Benjamin Hugg (real name Gary Hughes) was a Melbourne based folk singer . His first album 'Early One Morning was released in 1974 and garnered the single "Thank God You're Here With Me" which went Top 40. The album had some of Australian best musicians playing on it. His second album "What's Been Happening" came out in 1975. Hugg formed a touring band The Benjamin Hugg Band which comprised of Greg Johnson (guitar) Keith Miller (bass) David Pitt (drums). He died of cancer in the mid-eighties.
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 - Michinberry Walk
08- My Jenny
09 - Here Comes Alice And Me
10 - I´ve Found Love
11 - Hand Me Down Secondhand Smile
12 - 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
Donny Hathaway is the eponymous second studio album by American soul artist Donny Hathaway, released on April 2, 1971 on Atco.
The majority of songs featured on the collection were covers of pop, gospel and soul songs that were released around the same time. The most prominent of the covers were Hathaway's rendition of Leon Russell's "A Song for You" and a gospel-inflected cover of Gladys Knight & the Pips' "Giving Up", written by Van McCoy. This was the second of three solo studio albums that Hathaway released during his lifetime before his suicide in 1979. Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song".
Donny Edward Hathaway (October 1, 1945 – January 13, 1979) was an American jazz, blues, soul and gospel singer, songwriter, arranger, organist, and pianist. Hathaway signed with Atlantic Records in 1969 and with his first single for the Atco label, "The Ghetto", in early 1970, Rolling Stone magazine "marked him as a major new force in soul music."[1] His enduring songs include "The Ghetto", "This Christmas", "Someday We'll All Be Free", "Little Ghetto Boy", "I Love You More Than You'll Ever Know", signature versions of "A Song for You" and "For All We Know", and "Where Is the Love" and "The Closer I Get to You", two of many collaborations with Roberta Flack. "Where Is the Love" won the Grammy Award for Best Pop Performance by a Duo or Group with Vocals in 1973. At the height of his career, Hathaway was diagnosed with paranoid schizophrenia.[2] On January 13, 1979, Hathaway's body was found outside the luxury hotel Essex House in New York City; his death was ruled a suicide.
01. Giving Up
02. A Song for You
03. Little Girl
04. He Ain't Heavy, He's My Brother
05. Magnificent Sanctuary Band
06. She Is My Lady
07. I Believe in Music
08. Take a Love Song
09. Put Your Hand in the Hand" (Gene MacLellan) (3:49) Bonus Tracks:
10. Be There
11. This Christmas
Roger Daltrey - Performs The Who’s Tommy And More - 2012
By Andrew Perry 25 Mar 2011
While Roger Daltrey’s work in organising the annual Teenage Cancer Trust concerts should never go unheralded, the most intriguing night in this year’s programme was his own: the billing was simply “Roger Daltrey Plays 'Tommy’”, suggesting that he would perform the Who’s landmark rock opera from 1969, but without the band’s only other surviving member, Pete Townshend, their guitarist and author of this complex and much-debated work.
As the throng of faithful old mods huddled together inside the Albert Hall’s illustrious goldfish-bowl, many speculated on the glaring absence of Who branding. In a recent interview, Townshend had bemoaned the effects of a lifetime’s worth of rock gigging on his joints, and his hearing. So was this the end, finally, without fanfare, of the mighty Who?
On the plus side, renditions of “Tommy”, from Ken Russell’s lurid 1975 movie version through to latterday stage productions, have always featured celebrity cameos — Oliver Reed, Elton John, Ringo Starr, even the former Dr Who Jon Pertwee. One imagined, given Daltrey’s skill at pulling strings on behalf of his charity, that tonight’s star count would be high.
When the singer and his band emerged to rattle through Townshend’s “Overture”, there was a near-audible groan of disappointment at the absence of star players. Instead there was a Los Angeles session team, who included Townshend’s younger brother, Simon, on acoustic guitar and vocals, and a lead guitarist with Melvyn Bragg’s hair.
While Daltrey himself was in final fettle, growling out the familiar narrative of the deaf, dumb and blind kid whose proficiency at pinball leads him to become a messianic cult leader, “Tommy”’s shortcomings became all too apparent. It meanders for minutes at a time, until the clanging riff to “Amazing Journey”, say, or the recurrent “see me, feel me” melodic strand, arrives to perk things up. Half an hour in, pretty much anyone in the hall would have donated next month’s mortgage payment to the TCT for some kind of wow factor.
Disc 1
01. Overture/It’s A Boy
02. 1921
03. Amazing Journey
04. Sparks
05. Eyesight To The Blind
06. Christmas
07. Cousin Kevin
08. The Acid Queen
09. Do You Think It’s Alright
10. Fiddle About
11. Pinball Wizard
12. There’s A Doctor
13. Go To The Mirror!
14. Tommy Can You Hear Me?
15. Smash The Mirror
16. Sensation
17. I’m Free
18. Miracle Cure
19. Sally Simpson
20. Welcome
21. Tommy’s Holiday Camp
22. We’re Not Gonna Take It
Disc 2
01. I Can See For Miles
02. The Kids Are Alright
03. Behind Blue Eyes
04. The Way It Is
05. Pictures Of Lily
06. Who Are You
07. My Generation
08. Young Man Blues
09. Baba O’Riley
10. Without Your Love
11. Red Blue And Grey
Roger Daltrey - Vocals
Simon Townshend - Guitars, Lead Vocal (It's a Boy, The Way It Is)
Frank Simes - Guitar
Jon Button - Bass
Scott Devours - Drums
Loren Gold - Keyboards
Produced by Ray Ruff and Jimmy Bowen on the Motown imprint Prodigal Records, Delaney Bramlett does a soulful-by-way-of-Macon cover of the Temptations' "I Wish It Would Rain," a good idea to try to break out of Motown with the label's own weaponry and a Top Five hit from 1968. It's an excellent re-working. Bramlett lists in his thank yous about a thousand friends -- no exaggeration -- on the back cover, from Ringo Starr, George Harrison, and Eric Clapton to ex-wife Bonnie Bramlett, but Class Reunion by Delaney Bramlett & Friends is a different clan: Fanny'sPatti Quatro, guitarist Spider Taylor, drummers Stu Perry and Jim Keltner, and a duet with ABC artist Susie Allanson on "For Old Times Sake." Make no mistake, this is more a Delaney Bramlett album like his 1973 CBS outing, Mobius Strip, than a class-reunion project, though it does have a classy sound. The only obvious holdovers from Mobius Strip are Clydie King on backing vocals, songwriter Doug Gilmore, and manager John Bramlett. That being said, this album is very, very strong. "Everyday's a Holiday," the one track written by Bramlett, Peter Spellman, and Doug Gilmore, is a standout among ten funky, thoughtful, engrossing essays of Southern pop. Sometimes changing labels can jump start a career, but Motown was an anomaly, not able to deliver album projects the way it did hit singles in the '60s. Had Delaney Bramlett stayed on CBS and gotten support, a pure pop tune like "You Can't Measure My Love," sounding so much like an earthy Mac Davis, might've been a huge adult contemporary hit. Bramlett goes from sounding like the voice of Eric Clapton by way of Terri Gibbs on "Locked up in Alabama" (keep in mind that Gibbs hit with "Somebody's Knocking" four years after this album) to Ronnie Milsap, who, no coincidence, had a number one country hit on RCA when this album, Class Reunion, was released. As evidenced by the Genesis album of early Delaney & Bonnie and solo Bramlett tracks, the singer can be a chameleon and possesses an uncanny ability to have his own style while copping other voices simultaneously. Songwriter Randy Sharp contributes the last three titles: "Who You Gonna Blame It On," "You Were the Light," and the exquisite duet with Susie Allanson, "For Old Times Sake." What it proves is that Delaney Bramlett has major talent; had he and Bonnie stayed together, had they grown together on their CBS deal, they would have had a clear chance to dominate the charts and become an overwhelming presence in pop music. Class Reunion is a tragedy in that it is so good and so forgotten.
01. Locked Up In Alabama
02. Everyday's A Holiday
03. I Wish It Would Rain
04. It's A Touchy Situation
05. You Can't Measure My Love
06. I Think I Got It
07. Invitation To A Heartbreak
08. For Old Times Sake
09. Who You Gonna Blame It On
10. You Were The Light
Delaney Bramlett - Vocals, Guitars
Spider Tayler - Lead Guitars
Randy Sharp - Guitars
Chuck Rainey, Chris Ethridge - Bass
Rick Sutherland, Jim Hobson - Keyboards
Stu Perry, Jim Keltner - Drums
Sidney Sharp & friends - Strings
Chuck Findley, Ollie Mitchell, Jackie Kelsor, Slyde Hyde, Quitman Dennis - Horns
Clydie King, Sherlie Matthews, Monalisa Young, Susie Allanson, Pat Erickson, Patti Quatro - Backing Vocals
Target was an exciting US Quintet from Memphis that featured the legendary Jimi Jameson (Cobra / Survivor) on vocals. They released two albums on A & M in 1976 (Target) and 1977 (Captured). However, it has come to light that a third album was recorded in 1979, entitled 'In Range' before the band split in 1982.
While vocalist Jimi Jamison did go on to greater heights - thanks to his stints fronting Cobra and, of course, Survivor not to mention releasing an impressive catalogue of solo records Target were the band with whom he first made the progression from playing the bars and clubs to touring as a major label act opening for the likes of Black Sabbath and Styx. However, the debut Target LP wasn't the singer's first album recording credit. Nor bassist Tommy Cathey's either. Having started to work together in a band called Omaha in the early 70's an opportunity to hook up with another project was just too good to miss, as the latter explains: 'After a stint in Omaha with Jimi, we both wanted to explore the chances of original music,' recalls Cathey. 'David Beaver had been doing original music for a couple of years so we gravitated to that. We did two records with D. Beaver, of which only one was released ('Combinations' on the TMI label in 1973). Right after the second record, Jimi and I were ready to take the splash into forming our own band to do original music, so we teamed up with guitarist/organist Buddy Davis and formed Target. We still played cover music to pay the bills, but all along writing our own music and trying to be a good rock and roll band!' The band toured substantially back then and it was a shame that the band split before that third release saw the light of day
'In Range' was recorded in the autumn of 1979: it took the band about two to three weeks to do this third album. What an album it is though, this is Target's best recording, chock full of quality songs and musicianship. Its criminal it has laid dormant for so long
01. Tightwire
02. Love Magician
03. Too Much Good Lovin'
04. Hold Tight
05. Taxman
06. Means That Much
07. Come On
08. A Place Called Hot
09. Don't You Think Its Time
Jimi Jamison - Vocals
Tommy Cathey - Bass, Vocals
Paul Cannon, Buddy Davis - Guitar
Bill Marshall - Drums
Gary Topper - Sax on Live Magician
A career spanning collection of rare tracks from Small Faces and Humble Pie legend Steve Marriott. This DOUBLE-LP features recordings from the '60s through the early '90s. Appearing as guests are a.o. Vickie Brown and Peter Frampton
CD 1
01. Give All She's Got
02. Shake And Fingerpop
03. Please Please Please
04. Comin' Home Baby
05. Medley: Plum Nellie / Baby Please Don't Go / Parchman Farm / In The Midnight Hour / Work Song
06. Wrist Job
07. Every Mothers Son (cajun version)
08. Road To Ride
09. 79th Street Blues
10. Get Down To It
11. We Can Work It Out
CD 2
01. Think
02. Times They Are A Changin
03. Ruthy The Groupie
04. Are You Lonely For Me
05. Soldier
06. My Lovers Prayer
07. Aint You Glad, New York Can't Talk
08. Some Kind Of Wonderful
09. I Never Loved A Woman
10. Oh Well
11. Bigger They Come, Harder They Fall
64 Spoons (also known as The Legendary 64 Spoons, or simply The Spoons) were a British pop and rock band during the late 1970s and early 1980s. Alhough the band never met with commercial success, they were the launch pad for Jakko Jakszyk and Lyndon Connah.
64 Spoons was formed by Lyndon Connah and Tam Neal, a pair of multi-instrumentalist friends who had been writing songs since the age of 10 (Tam having trained at the Royal Academy of Music). Their studies brought them into contact with Andy Crawford, a Royal College of Music flautist and classical guitar player with an interest in Early Music, but who also played bass guitar on the side. Coalescing around a line-up of Connah on drums, Crawford on bass and Neal on keyboards, 64 Spoons began playing concerts in and around their home base of Watford, Hertfordshire in 1976.
One of the band's early audience members was a teenage musician called Jakko Jakszyk (generally known as "Jakko"), who had been drawn to the band by "the ludicrous complexities of a fifteen-minute number called Life Is Unsaid". Despite his youth, Jakko had already fronted his own band - Soon After - which his self-confessed "dictatorial tendencies" had ultimately reduced the band to a lineup of "two screaming lead guitars and a trumpet", the latter played by former National Youth Jazz Orchestra musician Ted Emmett. Despite feeling that he was out of his musical depth, Jakko was soon installed as 64 Spoons’ lead singer, guitarist and frontman, using his "insecurities and arrogance" to spur the band on. With Jakko now also contributing to the songwriting, the expanded 64 Spoons line-up produced a whole set's worth of new material. Despite this, Jakko abruptly quit 64 Spoons after the first concert with the new line-up, having chosen to join Warren Harry’s punk/pop band (which had the advantage of already having a recording deal with Bronze Records). Before leaving, Jakko recommended Ted Emmett as his replacement.
However, Jakko’s tenure with Warren Harry was short-lived and musically unsatisfying (he had done it mostly for the money) and by 1977, he had rejoined 64 Spoons. Retaining Emmett (on trumpet and backing vocals) and continuing as a five-piece, the band spent the next three years touring and playing around the United Kingdom in small venues, building up a reputation as an interesting cult act. With punk rock now in fashion, 64 Spoons had to work hard to "justify" their progressive-rock-styled virtuosity. Jakko would later recall that the band had "somehow survived for a number of years by working our arses off and attempting to make our musical vision more palatable. We did this by making the whole thing theatrical. Ridiculous set pieces that involved various band members dressing up, coupled with an almost Dada-esque approach to audience participation."
Live gigs were animated affairs, with the band employing any entertainment tricks they could to keep the gig going. Neal and Connah frequently swapped roles between keyboard playing and drumming. Pete Goddard of Facelift magazine remembers a show at the Palace Theatre in Watford as "one of the finest and most ludicrous shows I've ever seen", with the band making full use of the theatrical facilities, up to and including flying themselves around on stage hoists. Thanks in part to Jakko’s incessant promotion, the band attracted numerous fans both in and out of the industry (including several of the band’s own heroes such as Bill Bruford and Dave Stewart). However, this did not translate into success. According to Jakko, the band had "management, an agency; record company interest and we worked all the time. It just didn't go that one step further. Some kind of bad luck always seemed to befall us, just when we looked like getting our big break."
By 1980, 64 Spoons was nearing the end of its life, plagued by insecurity, internal bickering and feeling ever more at odds with British musical fashion and critical taste. The band went through several developments involving changes of presentation (via "a series of haircuts that would frighten a gibbon") and a change of name (shortened to The Spoons). There was also a change of line-up: Jakko recalls that "in another inspired piece of career based decision making, we… sacked Ted (Emmett). We felt that the trumpet was a stupid, outmoded and ultimately unfashionable instrument to have in a pop group. Ted joined The Teardrop Explodes." This was a cruel irony, as The Teardrop Explodes were, at the time, enjoying the very success which the newly rechristened Spoons were aiming for.
None of these efforts made any difference. Following a particularly disastrous gig outing to Oldham and Carlisle in May 1980, the band played a couple of final gigs and then folded for good. Jakko subsequently commented "They say that success is largely down to timing. Well, we timed it perfectly. We were the wrong band at the wrong time."
A one-off 64 Spoons live reunion was planned in the mid-1990s but never happened. However, various 64 Spoons members still keep in touch and work together. Jakko and Lyndon Connah, in particular, are frequent collaborators (predominantly on Jakko’s projects).
01. It's All Overture
02. Aggressive Travelling
03. Fat Chance
04. Ich Bin Heidi
05. Nib
06. Tails In The Sky
07. Ivory Ball
08. Plonder On
09. Weird Granny
10. It's Only A Party
11. Dear Clare
12. Lens
13. Five Miles
14. Julius Caesar
15. This Old Man (Live)
16. Do's & Don'ts Of Path Laying
17. Landing On A Rat Column (Live)
Gaetano Letizia & The Underworld Blues Band - Beatles Blues Blast - 2018
Gaetano Letizia, known as Tom, has been playing, writing and performing in his own blues and jazz groups internationally for over 30 years. After more than 10 CDs and stellar revues in Guitar Player, Downbeat and more, decided to finally do some cover tunes and picked the Beatles just to have fun. Beatles Blues Blast is a fun batch of the best Beatles jamming tunes. We went wild and had a blast. We know you will too.
01. Come Together
02. Do It in the Road
03. Drive My Car
04. Money
05. Tax Man
06. While My Guitar Gently Weeps
07. She Came in Through the Bathroom Window
08. I Want You
09. And I Love Her
10. Can't Buy Me Love
11. You Can't Do That
12. Yesterday
13. Get Back
14. With a Little Help from My Friends
15. Birthday
16. Blackbird
17. A Day in a Life
It is great to have Jakko on the Archive at last. This is a wonderful Prog related album with
Canterbury Scene influences. I say this because some of the tracks are clearly more pop rlated, but
definitely with heay progressive rock influences. This music is very much in the Gaskin and Stewart
/ Caravan category of Prog Rock. There are some incredible instrumentals here. Just listen to
"Devil's Dictionary" and you'll realise that this some of the best melodic jazz fusion meets
Canterbury prog rock around. "when We Go Home" is another classic with well constructed melody and
rhythm patterns with meaningful lyrics. Some of the other tracks do not come to standard of the two
tracks, but are still very enjoyable to anyone appreciates good rock music.
01. Just Another Day
Backing Vocals - Sam Brown
Piano - Lyndon Connah
Vocals, Guitar, Keyboards, Programmed By - Jakko
02. Little Town
Bass [Fretless] - Andy Crawford
Synthesizer - Richard Barbieri
Vocals, Guitar, Programmed By - Jakko
03. The Devil's Dictionary
Bass [Fretless], Bass [Tapped] - Ed Poole
Drums, Percussion - Gavin Harrison
Guitar, Keyboards, Programmed By - Jakko
04. Damn This Town
Double Bass - Danny Thompson
Drums - Gavin Harrison
Synthesizer - Richard Barbieri
Vocals, Guitar, Keyboards, Programmed By - Jakko
05. The Borders We Traded
Vocals, Programmed By - Jakko
06. The Perfect Kiss
Drums, Bass - Gavin Harrison
Vocals, Guitar, Keyboards, Programmed By - Jakko
07. Saddleworth Moor
Keyboards, Flute - Jakko
Synthesizer, Other [Additional Atmospherics] - Richard Barbieri
08. Learning To Cry
Bass [Fretless] - Ed Poole
Vocals, Guitar, Keyboards, Programmed By - Jakko
09. A Handful Of Pearls
Bass [Fretless] - Mick Karn
Percussion - Gavin Harrison
Steel Guitar [Pedal] - B.J. Cole
Vocals, Guitar, Keyboards, Programmed By - Jakko
10. Then And Now
Double Bass - Danny Thompson
Vocals, Guitar, Keyboards, Programmed By - Jakko
11. Mustard Gas And Roses
Guitar, Keyboards, Programmed By - Jakko
12. We'll Change The World
Bass [Fretless] - Mick Karn
Vocals, Guitar, Keyboards, Programmed By - Jakko
Dave Davies is famed for being one half of the warring brothers at the helm of The Kinks – and for popularising the distorted guitar sound after physically slashing his amp in the ‘60s. Though overshadowed by Ray as Kinks songwriter, Dave was responsible for a few of the North London band’s best songs, including ‘Susannah’s Still Alive’ and ‘Death Of A Clown’.
Lately, the Davies brothers have been back in the news as Ray is keen to bury the hatchet and reunite the band that, arguably, were the biggest inspiration on the ‘90s Britpop scene three decades after they formed. Dave confirms that he’d “love to play on stage with [his] brother”.
In the meantime, there’s ‘Decade’, a collection of songs and demos that Dave recorded throughout the ‘70s, a prolific period for The Kinks and one which saw the establishment of their Konk Studio.
The original recordings for ‘Decade’ were unearthed by Davies’ sons Simon and Martin from “under beds, in attics, in storage”, and have been newly mixed and mastered. Some of the musicians who contributed to tracks include longtime Kinks drummer Mick Avory, who appears on ‘If You Are Leaving’ and Dave’s nephew, Phil Palmer, a guitarist who’s worked with Dire Straits, Eric Clapton, Roger Daltrey and many others.
01. Cradle to the Grave
02. Midnight Sun
03. Islands
04. If You Are Leaving
05. Web of Time
06. Mystic Woman
07. Give You All My Love
08. The Journey
09. Within Each Day
10. Same Old Blues
11. Mr. Moon
12. Shadows
13. This Precious Time (Long Lonely Road)
This 4CD box set lovingly documents the final musical years of a true legend, a great songwriter, musician, and formidable frontman. Steve Marriott was sadly taken from us prematurely at the age of 44 on the 30th April 1991. Vocalist and guitarist in such great bands as Small Faces and Humble Pie, Steve clearly had so much more to give, as is evidenced here, and this box set attempts to pay respect to the inspirational talent that is Steve Marriott by compiling four of his last ever live shows from his final year with us in 1991.
These live sets contain many old favourite Marriott classics such as ‘Itchycoo Park’, ‘All or Nothing’, ‘Whatcha Gonna Do About It’ and ‘Big Train Stops at Memphis’, live Packet of Three staples, a smattering of rhythm & blues standards, plus a number of Chuck Berry classics in ‘Talking ‘Bout You’ and ‘Memphis Tennessee’. This collection of live sets demonstrates the fact that not only was Steve an immense performer throughout his whole career, but that he was sadly taken from us far too early.
CD1 – THE HALF MOON, PUTNEY, LONDON 12.01.1991
01. Memphis Tennessee
02. Watch Your Step
03. Some Kind Of Wonderful
04. Big Train Stops At Memphis
05. Watcha Gonna Do About It
06. Talkin’ ‘Bout You
07. Cockney Rhyme / What A Silly Song
08. Itchycoo Park
09. Mr. Pitiful
10. Hallelujah I Love Her So
11. Five Long Years
12. All Or Nothing
13. This Old Fool
14. Natural Born Bugie
CD2 – LOGO, HAMBURG 21.01.1991
01. Memphis Tennessee
02. Watch Your Step
03. Some Kind Of Wonderful
04. Fool For A Pretty Face
05. Watcha Gonna Do About It
06. Talkin’ ‘Bout You
07. Cockney Rhyme / What A Silly Song
08. Itchycoo Park
09. Mr. Pitiful
10. Hallelujah I Love Her So
11. Five Long Years
12. All Or Nothing
13. This Old Fool
14. Big Train Stops At Memphis
15. Before You Accuse Me
16. Natural Born Bugie
CD3 – DIESELSTRASSE, ESSLINGEN 26.01.1991
01. Memphis Tennessee
02. Watch Your Step
03. Fool For A Pretty Face
04. Big Train Stops At Memphis
05. Talkin’ ‘Bout You
06. Talkin’ ‘Bout You
07. Itchycoo Park
08. Itchycoo Park
09. Hallelujah I Love Her So
10. Hallelujah I Love Her So
11. Big Train Stops At Memphis
12. All Or Nothing
13. This Old Fool
14. Natural Born Bugie
15. Before You Accuse Me
CD4 – SINKKASTEN, FRANKFURT 29.01.1991
01. Memphis Tennessee (Instrumental)
02. Watch Your Step
03. Some Kind of Wonderful
04. Big Train Stops at Memphis
05. Watcha Gonna Do About It
06. Talkin’ ‘Bout You
07. Cockney Rhyme / What a Silly Song
08. Itchycoo Park
09. Mr. Pitiful
10. Hallelujah I Love Her So
11. Five Long Years
12. All or Nothing
13. This Old Fool
14. Natural Born Bugie
15. Before You Accuse Me
“Saying some things, playing some music and having some fun”, so says Billy Cox. And that is exactly what The Last Gypsy and Bassist for the Legendary and Ultimate Power Trio, Band Of Gypsys and Jimi Hendrix Experience is doing on UNFILTERED-BILLY COX...It is an effort of Love and since M&P Productions is a complete in-house operation, the freedom to be less technical but more creatively receptive was experienced more than ever…Billy remarked, “it felt like I was back at the board, sitting next to Jimi at Electric Lady”. As a matter of fact at least a couple of times while working, Billy would grin and remark, “Oh, yeah, thank you, Jimi got it”.
UNFILTERED BILLY COX is refreshing with blemishes and all because from beginning to the end the power of love was the guide and that love is being sent out to you.
01. Intro
02. Gonna Be Big
03. Woman
04. 13th Hour
05. I Can Count On the Blues
06. Vanity
07. The Night Ain't Got No Eyes
08. Get It In
09. Ju Ju Woman
10. Amazing Grace
A career spanning collection of rare tracks from Small Faces and Humble Pie legend Steve Marriott. This DOUBLE-LP features recordings from the '60s through the early '90s. Appearing as guests are a.o. Vickie Brown and Peter Frampton
CD 1
01. Give All She's Got
02. Shake And Fingerpop
03. Please Please Please
04. Comin' Home Baby
05. Medley: Plum Nellie / Baby Please Don't Go / Parchman Farm / In The Midnight Hour / Work Song
06. Wrist Job
07. Every Mothers Son (cajun version)
08. Road To Ride
09. 79th Street Blues
10. Get Down To It
11. We Can Work It Out
CD 2
01. Think
02. Times They Are A Changin
03. Ruthy The Groupie
04. Are You Lonely For Me
05. Soldier
06. My Lovers Prayer
07. Aint You Glad, New York Can't Talk
08. Some Kind Of Wonderful
09. I Never Loved A Woman
10. Oh Well
11. Bigger They Come, Harder They Fall
Live from Toronto is a double live album by The Who recorded during the last concert of the It's Hard Tour at the Maple Leaf Gardens in Toronto, 17 December 1982. These performances were originally broadcast live on cable TV and FM radio across the U.S. and Canada. It was later released in the early 1980s on VHS video tape.
This 2006 edition of the concert was also released as a DVD. Both the DVD and double CD are legal releases, but they are not considered to be authorized products by the band and/or its management
Keyboard player Tim Gorman performed with The Who on the 1982 tour. Tim reunited with the group in 2006 to record overdubs for the re-release of this material.
Three songs performed at this concert are not included on the album or the DVD: Behind Blue Eyes, Dr. Jimmy and Cry If You Want. However, the performances of the two former were released on Who's Last* and the performance of Cry If You Want from this show was included on the 1997 remastered version of the It's Hard CD. Those two songs do appear on Who's Last, but are not from this Farewell Concert in Toronto; they come from a different concert that took place 3 days earlier in Cleveland, as do most of the songs on that album.
CD 1
01. My Generation
02. I Can't Explain
03. Dangerous (John Entwistle)
04. Sister Disco
05. The Quiet One (Entwistle)
06. It's Hard
07. Eminence Front
08. Baba O'Riley
09. Boris the Spider (Entwistle)
10. Drowned
11. Love Ain't for Keeping
CD 2
01. Pinball Wizard
02. See Me, Feel Me
03. Who Are You
04. 5:15
05. Love, Reign O'er Me
06. Long Live Rock
07. Won't Get Fooled Again
08. Naked Eye
09. Squeeze Box
10. Young Man Blues (Mose Allison)
11. Twist and Shout (Bert Russell and Phil Medley)
Agora, entre meu ser e o ser alheio, a linha de fronteira se rompeu Aonde a pele preta possa incomodar Um litro de Pinho Sol pra um preto rodar Pegar tuberculose na cadeia faz chorar Aqui a lei dá exemplo: mais um preto pra matar Colei num mercadinho dum bairro que se diz pá Só foi meu pai encostar pros radin tudin inflamar Meu coroa é folgado das Barra do Ceará Tem um lirismo bom lá, louco pra trabaiar Num toque de tela, um mundo à sua mão E no porão da alma, uma escada pra solidão Via satélite, via satélite 15% é Google, o resto é deep web Na guerra do tráfico, perdemo vários ente Plano de saúde de pobre, fi, é não ficar doente Está por vir, um louco está por vir Shimigami, deus da morte, um louco está por vir Véio, preto, cabelo crespo Made in Favela é aforismo pra respeito Mondubim, Messejana, Grajaú, aqui é sem fama Nos ensinamentos de Oxalá, isso é bacana Na porta do cursinho, sim, docim de campana LSD, me envolver, tem a manha Diz que é contra o tráfico e adora todas as crianças Só te vejo na biqueira, o ativista da semana La La Land é o caralho, SP é Glorialândia Novo herói da Disney é Craquinho, da Cracolândia Máfia é máfia e o argumento é mandar grana Em pleno carnaval, fazer nevar em Copacabana 1 por rancor, 2 por dinheiro 3 por dinheiro, 4 por dinheiro 5 por ódio, 6 por desespero 7 pra quebrar a tua cabeça num bueiro Enquanto isso a elite aplaude seus heróis Pacote de Seven Boys Nem Pablo Escobar, nem Pablo Neruda Já faz tempo que São Paulo borda a morte na minha nuca A pauta dessa mesa coroné manda anotar Esse ano tem massacre pior que de Carajá Ponto 40 rasga aço de arrombar Só não mata mais que a frieza do teu olhar Feito rosa de sal topázio, és minha flecha de cravo Um coração que cai rasgado nas duna do Ceará Albert Camus, Dalai Lama A nós ração humana, Spock, pinça vulcana Clarice já disse, o verbo é falha e a discrepância É que o diamante de Miami vem com sangue de Ruanda Poder economicon, cocaine no helicopteron Salário de um professor: microscópicon Papiro de papel próprio, letra com sangue no olho de Hórus É que a industria da desgraça pro governo é um bom negócio Vende mais remédio, vende mais consórcio Vende até a mãe, dependendo do negócio Montesquieu padece, lotearam a sua fé Rap não é um prato onde cê estica o que cê quer É a caspa do capeta, é o medo que alimenta a besta Se três poder virar balcão, governo vira biqueira Olhe, essa é a máquina de matar pobre No Brasil, quem tem opinião, morre
Ed Mundell is an American rock guitarist most who was the lead guitarist for stoner rock group Monster Magnet from 1992 to 2010 and as a founding member of New Jersey Stoner band The Atomic Bitchwax. His style is heavily influenced by psychedelic 70's rock such as Jimi Hendrix and Tommy Bolin.
In 2011, it was announced that Mundell had formed a new project, "The Ultra Electric Mega Galactic", whose debut album released January 2013. In 2014 a 5 song extended EP, "Through The Dark Matter" was released in confunction with The UEMG's first European tour. An Ed Mundell solo album, "Space Time Employment Agency" has long been in the making....with release date late 2014. Other albums of late are the self-titled 9 Chambers album and guest guitar on the debut Abrahma album, "Through the Dusty Paths of Our Lives". Ed Mundell actively contributes to various recordings and soundtracks as a studio musician in Los Angeles.
01. E Jam (Warm UP)
02. Look To Your Orb For The Warning
03. Untitled #44
04. SuperJudge
05. The Formula
06. No Scene
07. Duane's Tune
08. Cortez The Killer 09. Set The Controls To Heart Of The Sun
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)
John Keen was young Pete Townshend’s flat mate and chauffeur, but he was a musician and songwriter in his own right; in fact, Keen wrote “Armenia City in the Sky” from The Who Sell Out. In 1969 Pete and manager Kit Lambert paired Speedy up with Andy Newman and Jimmy McCulloch in the ready-made band Thunderclap Newman, which was intended as a showcase for the three musicians.
They recorded an album at Pete’s legendary home studio, and the Keen-penned single “Something in the Air” went on to hit number one in nine different countries. Not too shabby.
After Thunderclap Newman, Keen recorded two solo albums (this was his first) and then went to work in the studio both as a studio musician and producer.
01 - Old Fashioned Girl
02 - Keep Your Head Down
03 - Let Us In
04 - Somethin' Else
05 - The Flying Wino
06 - Don't You Know He's Coming
07 - Positively 4th Street
08 - Forever After
09 - That's The Way It Is
10 - Keep On The Grass
11 - Aires Lady
12 - Lesliana
The John Entwistle Band: Live finds the late Who bassist happily ensconced in his side project at the 1999 Itchycoo Park Festival in Manchester, Tennessee, playing a brief set for an appreciative crowd. Under the circumstances, Entwistle and his quartet wisely stick to Who covers, some composed by Pete Townshend ("The Real Me") and others ("Trick of the Light") by the Ox himself, though Who staples by other artists ("Summertime Blues," "Young Man Blues") help fill the bill. If Entwistle had an additional half-hour or so, he could have played some rich material from his solo work, though he does make time for "Horror Rock," co-written with pal and Entwistle Band co-founder/drummer Steve Luongo. The results are just fine: the British Invasion legend looks happy, guitarist Godfrey Townshend (no relation) does a credible Daltrey impersonation, and Luongo turns this disc into a tribute (complete with a touching eulogy) to his friend
01. The Horror Rock
02. The Real Me
03. Had Enough
04. Success Story
05. Trick of The Light
06. Shakin' All Over
07. Summertime Blues
08. Young Man Blues
John Entwistle - Bass & Vocals
Godfrey Townsend - Guitar & Vocals
Steve Luongo - Drums & Vocals
Gordon Cotton - Keyboard & Background Vocals
VA - Two Rooms - Celebrating The Songs of Elton John And Bernie Taupin - 1991
from AMG
Two Rooms is a wildly uneven star-studded tribute to a wildly uneven superstar songwriting team. Though Elton John and Bernie Taupin wrote many of the best pop songs of the '70s and '80s, they have written more than their fair share of clunkers as well. Some of them were chosen for this collection. Tina Turner, for example, tackles the ludicrously juvenile "The Bitch Is Back" and somehow manages to make it even worse. Daryl Hall and John Oates don't fare any better with the embarrassingly outdated disco anthem "Philadelphia Freedom." But most of the songs on Two Rooms are drawn from Elton and Bernie's A-list and some of them really illustrate the depth of their songwriting abilities. Sinéad O'Connor finds the tortured soul of the 1989 divorce song "Sacrifice" in a way that the original recording never did. George Michael's radiant tenor lights a fire under "Tonight," another song about a disintegrating relationship. Sting gives the album's most memorable performance, bringing haunted melancholy to the seldom heard "Come Down in Time." Unfortunately, many of the artists are not that sensitive to their chosen songs. Wilson Phillips makes a chipper dentist's office ballad out of the heart-rending elegy "Daniel," while Jon Bon Jovi brings unwanted screech rock bluster to "Levon" and Rod Stewart turns the gentle, charming sap of "Your Song" into noxious, gooey sap. The record succeeds in conveying the enormous influence and productivity of the collaboration between John and Taupin. But it sometimes makes you think they've been just a bit too prolific and that their influence might not always be a good one.
01. Border Song - Eric Clapton
02. Rocket Man (I Think It's Going To Be A Long, Long Time) - Kate Bush
03. Come Down In Time - Sting
04. Saturday Night's Alright (For Fighting) - The Who
05. Crocodile Rock - Beach Boys
06. Daniel - Wilson Phillips
07. Sorry Seems To Be The Hardest Word - Joe Cocker
08. Levon - Jon Bon Jovi
09. The Bitch Is Back - Tina Turner
10. Philadelphia Freedom - Daryl Hall And John Oates
11. Your Song - Rod Stewart
12. Don't Let The Sun Go Down On Me - Oleta Adams
13. Madman Across The Water - Bruce Hornsby
14. Sacrifice - Sinead O'Connor
15. Burn Down The Mission - Phil Collins
16. Tonight - George Michael
