are ones that speak to either issues of the day or express an idea that he cares passionately about. That last bit might be a tad redundant as I can't think of Richie Havens singing a song if he wasn't able to make an emotional commitment of some kind to it. Interestingly enough one of the covers dates back to the Woodstock era, Pete Townshead's "Won't Get Fooled Again", and Havens' interpretation of it keeps it as pertinent today as it was then.
That's the thing about Nobody Left To Crown that's important to know, Richie Havens maybe a figure some of you think of as belonging to a time in the past, but that is unfair to the man and his music. None of these songs are exercises in nostalgia, nor is the disc some sort of sixties revival thing. This recording has been made for today's world, and the messages it has to impart are relevant to what is going on around us. Listen to the second song on the disc, "Say It Isn't So" and you'll hear what I mean.
Eu upei esse cd há um bom tempo, enquanto eu fazia uns testes com a minha internet e acabei deixando o link solto por aí. Na verdade nem era a minha intenção postá-lo, já que deve ser figurinha fácil em muitos fornecedores. Mas, preocupado se deve ser algum pecado mortal tal desperdício, resolvi postá-lo antes que caia por inatividade. Isso evidentente não quer dizer que trata-se de um disco dispensável, muito pelo contrário. Tanto as músicas inéditas como as covers são dignas de nota. A versão para Won't Get... é especialmente uma bela jóia. Se você não catou ele antes, aproveite e divirta-se.
01. The Key
02. Say It Isn't So
03. Won't Get Fooled Again
04. Standing On The Water
05. Hurricane Waters
06. If I
07. Nobody Left To Crown
08. (Can't You Hear) Zeus's Anger Roar
09. Lives In The Balance
10. We All Know Now
11. Fates
12. The Great Mandala (The Wheel Of Life)
13. One More Day
Richie Havens - Vocals, Acoustic Guitar
Walter Parks - Guitar
Keith Christopher - Bass
Shawn Pelton - Drums
Stephanie Winters - Cello
The Siegel-Schwall Band é uma banda de blues de Chicago, formada em 1964 por Corky Siegel e Jim Schwall
Flash Forward, de 2005, foi o primeiro disco de estúdio em mais de trinta anos.
1. Afraid Of Love
2. Deja Vous
3. Going Back To Alabama
4. The Underqualified Blues
5. Krazy
6. Can't Stop
7. On The Road
8. Twisted
9. Rumors Of Long Tall Sally
10. Hey Leviticus
11. Sweet Liz
12. Pauline
13. Stormy Weather Love
Corky Siegel - Harmonica, Piano, Vocals
Jim Schwall - Guitar, Mandolin, 12-string Guitar, Accordion, Vocals
Rollo Radford - Electric & Upright Bass, Vocals
Sam Lay - Drums and Vocals (guitar and vocals on 'Stormy Weather Love')
Marcy Levy - Background Vocals
Greg Lake - From the Underground II - Deeper Into The Mine - 2010
From The Underground Volume 2 Deeper Into The Mine, is a second collection of rare and previously unreleased recordings dating back to 1969 and Greg Lake's days in King Crimson. Also included are several never before-heard finished studio recordings taken from the sessions for Lake's two Chrysalis solo albums released in the 1980s; rare live recordings from Emerson, Lake & Palmer; and unreleased tracks from two Greg Lake splinter projects, EL & Powell and Greg Lake's Ride The Tiger (which included Yes/ Buggles /Asia keyboardist, Geoff Downes). Among the most rare of the recordings found on From The Underground Volume 2 Deeper Into The Mine are several finished studio masters of outtakes from the two Lake Chrysalis solo albums. He was backed by his 1981/83 solo band featuring guitarist Gary Moore and also by the Grammy Award winning pop band, Toto. Also included is a 1971 studio-quality live recording of Lake's most popular group, Emerson, Lake & Palmer, doing a previously unreleased song entitled Preacher.
01. Black Moon - Emerson Lake & Palmer
02. Check it Out - Greg Lake's Ride The Tiger
03. Love Under Fire - Greg Lake's Ride The Tiger
04. Cold Side of a Woman - Greg Lake with Toto
05. Step Aside - Emerson Lake & Palmer
06. Preacher Blues - Emerson, Lake And Powell
07. Hold Me - Greg Lake
08. Heart on Ice - Emerson Lake Band
09. Blue Light - Greg Lake's Ride The Tiger
10. You´re Good With Your Love - Greg Lake With Toto
11. You Really Got a Hold on me - Greg Lake With Toto
12. Epitaph - King Crimson
13. Fanfare For The Common Man - Greg Lake Band Featuring Gary Moore
01. Kani Fe
02. Better Get Up and Go
03. Arawa
04. Rio Amazonas
05. Oh Shu Ba
06. Don't Try to Own Me
07. Olua
08. Bo Bo Wa
09. Rio Amazonas, Pt. 2
10. Twilight
George Harrison - Back Vocals
Gary Wright - Keyboards, Vocals
Ricardo Silveira - Guitar
Jimmy Haslip - Bass, Percussion, Drums
Terry Bozzio -Percussion, Drums
Steve Farris - Bass, Guitar, Percussion, Steve Farris (Drums)
Marlon Klein, T.S. Vinayakaram, T.H. Vinayak Ram, Trichur Mohan, Vikku Vinayakram, Ayo Adeyemi - Percussion
Ayo Adeyemi - Vocals
Deep Feeling were previously known as The Hellions, a well known Worcester-based band which had included guitarist Dave Mason. The Deep Feeling were fronted by former Hellions drummer/vocalist Jim Capaldi with the other members comprising of lead guitarist Luther Grosvenor, Gordon Jackson on rhythm guitar, bass guitarist David Meredith and drummer/vibes player John "Poli" Palmer. The band started using the name Deep Feeling in 1966 (some sources claim Dave Mason was in the group but Dave was never part of the Deep Feeling line-up).
Deep Feeling concentrated on performing around the Birmingham area and managed to build up quite a following. They also started playing a heavier, psychedelic-influenced style of music with Jim Capaldi, Gordon Jackson and Poli Palmer all writing original songs for the group. All the band members sang and Gordon Jackson would substitute on drums when Poli Palmer was playing vibes or flute. Yardbirds manager/producer Giorgio Gomelsky became interested in the group after seeing them perform in Cheltenham. He arranged for them to make an album in London and a number of tracks were recorded in the studio by the band but the only one released to-date has been the Capaldi/Jackson/Palmer composition Pretty Colours.
01. Pretty Colours
02. The Ruin
03. Chicken George
04. The Necessitarian
05. Or Something
06. I Put A Spell On You
07. Coming Home Baby
08. I Don't Know Her Too Well
09. On The Circle Of Life
10. To A Lady In Black
11. Imaginations Of Alice
12. Blues For Witley
Jim Capaldi - Lead Vocal
Luther Grosvenor - Lead guitar, Vocal
Gordon Jackson - Guitar, Drums, Vocal
Dave Meredith - Bass Guitar, Vocal
Poli Palmer - Drums, Vibes, Flute
Luther Grovesnor's second solo album was a long time coming. The first, back in 1972, caught him midway between stints with Spooky Tooth and, in the guise of glam rock hooligan Ariel Bender, Mott the Hoople. The second, almost a quarter of a century later, caught him somewhere between forgotten hero-dom and absolute obscurity, and in the handful of interviews he gave around that time, he seemed to prefer it that way. He talked of living a normal life and playing guitar for fun. But back in the studio for the first time in years, it was as though he'd never been away. This is not, if any stray Mott fans are passing, an Ariel Bender album. Returning to his given name, he also returned to the style which distinguished both Spooky Tooth and Under Open Skies, the understated melody that has always been his songwriting signature, the underexposed flash which peels out of his guitar, and the underground exuberance which made his the first number the Stones called after Brian Jones left in 1969.
Slammed down in ten days with a revolving door of guest friends (Jim Capaldi, Mike Kellie, Jess Roden) dropping by, it relies on Grovesnor's own persona for charm and effect, keeps fancy production tricks at farthest arm's reach, and it never shows off. Understated, underexposed, underground. Comparisons can be found. "Ninsky Prospect" has a vaguely Lou Reed feel to it, while Kellie's "Fullness of Time" brags a distinctly (but, ironically, pre-Bender) Mott swagger. Elsewhere, a cover of Bob Seger's "Fire Down Below" follows the old Spooky Tooth trick of taking someone else's song and making it their own forever, and there's a thunderous Roden-led romp through Joe Tex's "I Wanna Be Free," which could, in fact, be Free, so there's irony for you. And those are only the most obvious highlights - one could also dwell forever on the autobiographical opener "Evesham Boy," the stunningly tuneful title track, and if you missed it first time around (a lot of people did), the 2001 Floodgates Anthology reissue turns up even more marvels. Eight bonus tracks include an acoustic version of "Floodgates" previously available only on a rare promo sampler, two tracks recorded for the Peter Green tribute Rattlesnake Guitar, and three cut in 1997 for an attempted Spooky Tooth reunion - all good enough to make you wish the project had been taken to fruition. Then comes one track recorded by the teenaged Grovesnor with schoolmate Jim Capaldi in 1966, produced by Giorgio Gomelsky and never before released in any form, while the album closes with another marvel, a live version of "Here Comes the Queen," taken from Grovesnor's debut album, and performed by Mott the Hoople in 1974. And from the collectors' point of view, it's probably true that those two cuts alone are worth the price of admission. True, but very, very misleading.
1. Evesham Boy
2. Best Years of My Life
3. Floodgates
4. Fullness of Time
5. I Wanna Be Free
6. Ninsky Prospect
7. Lonliest Man in Town
8. Fire Down Below
9. Cathy
You have to hand it to the Pretty Things. If trophies were distributed for tenacity alone, their cabinet would be overflowing. The original hellraisers, the group were peers of the Stones (guitarist Dick Taylor was the Rolling Stones' original bassist) and influenced David Bowie and many others.
Recorded on aged analogue equipment, their 11th studio album, Balboa Island is probably the best record you're going to hear from artists 40 years into their career. Although its budgets may be considerably smaller than some of their remaining peers, the album's ambitions are suitably widescreen. Lead vocalist and lynchpin Phil May (the man of whom Bowie once wrote 'is God') could really milk his role as time-ravaged troubadour (say, like on "Livin' In My Skin"), but he stays just the right side of cliché throughout.
01. The Beat Goes On
02. Livin' In My Skin
03. Buried Alive
04. Blues for Robert Johnson
05. Mimi
06. Pretty Beat
07. The Ballad of Hollis Brown
08. In The Beginning
09. Feel Like Goin' Home
10. Freedom Song
11. Dearly Beloved
12. All Light Up
13. Balboa Island
Phil May - Vocals
Dick Taylor - Guitar, Banjo
Frank Holland - Acoustic & Lead Guitar, Vocals
John Povey - Jeyboards, Harp, Vocals
Wally Waller - Bass, Vocals
Skip Alan - Drums & Percussion
Mark St John ancient Trixon - Drums, Vocals
With
Scarlett Wrench (lots of great vocals & a capella) James Cheetham (piano & organ on "Robert Johnson") Rupert Cobb (trumpet) Duncan Taylor-Jones (extra vocals on "Dearly Beloved")
As co-founder of the legendary rock band Traffic, Dave Mason has always been a powerful force in popular music. His tenure as their guitarist, vocalist & songwriter, along with his friends Stevie Winwood, Jim Capaldi and Chris Wood, netted the quartet several hit singles and albums including his signature tune Feelin' Alright and international smashes like Hole In My Shoe.
While collaborating with his friends like Jimi Hendrix, The Rolling Stones, Eric Clapton, Delaney and Bonnie and George Harrison, Dave Mason continued to develop his trademark sound, while igniting a solo career that took off with his first platinum plus debut album Alone Together from 1970.
Over the next three decades, Dave Mason continued his legendary status as a staple radio artist, riding the top rung of the many music charts with tunes like We Just Disagree, Let It Flow, All Along the Watchtower, Show Me Some Affection, and Something from the Heart.
A few years ago, Dave Mason and his wonderful band entered into the state of the art XM studios in Washington D.C., and recorded this new album Live at XM Satellite Radio. This unique session was performed organically in front of an intimate gathering of friends and fans. From start to finish, it is a solid 100% classic Dave Mason concert.
Things start off with a nod to his Alone Together album with the prog-rock classic World In Changes and his Delaney and Bonnie hit Only You Know and I Know. Mason's vocals and guitar styling are second to none as the crowd roars in approval.
We Just Disagree was Dave's most successful venture at Top 40 radio back in the late seventies. This emotional live reading brings back the memories of this era and skillfully shows the interplay between Mason and his good friend guitarist John Sambataro (Firefall, McGuinn Clark & Hillman). This track is indeed a defining moment of the show.
No Dave Mason concert is complete without the classics All Along The Watchtower, Traffic's Dear Mr. Fantasy and the surprise groover Feelin' Alright. His fans and new converts will agree, this new live offering will satisfy the classic rocker in all of us.
In addition to this pivotal live recording, Dave has gone into the vaults and found a very rare live interpretation of the Eagles classic Take It To The Limit. Recorded several years ago in the Orange County, California locale, this tune takes on a whole new feeling with the Dave Mason magic.
As a further gift to his fans, Dave has also included two new studio tracks that will truly enhance your listening experience. First, there is the very rare Dave Mason/Jim Capaldi duet of the classic 40,000 Headmen. Recorded shortly before his untimely death, Jim Capaldi truly sings his soul out on this revisit to the Traffic era. Dave shares on the vocal chores, as well as an incredible guitar workout throughout.
The intriguing closer, Deaf, Dumb And Blind, is one of those tunes that his fans have been clamoring years for. Dave's vocals are the ticket here, the amazing music he creates is still intact after four decades of recording, and like a fine wine, his career just gets better all the time. This tune will surely become one of his future classics
01. World in Changes
02 .Only You Know and I Know
03. We Just Disagree
04. Look at You, Look at Me
05. Dear Mr. Fantasy
06. All Along the Watchtower
07. Feelin' Alright
08. Take It to the Limit - (Recorded Live In Orange County, CA/Bonus Track)
09. 40, 000 Headmen - (Bonus Track)
10. Deaf, Dumb and Blind - (Bonus Track)
Dave Mason - Guitar, Vocal
John Sambataro - Guitar
Alex Drizos - Bass
Alvino Bennett - Drums.
Bill Mason - Keyboards and Jim Capaldi - vocal on 40,000 Headmen
Some Things Coming features Bramlett on lead vocals and guitars with a full-on horn section, Venetta Fields and Clydie King on backing vocals throughout, string arrangements by George Bohannon, percussionist Milt Holland, Ronnie Grayson on drums, bassist Robert Wilson, and B-3 boss Tim Hedding -- the backing chorus added on several cuts includes future disco diva Gloria Jones and Shirley Matthews. The material is wide-ranging but always greasy.
The opener is the driving funky Southern soul and gospel of "Over and Over"; it's revved to rockist hedonism with a splintering, overdriven guitar and popping bassline dueling to the death with double-time drums and an ambitious horn chart. There's the in-the-pocket ballad "Thank God," which manages to evoke both Ray Charles and '60s Nashville without blowing it. The gospel blues of "Please Accept My Love" is done in the utterly believable, wanton, pleading singing voice that Leon Russell and Bramlett shared -- but Bramlett's range is wider. It gets downright hard and funky on "Keep It Going," a tune that Bramlett co-wrote with Elvin Bishop. This is snaky voodoo funk at its best.
One can hear the Meters and a gospel choir meeting on the street corner where Saturday night reluctantly gives way to Sunday morning and the spirits are everywhere duking it out. Add the title track and the album is worth its weight in gold. Bramlett -- via percussionist Holland with a kalimba, congas, and a boatload of hand percussion, and a gospel choir singing in Zulu -- simply takes the innovation of Hugh Masakela into the rock and Southern soul idiom. He answers them, line for line, in English. It all flows together until it erupts in razor-sharp lead guitar lines; funked-out bass and drums are underscored by the B-3 in the middle eight before it gives way again to the chant. It's stunning -- especially considering it's followed here with the traditional "Down by the Riverside," done with so much class you'd swear you were in church, except for maybe that guitar solo. Speaking of which, "Sit Right Down" offers one of the nastiest-sounding National Steel bottleneck guitars ever put in front of a mike in a studio.
01. Over and Over
02. Thank God
03. Please Accept My Love
04. Keep It Going
05. Some Things Coming (Heartbeat)
06. Down by the Riverside
07. Sit Right Down
08. I'm Not Your Lover, I'm Your Love
09. Try a Little Harder
Delaney Bramlett - Vocals, Guitar
Jim Gordon, Joe Davis, Jerry Jumonville - Saxophone
Ron Grayson - Drums
Tim Heding - Organ
Robert Wilson - Bass
Gloria Jones, Shirley Matthews, Clydie King, Venetta Fields - Backing Vocals
Milt Holland - Percussion
Darrell Leonard - Brass
Larry Savoie - Trombone
Philippe Saisse - Keyboards Simon Phillips - Drums Pino Palladino - Bass
from Facebook
Phillips and Palladino recently joined forces on Saisse’s CD “At World’s Edge. It was that collaboration, which sparked the idea of incarnating the trio into a full-fledged working unit.
“I’ve always had such tremendous respect and admiration for Simon and Pino as musicians, so playing with them in this trio is a dream come true for me,” admitted Saisse. “We discovered that we have an incredible synergy, and really compliment each other as live musicians,” added Phillips.
The trio will also continue to pursue their solo endeavors as well. Phillips has all ready completed tours featuring his own band in Japan, Indonesia, and Europe earlier this year, and is working on his own solo record. Palladino, who did recent tours with The Who and The John Mayer Trio, continues to work with Mayer on various projects, and the Welsh born bassist, remains to be one of the most sought after session players in the UK.
British born Phillips moved to Los Angeles in 1992 and set up his Phantom Recording Studios in San Fernando Valley. French born Saisse last year moved to Los Angeles after an 18-year stint living in New York, and now shares space at Phillip’s studio complex.
The international rooted ensemble intends to make PSP stick, “We realized after our live gigs together, that what we’re doing musically feels pretty special, “ attests Palladino, “so we’re committed and excited about seeing how far we can take it.”
01. Mancala
02. What Wong With You
03. Monday Afternoon
04. Blue Rondo A La Turk
05. Keyboard Improv #1
06. Masques
07. Drumesque
08. Roppongi Blues
Bonnie Bramlett - Live at the Bottom Line (New York City 01-may-1978) (early show)
This is the first of two shows recorded at New York’s famed Bottom Line
club, was presented on a tour designed to be a comeback for blue-eyed
soul belter Bonnie Bramlett. Although she had released one solo album on
Columbia Records after the dissolution of both her marital and musical
partnership with singer/songwriter/guitarist Delaney Bramlett in 1972,
she had stopped recording and touring for a while to raise their
daughter, Bekka. Eventually, she returned to the music scene and moved
over to the Southern rock home base of Capricorn Records.
01. Introduction
02. Living On The Open Road
03. Holding On To You
04. Writing On The Wall
05. Don't Know Why
06. Can't Stay
07. Atlanta, Georgia
08. Can't Find My Way Home
09. I've Just Seen a Face
10. Memories (late show)
11. Two Steps From The Blues (late show)
Bonnie Bramlett - Vocals
Ricky Hirsch, Allen Kaatz - Guitar
Robert Wilson - Bass
Big John Thomassie - Drums
Rick Allen Sutherland - Piano, Organ
Patty Smith, Carolyn Brandt - Backing Vocals
Although his popularity was often eclipsed by the artists he mentored, Delaney Bramlett was an accomplished guitarist and singer/songwriter whose style influenced the likes of Eric Clapton, J.J. Cale, and Duane Allman. A native of Pontotoc, MS, he served time in the U.S. Navy before moving to Los Angeles in 1959. He soon became a member of the Shindogs, the resident band on the TV show Shindig. Such a job allowed Bramlett to rub shoulders with other notable musicians, and in 1967 he met Bonnie Lynn O'Farrell, a member of Ike & Tina Turner's backup group the Ikettes. The two were married within five days; they also formed a duo named Delaney & Bonnie. Read More HERE
Delaney Bramlett - Vocals, Guitar
Jim Gordon - Saxophone
Nick Van Maarth, Jim McGrew - Guitar
Fred Rivera - Bass
Stu Perry - Drums, Percussion
Victor Pantoja - Congas, Percussion
Rick Sutherland - Organ
Jim Hobson - Piano, Clavinet
Cole Kesler - Harmonica
1975's Jimmy Bowen produced "Giving Birth To A Song" marked Delaney Bramlett's third solo album (and his third label in as many years). Credited as 'Delaney and Blue Diamond' the album found Bramlett returning to the confines of a full fledged band. Musically the set wasn't a major departure from his standing soul/rock moves.
01. Giving Birth To A Song
02. I Get High
03. So Much In Love
04. My Lover's Prayer
05. (I Wanna) Stay Home With You
06. The Plug
07. Nothing Without You
08. Never No More Blues
09. Lonesome, Long Gone, And So Long
10. Over You
11. I Got Away
It seems that sometimes triumph and tragedy go hand in hand and the story of Bob Mosley goes well with this theory. His creative highs are closely bound with personal downfalls – in true Moby Grape style, it seems. For this is the musical legend with whose legacy the man's name is ultimately connected. Much has been made of the band's early heydays, the mishaps and scandals, and the great music that came with them. Bob Mosley, singer, bass-player and guitarist, was one of the four songwriters in Moby Grape, next to Peter Lewis, the late Skip Spence and Jerry Miller. Some of his classic contributions to the Grape repertoire: "Mr. Blues", "Come In The Morning", "Lazy Me", "Bitter Wind", "Rose Colored Eyes", "Trucking Man", "It's A Beautiful Day Today", "Hoochie" and more. Listening again to these classic cuts it becomes evident that Bob Mosley's personal style is very much based upon the concept of intensity. His urgent style of singing has distinct expressive qualities and sometimes is reminiscent of John Fogerty. Despite the versatility of the band's music, Bob Mosley's musical priorities can be safely located at the crossroads of country and blues. That's where he seems to be at home. His voice is unmistakable. No matter what.
NEVER DREAMED is a collection of previously unreleased songs. It's a chapter from the man's history that's been completely unknown until now and presents the story of a remarkable encounter: a meeting of rock and country giants from Buddy Holly's "Crickets" and the legendary band of Elvis Presley. To be precise: James Burton and Sonny Curtis (guitars), J.I. Allison (drums), Glen D. Hardin (piano) plus Joe Osborn and Emory Gordy (bass) with fellow "Cricket" Joe B. Mauldin serving as sound engineer. So is this Moby Grape meets Texas meets Nashville meets Memphis? Well, in a way it is. but NEVER DREAMED is first of all the brainchild of songwriter and producer Jean-Pierre "J.P" Whitecloud. Read More Here
Bob Mosley - Vocals
James Burton - Electric Guitar, Acoustic Guitar
Sonny Curtis - Acoustic Guitar
Glen Hardin - Piano
Joe Osborn - Bass
J.I. Allison - Drums
With
Frank Arnett - Steel Guitar
Emory Gordy - Bass
J.P. Whitecloud - Tambourine, Back Vocals
01. There Is The Sun
02. Dead Or Alive
03. Never Dreamed
04. Willy Shakespeare Blues
05. Shoot The Xylophone Man
06. Put It Off Until Tomorrow
07. Louisiana Mama
08. Question
09. Leavin' Through The Back Door Bonus Tracks
10. Willy Shakespeare Blues (alternate take)
11. Never Dreamed (alternate mix)
Spiritual Boy is the seventh album by former Small Faces and Faces keyboardist Ian McLagan. The album was intended as a tribute to his band mate in both groups, singer-songwriter Ronnie Lane, released on what would have been Lane's sixtieth birthday, 1 April 2006, on McLagan's own Maniac Records. Featuring ten tracks either written or co-written by Lane throughout the span of his career as a musician and one written by McLagan for Lane, it was recorded in February and March 2006 at McLagan's Manor, Texas studio, The Doghouse, with his backing group, the Bump Band in tow alongside such guests as famed Austin, Texas disc jockey Jody Denberg.
01. Spiritual Babe (Lane)
02. Itchycoo Park (Marriott-Lane)
03. Nowhere to Run (Lane)
04. Annie (Lane-Lambert-Clapton)
05. Debris (Lane)
06. April Fool (Lane)
07. Kuschty Rye (Lane-Lambert)
08. Show Me the Way (Marriott-Lane)
09. You're So Rude (McLagan-Lane)
10. Glad and Sorry (Lane)
11. Hello Old Friend (McLagan)
Ian McLagan - Vocals, Acoustic & Electric Pianos, Hammond B3, Clavinet, Acoustic & Electric Guitars, Pro2 bass
"Scrappy" Jud Newcomb - Electric & Acoustic Guitars, Mandolin, Vocals.
Mark Andes - Bass, Vocals
Don Harvey - Drums
With
John Bush - assorted percussion (1-3, 6-8)
Seela Bush - vocals (1, 3)
Jody Denberg - vocals (7)
Brian Standefer - cellos (5)
Greg Ridley - Anthology - All I Ever Needed - 2005
"Então Steve Marriott disse: 'A propósito, já tenho um baixista que está a fim de me acompanhar nessa, é Greg Ridley, do Spooky Tooth.' Aquilo bastou para mim. Não que a simples presença de Steve não bastasse, mas na época Greg era o baixista mais respeitado da Inglaterra'
If hearing Steve Marriott's voice at the helm of Humble Pie was the defining moment in my musical education - then next up, along with Frampton's guitar, was the big blonde guy who played bass, with the big booming voice and the rock star looks...or maybe he just seemed big at the time compared to the other three, who are all pretty small?
Then further investigation reveals that he is a top bass guitarist, the coolest bass player on the planet when he joined Humble Pie ! In fact an important part of the "supergroup" story around Humble Pie's beginnings.
"Steve rang me up early on New Year's morning" said drummer Jerry Shirley "and told me he was joining me and Peter in Peter's band." Somewhat tongue in cheek he added, "but what clinched it for me was that he was bringing Greg Ridley into the band - and he was THE bass player on the underground scene". Greg and Jerry would go on to quickly become the driving rhythm machine behind Marriott.
Greg Ridley could himslef put together a very decent "Best Of" from Humble Pie tracks....from Big George, to Sucking on the Sweet Vine, to Let Me Be Your Lovemaker, Drift Away, Send Me Your Loving, You're so Good to Me, Sweet Peace and Time and so on....and that's without his contribution to
songs like Four Day Creep and Hallelujah I Love Her So.
It was brilliant seeing Greg again at the 2001 Steve Marriott Memorial Concert...stage centre, legs astride in his famous pose, still wearing those trademark leather trousers.
A far cry from the early sixties in Carlisle, only a few miles from the Scottish border, as Dino from Dino and the Danubes.
In quick succession he led the Dakotas and the Ramrods, before teaming up with school friend Mick Harrison in the VIP's in 1964. In talking to Greg, this is a group he obviously remembers with great relish. In fact he was tickled pink when a fan on the recent Humble Pie German tour brought some VIP records to sign. Don't know if many people know, but Keith Emerson was also a member for a short time. Anyway, the VIP's evolved to Art, with Luther Grosvenor and Mike Kellie, and then into Spooky Tooth with American Gary Wright.
After Humble Pie, Greg worked on a still unreleased duo album with Steve Marriott, and joined the ill-fated All Stars on their short US tour. He tried out for Mike Patto's new band Boxer, and with Clempson/Powell in Strange Brew before retiring from the music industry at the ripe old age of 30.
Greg Ridley re-entered the music scene in 1991 with the reunion of Pie members Jerry Shirley, Peter Frampton, and Dave Clempson at the Steve Marriott Memorial Concert in London. Following that historic event, he and Shirley teamed with Humble Pie MkIII member Bobby Tench, Bucket Colwell, and Zoot Money in the studio for “Back on Track”. and a limited tour of Europe.
01. Trouble (Ridley)
02. All I Ever Needed (Colwell)
03. Gangster of Love (Watson)
04. Don't Let Me Be Misunderstood (Benjamin, Caldwell, Marcus)
Henry McCullough Blues Band - Belfast to Boston - 2001
Henry McCullough (born 21 July 1943) is a guitarist, who has played guitar in such bands as Spooky Tooth, Paul McCartney's Wings, and The Grease Band. Born in Portstewart, County Londonderry, Northern Ireland, Henry McCullough is a guitarist, vocalist and songwriter, and is the only Irishman to play the Woodstock Festival (backing Joe Cocker). He turns up in many different places as sideman or a performer in his own right. READ MORE HERE
01. Old Black Coat
02. You Can't Do That
03. Hi Ya Folks
04. Down In The Amusement
05. Sick And Tired
06. Murder In My Heart
07. Mess Of Blues
08. I Can't Help Falling In Love
09. Belfast To Boston
Henry McCollough - Vocals, Guitar
Krzysztof Zawadzki - Drums
Zbigniew Szularz -Guitar
Tomasz Grabowy - Bass
This is the brand new re-mixed and re-mastered U.S. version with alternate takes and different songs than the German Hypertension Music import. Very much a slide-guitar bluesy CD featuring Rick's great touring band, The Lucky Devils (Charlie Harrison, bass, and Rick Reed, drums) Contains 11 tracks, 8 originals, plus great new version of the Peter Green-penned title track, and an instrumental take on Sam Cooke's "A Change Is Gonna Come," that is not to be missed! Other highlights include the gospel-tinged, "Going To Las Vegas," and " I Do Believe," along with the deep blues of such cuts as "My Baby's Hot," "Slide The Blues," and " The Lucky Devil." This one is a sure-fire pleaser for all guitar blues and roots-rock music fans!
01. My Baby's Hot
02. Rattlesnake Shake
03. I Do Believe
04. The Lucky Devil
05. A Change Is Gonna Come
06. The Glory Road
07. Going to Las Vegas
08. Slide the Blues
09. I Am Not Alone
10. Hole in My Shoe
11. Albatross
Patrick Frances McManus was one of 6 children born into an incredibly talented musical family in Derrylin, Co.Fermangh, N.Ireland. Pat’s father, John, and his mother Valerie were highly accomplished Traditional Irish music players, so it wasn’t long before Pat and his two brothers, John and Tommy, were picking up all the instruments lying around the house and learning to play. By the age of 7, Pat had already performed on live T.V. and by 14 he was All-Ireland Fiddle Champion. Aged 20, Pat somehow stumbled across a band called Horslips. As Horslips were a Celtic rock band, the 3 brothers could relate to their music and quickly became big fans and later attended so many gigs that they formed a friendship with the guys in the band. The brothers soon swapped their Fiddles, Uilleann Pipes and Bodhrans for electric instruments and formed their first band called - Pulse, with Pat on Guitar, John on Bass & Vocals and Tommy (who was only 12 at the time) on drums. During an interview with Radio Luxembourg , Dj – Tony Prince, who remarked how young they all were, jokingly called them Mamas Boys - the boys changed their name. It was just meant to be an ‘of the cuff’ remark but the name stuck and soon the 3 brothers were officially known as Mamas Boys........... READ MORE HERE
Pat McManus - Guitars, Fiddle and Vocals
Paul Faloon - Drums
Gordon Sheridan - Bass
01. Low Down Dirty Blues
02. Ordinary Man
03. I Take What I want
04. Gentleman Rogues
05. Got The Right
06. Juggernaut
07. Runaway Dreams
08. Email Blues
09. Back In The Saddle
10. Same Old Story
11. Return Of the G Man
12. The Professor
13. Mama Were All Crazee Now
14. Needle In The Groove
15. Straight Forward
Patrick Frances McManus was one of 6 children born into an incredibly talented musical family in Derrylin, Co.Fermangh, N.Ireland. Pat’s father, John, and his mother Valerie were highly accomplished Traditional Irish music players, so it wasn’t long before Pat and his two brothers, John and Tommy, were picking up all the instruments lying around the house and learning to play. By the age of 7, Pat had already performed on live T.V. and by 14 he was All-Ireland Fiddle Champion. Aged 20, Pat somehow stumbled across a band called Horslips. As Horslips were a Celtic rock band, the 3 brothers could relate to their music and quickly became big fans and later attended so many gigs that they formed a friendship with the guys in the band. The brothers soon swapped their Fiddles, Uilleann Pipes and Bodhrans for electric instruments and formed their first band called - Pulse, with Pat on Guitar, John on Bass & Vocals and Tommy (who was only 12 at the time) on drums. During an interview with Radio Luxembourg , Dj – Tony Prince, who remarked how young they all were, jokingly called them Mamas Boys - the boys changed their name. It was just meant to be an ‘of the cuff’ remark but the name stuck and soon the 3 brothers were officially known as Mamas Boys...........