Paris – Same (1976)

ParisSameFCSome of us have been waiting 20-plus years for PARIS to re-emerge from the mists, with good reason. This is a phenomenal album!

A brief recap: Bob Welch leaves Fleetwood Mac and forms a Zep-like hard rock band with Tull’s Glenn Cornick & drummer Thom Mooney. The stated intention is “to rock, but with depth”, and that they do – in spades. Rumored to have been produced by Page himself under a pseudonym (bear in mind there are MANY untrue rumors regarding Page and this might be one). The rumor probably got started after somebody heard the album, which has the Zep production sound down to a T. Too bad Bob Welch didn’t go further with this, because he turns out to be an outstanding heavy-rock songwriter (his lyrics are far better than Plant’s); the tracks on PARIS are short but skillfully crafted, and powered by ear-grabbing heavy riffs and stick-to-your-frontal-lobe melodies. “Nazarene”, “Black Book”, “Red Rain” and “Beautiful Youth” – great songs all – are just four random reasons to buy this. Plus that ever-present streak of erudite cheekiness that Welch has always brought to his music is of course present as well. A stone classic too long neglected…


Glenn Cornick (bass, keyboards)
Thom Mooney (drums)
Bob Welch (guitar, vocals)

01. Black Book (Welch) 3.02
02. Religion (Welch) 5.16
03. Starcage (Welch) 3.49
04. Beautiful Youth (Welch) 3.31
05. Nazarene (Welch) 3.52
06. Narrow Gate (Welch) 6.40
07. Solitaire (Welch) 4.00
08. Breathless (Welch) 3.17
09. Rock Of Ages (Welch) 3.07
10. Red Rain (Welch) 3.18


Daddy Longlegs – Oakdown Farm (1971)

DaddyLonglegsOakdownFarmFCThey are an American band, resident in Britain since late 1969.  Daddy Longlegs were brought together two years earlier, however, by a wealthy backer from Chicago looking for the best rock talent in the Sates.  He found Kurt Palmaki, the bass player, working in New York’s Electric Circus who was asked to play as many rhythms as he could using only two notes.  Kurt got the job when he passed the 20 mark.  Clif Carson, the drummer was discovered on the West Coast, selling the Berkeley Barb in the streets.  His previous work with Chicago Slim’s Blues Band got him the gig with Daddy Longlegs.  Steve Hayton, the group’s original lead guitarist was found picking Indian ragas for his dinner in a San Francisco curry house.  Like many urban Americans, the band reacted agsanst the neurotic state of city life by moving to a farm in update New York, gradually fitting their music together and developing the feel of American country life.  Later in their career they wainly tried to make the band work in New York before moving out to New Mexico.  Then came their move to England.  Moe Armstrong joined the band towards the summer of last year.

DaddyLonglegsOakdownFarmInsideA strange mixture of hillbilly and freak, Moe gave the band a feeling of humour and warmth, a feeling which has persisted even after Moe’s departure back to the States with his wife Joanie.  Today he runs a puppet show in New Mexico.  Steve Hayton left the band toward the end of last year, to be repalced with another American, Gary Holderman, at one time the guitarist for Roy Orbison and Bobby Vee.  He was on the verge of accepting a job with Pacific Gas and Electric when he got the call to join Longlegs.  A fourth member, Pete Arnesen on piano was added late last year.”

Peter Arnensen (keyboards, vocals)
Clif Carrison (drums, percussion)
Steve Hayton (guitar)
Gary Holderman (vocals, guitar)
Kurt Palomaki (bass, vocals)

01. Rubber Tyre (Arnesen) 2.44
02. Double Decker (Palmomaki) 1.53
03. Please Believe Me (Arnesen/Dean) 3.30
04. Lonely Way (Arnesen/Dean) 3.52
05. Sweet Louise (Arnesen/Dean) 2.52
06. Wheeling And Dealing (Holderman) 5.04
07. Rusty Door (Holderman/Palomaki/Carrison) 3.56
08. Gambling Man (Palomaki) 2.42
09. Clara Bell (Holderman) 3.36
10. Night Shift (Clarrison) 2.49
11. Moog (Arnesen) 3.40
12. Boogie (Traditional) 5.02


Nigel Kennedy Quintet feat.Jeff Beck – Royal Albert Hall (2008)

NigelKennedyJeffBeckFCNigel Kennedy might be known for Vivaldi’s Four Seasons but the violinist has his rock side and is no stranger to either Jimi Hendrix or The Doors. Earlier in the evening, Kennedy had performed Elgar’s Violin Concerto but for the later part of the show, for a moment there, one would have thought it was Pat Metheny and his Synclavier, for that was how Kennedy came across. Unlike the earlier classical portion, here Kennedy weaved between jazz, folk and rock.


The highlight and surprise for the audience was when Kennedy brought Jeff Beck on stage. reported: “Nigel was particularly keen for me to do the Hills of Saturn solo,” said Beck, who played the track on his Fender Stratocaster electric guitar.

John Fordham wrote in The Guardian: “As an improviser, Kennedy has an originality of spontaneous line and rhythmic attack that most classical players lack in this context, and several of the pieces worked up a fierce, guitar-mimicking, Hendrix-like momentum… A romantic ballad dedicated to 1960s folkie Donovan was sublime, and so was the darkly elegiac Hills of Saturn – the latter richly harmonised with Tomasz Grzegorski’s tenor sax and Adam Kowalewski’s bass. Surprise guest Jeff Beck conjured an astonishing panpipe-like sound from his guitar.”

Pawel Dobrowolski (percussion)
Tomasz Grzegorski (saxophone)
Nigel Kennedy (violin)
Adam Kowalewski (bass)
Piotr Wylezol (piano)
Jeff Beck (guitar on 03 + 04.)

01. Nice Bottle Of Beaujolais/Innit 9.36
02. Hills Of Saturn 5.00
03 Hills Of Saturn 6.19
04. Third Stone From The Sun 10.22



Skip James- Devil Got My Woman (1968)

SkipJamesDevilFCSkip James made his original reputation with 17 recordings that he cut during February 1931, when he was 28. Although fluent on both the guitar and (to a lesser extent) the piano, James was most notable for his storytelling lyrics, his haunting high-pitched voice, and his distinctive interpretations of the Delta blues.

James was rediscovered 33 years after his early recordings, in time to appear at the 1964 Newport Folk Festival. He was quite active during 1964-1966, making the music on this solo CD (his last record) three years before his death in 1969.

One can easily hear the influence that Skip James’ music had on the then flourishing folk music movement, and he still sang his country blues with great intensity.

Skip James (guitar, vocals, piano)

01. Good Road Camp Blues (James) 3.47
02. Little Cow And Calf Is Gonna Die Blues (James) 3.20
03. Devil Got My Woman (James) 5.10
04. Look At The People Standing At The Judgement (James) 2.58
05. Worried Blues (James) 5.55
06. 22-20 Blues (James/Johnson) 3.50
07. Mistreating Child Blues (James) 3.54
08. Sickbed Blues (James) 4.05
09. Catfish Blues (James) 4.35
10. Lorenzo Blues (James) 4.17
11. Careless Love (Handy/Koenig/Williams) 3.59
12. Illnois Blues (James) 3.15



Nino Rosso – Russian Folk Songs (1972)

NiniRossoRussianFolkSongsFCRaffaele Celeste “Nini” Rosso (19 September 1926 – 5 October 1994) was an Italian jazz trumpeter and composer.
Born in Turin, Rosso’s parents had attempted to send him to university, but at 19 he chose the trumpet over academia, and left home. After his employment in a nightclub was terminated by the police, he returned home, but soon after departed again to relaunch his career. He soon became one of the best-known jazz trumpeters in Italy, reaching the crest of his popularity in the 1960s. He became known in the UK in 1962 when his recording of “Concerto Disperato” was covered by Ken Thorne and his Orchestra and became a hit under the title “The Theme from ‘The Legion’s Last Patrol'”. Rosso’s original was quickly released on the little-known Durium label and also made the charts, but was less successful than the cover. His 1965 worldwide hit “Il Silenzio” went to #1 in Italy, Germany, Austria, and Switzerland, and sold over five million copies by the end of 1967. It was awarded a gold disc. He also acted in the 1960s.
Rosso died of a tumor in 1994, at the age of 68.
This is his easy listening version of Russian folk songs … enjoy the way he played the trumpet !

Nini Rosso (trumpet)
a bunch of unknown studio musicians


01. The Red Sarafan (Traditional) 3.01
02. Katyusha (Traditional) 3.20
03. Moscow Evening (Traditional) 2.37
04. Lullabye Of Cossack (Traditional) 2.52
05. Karpbschka (Traditional) 2.45
06. Sulico (Traditional) 2.40
07. Polyushka-Polye (Traditional) 2.32
08. Aganyok (Traditional) 3.00
09. Sunrise Of Siberia (Traditional) 2.35
10. Through Wild Transbaikal Steppes (Traditional) 2.44
11. A Dashing Troika (Traditional) 3.41
12. Black-Eyed Lady (Traditional) 3.20



Barbara Thompson´s Paraphernalia – A Cry From The Heart – Live In London (1988)

FrontCover1Barbara Thompson’s music career started as a teenager at the Royal College of Music in London in the 1960s, where she studied clarinet, piano, flute and composition.

Taken to a Duke Ellington concert she became entranced by the saxophone and after meeting her future husband, drummer Jon Hiseman, in 1964, she rapidly became involved in the Jazz scene, absorbing the talents of the Miles Davis group, Roland Kirk, John Coltrane et al.

The key to Jazz performance is improvisation and Barbara realised that with her natural ‘ear’ she had been ‘making things up’ since she was a child.  As she started performing in Jazz clubs, she felt compelled to compose her own pieces – despite opposition from local Jazz musicians, who were often more comfortable playing ‘standards’…

In the mid 1970s Barbara formed her first group, Jubiaba, and later Barbara Thompson’s Paraphernalia – and went on to record more than 15 albums with the band, playing extensive tours across Europe roughly every 2 years until 2005.  She continues to perform occasionally, the band most recently having returned from a trip to Japan.

Barbara has appeared as featured musician on more than 100 albums, is a founder member of the United Jazz & Rock Ensemble – ‘The Band of Bandleaders’ – and has worked with a huge variety of artists from Andrew Lloyd Webber to Manfred Mann.  She has worked extensively for television – including being the composer and soloist for the theme music to the hit series ‘A Touch Of Frost’.

Barbara also played on the early Colosseum albums before joining the reunion band upon the death of Dick Heckstall-Smith in 2004.

In the early 1980s Barbara was commissioned by BBC Radio 3 to write a series of pieces and she chose to compose modern classical works which re-awakened her interest in classical music, both as a performer and more importantly as a composer.

In the late 1990s Barbara was diagnosed with Parkinson’s Disease and, as she was forced to cut down on her live appearances, she concentrated more and more on her composing.

And this is one of her great albums with Paraphernalia, recorded live at the Riverside Studios, London (6 & 8th November 1987). It´s a hightlig in the history of British Jazz !

Paul Dunne (guitar)
Jon Hiseman (drums)
Peter Lemer (keyboards)
Phil Mulford (bass)
Barbara Thompson (saxophone, flute)

AlternateFrontCoverAlternate frontcover

01. Joy Ride 7.47
02. L’extreme Jonction 10.58
03. A Cry From The Heart 7.25
04. Entre Les Trous De La Memoire 6.07
05. Out To Lunch 5.30
06. Close To The Edge 9.41
07. Voices Behind Locked Doors 9.37
08. Eastern Western Promise Part 1 10.00
09. Eastern Western Promise Part 2  9.20

All titels composed by Barba Thompson

David Miles Huber – Distant Thunder – Relaxation & Meditation With Music & Nature (1997)

FrontCover1David Miles Huber is an American composer and producer in the downtempo, ambient and dance genres. He is also the author of numerous books on recording and electronic music. Huber’s CD series Relaxation and Meditation with Music and Nature has sold over one million copies. His latest music and collaborations are available through the 51bpm independent record label. Huber’s most prominent book; Modern Recording Techniques was sold over 250,000 copies and became a standard recording industry text.

Huber received his degree in music technology from Indiana University (I.M.P.), and was the first American to be admitted into the Tonmeister program at the University of Surrey in Guildford, Surrey, England. (by wikipedia)

And this is one of his many albums with relaxing sounds:

“This CD was nice and relaxing. First a storm track with light instrumentals behind it then a track with frogs, owls, etc. that you would hear after a storm. Again, on both tracks, there is music behind the nature audio. If you are ONLY looking for the sound of a storm, without background music, then you may want to try something different.” (by mccau002)

“For anyone having trouble getting to sleep – this CD is a must. Love it! I rarely even get through the first half as I’m sound long before the storm is done!” (by TravelQueen)

David Miles Huber (all instruments)

01. Storm On Serret Mountain (Huber) 30.00
02. After The Storm (Huber) 30.00


Cajun Moon – Same (1976)

FrontCover1Cajun Moon was a short-lived Cajun-influenced UK folk-rock trio.

Most of the tracks were written by Allan Taylor, the mastermind of this group:
30 September 1945, Brighton, Sussex, England. This singer-songwriter and instrumentalist has achieved considerable acclaim on the UK folk circuit. After leaving school at the age of 16, he helped to organize local folk clubs, until turning professional five years later. Taylor attracted the attention of United Artists Records after supporting Fairport Convention on a national tour. Sometimes was released on the Liberty label, and aroused a degree of interest from the folk media. Backing musicians on the album were Fairport Convention members Dave Mattacks, Dave Pegg, and Dave Swarbrick. Following Taylor’s move to New York from 1972-74, The American Album marked a different course, and included a wealth of respected Nashville and Los Angeles session musicians. In July 1975, Taylor formed the group Cajun Moon in order to encompass traditional, Appalachian and Cajun musical styles. The trio, which included Brian Golbey (fiddle), and Jon Gillaspie (keyboards), toured with Steeleye Span and Taylor signed a contract with Chrysalis Records resulting in Cajun Moon in May 1976. Owing to overwork, Taylor damaged his vocal chords, and was forced to rest for three months. This more or less spelt the end of the group and, following an operation, Taylor recommenced solo work, signing a publishing contract with Chrysalis and a recording contract with Rubber Records.

Listen to this album and you´ll agree, that this is another more or less unnown higlight of the British folkscene … it´s unbelieveable and a shame that this album is forgotten !

John Gillaspie (keyboards, wind)
Brian Golbey (guitar, violin)
Allan Taylor (guitar, vocals)
a bunch of unknown studio musicians

01. Calling On (Taylor) 2.54
02. Close To The Edge (Taylor) 3.14
03. Back Again (Taylor) 3.16
04. Lady Of Pleasure (Taylor) 3.03
05. Darkness In The Valley (Taylor/Golbey) 3.34
06. Mistress Music (Taylor) 3.54
07. Misty On The Water (Taylor) 4.03
08. Fiddler John (Taylor/Parker/Holland) 3.10
09. Sawtooth Line (Taylor/Golbey) 2.28
10. Losers Can Be Winners (Taylor/Golbey/Gillaspie) 3.08


Fritz Rau – March 09, 1930 – August 19, 2013

FritzRau04Dave Brubeck, Miles Davis, Jimi Hendrix, Led Zeppelin, Bob Dylan, Madonna, the Rolling Stones – concert organizer Fritz Rau brought them all to Germany. The trained lawyer who danced to a different tune has died aged 83.

Concert organizer and music mogul Fritz Rau died aged 83 in Kronberg, near Frankfurt. His family said on Tuesday that Rau had passed away the day before.

Rau was born in 1930 in Pforzheim in southwest Germany. He trained to become a lawyer and briefly worked as one, but his real passion was always music. What’s more, Rau’s love lay in jazz, blues and pop music, meaning he looked abroad to foreign stars when thinking of setting up a serious business as a concert organizer.

FritzRau01He had begun to dabble in the trade even as a student in Heidelberg, bringing some of the biggest names of the 1950s – Miles Davis, Dave Brubeck, Ella Fitzgerald – over to Germany.

Together with his friend Horst Lipmann, Rau set up the “Lippmann and Rau” concert agency, a business that was catapulted to the music scene’s attention with its organization of the American Folk Blues Festival. The festival toured Europe, starting in 1962. Rau and Lippmann had sought out comparatively underground performers like Bukka White, Howlin’ Wolf, Willie Dixon and Sonny Boy Williamson – names they helped establish in Europe.

Over the decades, Rau worked with most of the great names of modern popular music. He brought the Rolling Stones to Germany for their first tour in the country, and set up gigs for Jimi Hendrix, The Doors, Miles Davis, Queen, The Who, Tina Turner, Madonna, Eric Clapton, ABBA, Led Zeppelin, Bob Dylan and many more.

He also dedicated time to promoting and helping German artists like Udo Lindenberg and Peter Maffay. Maffay, a musician with a German “Schlager” – a mixture of soft pop and folk music – background, wrote about Rau for the Frankfurter Rundschau paper when the music mogul turned 80. He recalled one of his biggest chances, when he was allowed to open for the Rolling Stones at Munich’s Olympic Stadium in 1982.
FritzRau02“Our playlist was soft. Much too soft for a hot afternoon, for the blood-alcohol level of the audience,” Maffay wrote. “First there were boos, then coke bottles were flying – then vegetables and eggs. We played on, dodging the missiles to left and right like boxers. Suddenly, a large man bounded onto the stage, stood in front of us, stretched his arms wide and yelled to the crowd: ‘If you’re bombarding them, you’ll have to bombard me too!'”

Rau retired from public life in 2004 and wrote a book on his life with the stars, called “50 Jahre [years] Backstage.”



Curved Air – Midnight Wire (1975)

CurvedAirFCThis debut album of the third incarnation of Curved Air is one of the most unusual approaches to music-making; it focuses its mood on humbleness rather than blaring flashiness and on soft passion rather than obvious passion. This is undoubtably Curved Air’s best mood album,and as far as essential creativity goes,this is tremendously high-ranking in the hierarchy of the world’s music. All this and more from a group that was supposedly on the verge of total disintegration and disillusionment. The group at this point consisted of Darryl Way (Violin,piano),Stewart Copeland (Drums), Mick Jacques (Guitars),and Sonja Kristina (Vocals). Sonja’s vocals are so intense,passionate,and full of emotion that many,I have observed,are overwhelmed and are unable to appreciate their beauty. Darryl plays incredible violin,both as lovely as harp and as upbeat as guitar; he is a true master of the instrument. Jacques has a knack for playing a very grooving guitar,but also
plays some very powerful stuff. Stewart’s drums are varied-at times jazzy,at others shocking,but always good. Curved Air is also supported by excellent sessionists. Although both the keyboardist and John Perry,the bassist,are noteworthy,it is lyricist Norma Tager who earns the most attention. Norma Tager’s lyrics are wonderful, epic portrayals of what we think of as dull and typical lives. Darryl dominates the group’s songwriting in terms of both quality and quantity. His
compositions include “Day Breaks My Heart”, outwardly sad and mourning,yet inwardly a testament to the fact that there is a reason that a heart can be broken;”Orange Street Blues”,an amazingly fun yet phenomenally sophisticated rocker;and “Midnight Wire”,a 7 minute epic of intense emotion. Dark,powerful,tragic,intense, soft-a true masterpiece. “The Fool”,a co-write between Darryl and Mick,is a crafty take into the world of folk music while remaining true to the style of the group and album. “Dance of Love”,by the same composers,is a bit pop-ish but has incredible vocals by Sonja- terrifically passionate and trembling-and a beautiful violin solo from Darryl. Mick Jacques’s own composition is a rather trippy and fascinating instrumental called “Pipe of Dreams”. Sonja also manages to get one of her compositions on the album,an intensely passionate song called “Woman on a One Night Stand”. This song is not only one of Sonja’s most elaborate creations,but also one of her most breathtaking with its unpredictable vocals,haunting guitar,and devil-may-care violin. This album keeps Curved Air’s usual genius-conceived mix of hard rock,soft rock, progressive,and classical,yet also steps outside the boundaries of anything that has ever been done before. Using a relatively small and untried band,they nonetheless succeed in creating a masterful album. An essential for Curved Air lovers,and an album which anyone with taste should at least brifly consider. (by Robert)

Stewart Copeland (drums)
Mick Jacques (guitar)
Sonja Kristina (vocals)
Darryl Way (violin, keyboards,vocals)
+Derek Damain (backing vocals)
John Perry (bass)Norma Tager (lyrics)
Peter Wood (keyboards)

01. Woman On a One Night Stand (Kristina/Tager) 5.06
02. Day Breaks My Heart (Way/Tager) 4.38
03. The Fool (Way/Tager/Jacques) 4.27
04. Pipe Of Dreams (Jacques) 3.58
05. Orange Street Blues (Way/Tagger) 5.01
06. Dance Of Love (Jacques/Way) 4.36
07. Midnight Wire (Way/Tager) 7.32