Kathy Smith – Some Songs I’ve Saved (1970)

LPFrontCover1Originally released in 1970 on the miniscule Stormy Forrest label, Kathy Smith’s Some Songs I’ve Saved is no lost treasure on the level of, say, Linda Perhacs’ Parallelograms, no matter how much obscurantist collectors may want it to be. Stormy Forrest was Richie Havens’ label, and Havens’ signature blend of folk and jazz influences is all over this album musically, with flutes and upright bass alongside the acoustic guitars, strings, and Indian instruments. But Smith is not a particularly soulful or jazzy singer: indeed, if anything, she’s oddly stiff and proper, over-enunciating her lyrics in songs like “Same Old Lady” like a much more mannered version of the early Judy Collins, when a looser, more rhythmically freewheeling approach would have worked better. Similarly, the songs are fine examples of the whole chamber folk school of female singer/songwriters from this era, but the arrangements are neither trippily psychedelic nor old-school Elizabethan enough to attract the full attention of the Judee Sill and Vashti Bunyan devotees one would assume to be the target audience for this reissue. At its worst, Some Songs I’ve Saved is merely drearily competent, and at its best (the opening “Topanga,” the delicate ballad “If I Could Touch You”), it’s a solid L.A. folk-rock album in the early Joni Mitchell school. Don’t approach it expecting a magical lost treasure and you likely won’t be disappointed, but Some Songs I’ve Saved is a fairly slight curio overall. (by Stewart Mason)

Warren Bernhardt (piano)
Monte Dunn (guitar)
Jim Fielder (bass)
Bill Lavorgna (drums)
Chuck Rainey (bass)
Kathy Smith (vocals, guitar)
Jeremy Steig (flute)
Stormy Forest Freaks (background vocals, handclapping)
Artie Traum (banjo, guitar)
Collin Walcott (tabla)
Eric Weissberg  (fiddle)

01. Topanga (Smith) 2.25
02. What Nancy Knows (Asato) 4.37
03. Vision Of Two Saints (Polland) 3.47
04. End Of World (Smith) 6.25
05. Some Old Lady (Smith) 4.35
06. Blackbird And The Pearl (Smith) 4.32
07. Russel: Gemeni II (Smith) 3.28
08. If I Could Touch You (Polland) 3.02
09. Circles Of Love (Smith) 3.30


Chet Atkins – Stay Tuned (1985)

FrontCover1Stay Tuned is an album by Chet Atkins on his new label Columbia after recording for RCA since the 1950s. his guests include Larry Carlton, George Benson, Mark Knopfler, Steve Lukather, Earl Klugh, Boots Randolph, David Hungate, Dean Parks and Mark O’Connor.

“Cosmic Square Dance” won the 1985 Grammy for Best Country Instrumental Performance.

After decades of recording for RCA Victor, Atkins switched labels; this 1985 effort is a summit meeting of sorts with young guitar hotshots like Larry Carlton, George Benson, Mark Knopfler, Steve Lukather, and Earl Klugh, plus session A-teamers like Boots Randolph, Larrie Londin, David Hungate, Mark O’Connor and others. Atkins’ tone is, as usual, faultless, and his playing superb. If the “meetings” don’t always come off, it’s usually due to the overzealousness of the other guitar players (Lukather’s over-the-top style screams ’80s big hair, for instance), not Chet, whose playing always exercises the utmost in restraint in every situation. All in all, a good modern-day Chet Atkins album, but not the place to start a collection. (by Cub Koda)

Chet Atkins (guitar)
George Benson (guitar)
Larry Carlton (guitar)
Paulinho Da Costa (percussion)
Darryl Dybka (keyboards)
Randy Goodrum (keyboards)
Mark Hammond (drums)
Jim Horn (horns)
David Hungate (bass)
Clayton Ivey (keyboards)
Shane Keister (keyboards)
Earl Klugh (guitar)
Mark Knopfler (guitar)
Larrie Londin (drums)
Steve Lukather (guitar)
Brent Mason (guitar)
Terry McMillan (percussion)
Mark O’Connor (fiddle)
Dean Parks (guitar)
Jeff Porcaro (drums)
Boots Randolph (saxophone)
Don Sheffield (horns)
Paul Yandell (guitar)

01. Sunrise (Benson/Goodrum) 4.0
02. Please Stay Tuned (Atkins/Yandell) 4.01
03. Quiet Eyes (Russell) 3.33
04. A Mouse In The House (Moss) 3.52
05. Some Leather And Lace (Atkins/Yandell) 3.56
06. The Cricket Ballad (Dybka) 3.30
07. Cosmic Square Dance (Atkins/Knopfler/Yandell) 4.14
08. The Boot And The Stone (Dybka) 3.57
09. Tap Room (O´Connor/Ivey) 4.08
10. If I Should Lose You (Rainger/Robin) 1.26


Clarence Carter – Patches (1970)

FrontCover1Clarence George Carter (born January 14, 1936) is an American blues and soul singer, musician, songwriter and record producer. His most successful records included “Slip Away”, “Back Door Santa” (both 1968), “Patches” (1970), and “Strokin'” (1985).

Born in Montgomery, Alabama, on January 14, 1936, Carter attended the Alabama School for the Blind in Talladega, Alabama, and Alabama State College in Montgomery, graduating in August 1960 with a Bachelor of Science degree in music. His professional music career began with friend Calvin Scott, signing to the Fairlane label to release “I Wanna Dance But I Don’t Know How”, as Clarence & Calvin, the following year. After the 1962 release of “I Don’t Know (School Girl),” the pair joined Duke Records, renaming themselves the C & C Boys and releasing four singles for the label, though none were commercially successful. In 1965 the duo recorded “Step by Step” at Rick Hall’s FAME Studios in Muscle Shoals; it was released on the Atlantic Records’ subsidiary Atco label, but it also failed to chart.

The duo performed regularly in clubs in Birmingham, Alabama in 1966. After Scott was seriously injured in an auto accident, Carter continued as a solo singer, and recorded for the Fame label. In 1967 he recorded “Tell Daddy”, which reached number 35 on the Billboard R&B chart and inspired Etta James’ answer record, “Tell Mama”, for which Carter was credited as writer. At the end of 1967, Carter joined Atlantic Records. He then began a string of hits on the R&B and pop charts, starting with “Slip Away” (number 2 R&B, number 6 pop), which has been described as “a superior cheating ballad spotlighting his anguished, massive baritone alongside the remarkably sinuous backing of Fame’s exemplary backing band”, and “Too Weak To Fight” (number 3 R&B, number 13 pop). At the end of 1968, he had a seasonal pop hit with the raunchy and funky “Back Door Santa” (number 4 pop), and toured nationally.[3][5][6] His backing singers included Candi Staton; they married in 1970 and produced a son, Clarence Carter Jr., before divorcing in 1973.

ClarenceCarter1Carter continued to have hits in 1969 and 1970, with “Snatching It Back”, “The Feeling Is Right”, “Doin’ Our Thing”, and “I Can’t Leave Your Love Alone” all reaching both the US pop and R&B charts. The B-side of “Snatching It Back” was a remake of a remake of James Carr’s “The Dark End of the Street.” Carter’s biggest hit came in 1970 with his version of “Patches”, first recorded by Chairmen of the Board, which was a UK number 2 hit and a US number 4. The record sold over one million copies, and received a gold disc awarded by the R.I.A.A. in September 1970, just two months after its release, and won the Grammy Award for Best R&B Song in 1971. Following “Slip Away” and “Too Weak to Fight”, it was Carter’s third million-seller. However, Carter’s later record releases were less successful, and he left Atlantic at the end of 1971 to rejoin the Fame label. In 1975 he signed to ABC Records, releasing three albums including Loneliness and Temptation.[3][9] According to writer Brian Ward, Carter “virtually made a career from tales of unbridled love and illicit sex…”

With the advent of disco in the mid 1970s, Carter’s career suffered. However, he signed for Ichiban Records in 1985, and found a new audience with songs such as “Strokin'” and “Dr. C.C.” in the 1980s and 1990s. “Strokin'” was reputedly deemed too ribald for a public release or radio play, so the record company placed the records in jukeboxes, where bar patrons discovered the song. “Strokin'” was given further acclaim when it was used in the Eddie Murphy remake of The Nutty Professor. It was most recently used in William Friedkin’s film Killer Joe. Carter’s soul sound also found an audience within the then-nascent hip-hop community.[citation needed] Most notably, the horn break from “Back Door Santa”, is sampled in the Run-D.M.C. Christmas song “Christmas in Hollis”.

ClarenceCarter2Carter’s later songs appealed (and still appeal) to a primarily African-American working-class audience that was also interested in contemporary blues artists such as Denise LaSalle, Bobby Rush, Marvin Sease and Sir Charles Jones. He has continued recording, releasing six albums for the Ichiban label and, since 1996, establishing his own Cee Gee Entertainment label. He has also continued to tour regularly in the Southern states and internationally- (by wikipedia)

Clarence Carter’s first major-hit album remains a must-own record, holding up extraordinarily well across four decades. Carter’s singing possesses an immediacy and emotional impact that is as striking today as it was in 1970, and displays a vast range as well. The title track is the best-known song here, though “It’s All in Your Mind” was also a hit later in the year, and “I Can’t Leave Your Love Alone” and “Your Love Lifted Me” could easily have joined it and topped the pop charts as well. Carter even provides a bracing authentic gospel approach to the then-new Beatles song “Let It Be,” taking the song back to the roots whence Paul McCartney drew his inspiration. He also assumes a more pop-oriented persona on “Till I Can’t Take It Anymore,” on which Carter starts to sound a bit like Elvis Presley, while on “It’s All in Your Mind” he seems to invoke the ghost of Sam Cooke. On his own “C.C. Blues,” Carter’s bluesiest persona emerges, his crunchy guitar playing off beautifully against a soaring horn section and Clayton Ivey’s piano, and he returns to a soul sound for the finale, the soaring “Getting the Bills (But No Merchandise).” (by Bruce Eder)

Harrison Calloway, Jr. (trumpet)
Clarence Carter (guitar)
Ronnie Eades (saxophone)
Clayton Ivey (keyboards)
Albert Lowe Jr. (guitar)
Jerry Masters (bass)
Cornell McFadden (drums)
Jack Peck (trumpet)
Fred Prouty (drums)
Harvey Thompson (saxophone)
Aaron Varnell (saxophone)
Travis Wammack (guitar)
Bob Wray (bass)
Background vocals:
Charles Chalmers – Donna Rhodes – Sandy Rhodes


01. Willie And Laura Mae Jones (White) 4.18
02. Say Man (Carter/Jackson) 3.25
03. I’m Just A Prisoner (Of Your Good Lovin’) (Harris/Jackson) 2.15
04. Let It Be (Lennon/McCartney) 3.29
05. I Can’t Leave Your Love Alone (Carter/Jackson) 2.24
06. Your Love Lifted Me (McClinton) 2.37
07. Till I Can’t Take It Anymore (Otis/Burton) 3.13
08. Patches (Johnson/Dunbar) 3.11
09. It’s All In Your Mind (Jackson/Moore) 2.37
10. Changes (Dees) 2.53
11. C. C. Blues (Carter) 3.25
12. Getting The Bills (But No Merchandise) (Jackson/Moore) 2.19


Sydney Thompson And His Orchestra – Ballroom In Tempo (1976)

FrontCover1I coudn´t find much information about Sydney Thompson and his orchestra … but he was a sort of James Last for England.

He was a welsh-born orchestra leader (born in 1911) who played dance music and first appeared on TV in ‘Leisure And Pleasure’.

And Sydney Thompson was a BBC bandleader of the 1950s. His dance orchestra was one of the leading UK bands of the period.

Here´s a record from 1976, but I guess, these tunes was orignal recorded during the SydneyThompson50´s, because most of the songs were from that period. Does anybody knows more ?

And what we can hear is perfect ballroom music from that decade … glamorous !

Sydney Thompson And His Orchestra

01. Save Your Kisses For Me (Hiller/Sherman) (Quickstep) 2.03
02. The Street Of Linden Trees (Koenig) Quickstep) 2.04
03. Soleado (Zacar/Holm) (Foxtrot) 2.18
04. There´s A Kind Of Hush All Over The World (Reed/Stephens) Foxtrot) 2.22
05. Answer Me (Winkler) Waltz) 2.17
06. Shadow Waltz (Dubin/Warren) (Waltz) 2.13
07. Trucking (Bloom/Koehler) (Jive) 2.00
08. One Of These Songs (Calvi) Quickstep) 2.07
09. Is It True What They Say About Dixie (Lerner) Quickstep) 2.05
10. Diana (Rapee/Pollock) Waltz) 2.14
11. Where The Blue Of The Night (Ahlert) (Waltz) 2.22
12. Hernando´s Hideaway (Ross) (Tango) 2.10
13. La Violetera (Padilla) Tango) 2.05
14. Falling In Love With Someone (Herbert) (Vienese Waltz) 1.44



The Allstars From Charlottesville, VA. – Tip Your Waitress (1978)

FrontCover1We named the Allstars (from Charlottesville, Virginia) as one of three white blues bands in the country worth listening to: Delbert McClinton went on to greater fame, as did the Thunderbirds (later the Fabulous Thunderbirds) — but by 1981, the Allstars had broken up. This band (five men, one woman) was hampered by uneven production on their debut (and only) album, but they nevertheless covered everything from Koko Taylor’s “Voodoo Woman” to Bruce Springsteen’s “The Fever” with creativity and vigor. (And they even did a reunion gig in 2008.)

What We Said Then: “[This] crew is just about the best blues band in the Southeast. Their material shows a knowledge and understanding of the blues canon uncommon among musicians of recent years. Muddy Waters’ ‘Forty Days and Forty Nights’ is treated not as a classic from 1956, but as an expression of desolation imbued with Biblical wrath.” (by Nick Tosches, RS 277 (November 2nd, 1978)

Steve Bliley (guitar)
Dick Green  (lead guitar, vocals)
Doug Jay (harmonica, vocals)
Steve Ramsey (drums)
Steve Riggs (bass)
Lucille Schoettle (vocals)
Dave Birkin (saxophone)
Tom Principato (guitar)
Jim Thackery (guitar)

01. Bumble Bee (Fullylove) 2.33
02. Forty Days & Forty Nights (Morgenfield) 3.19
03. The Fever (Springsteen) 4.38
04. Voodoo Woman (Taylor) 2.52
05. My Love Will Never Die (Rush) 5.04
06. Wasn’t That Good (Harris) 2:57
07. Ninety-Nine Pounds (Bryant) 3.24
08. So Many Roads (Paul) 4.07
09. Hoodoo Blues (Hicks/West) 3.23
10. Tell Mama (Carter/Derrell/Daniel) 3.12
11. Mean Old Train (Lightfoot) 3.08
12. Tell Me All The Things (Kirwan) 3.26


Ramatam – In April Came The Dawning Of The Red Suns (1973)

FrontCover1April Lawton’s short rock & roll moment in the sun takes a better turn on Ramatam’s second attempt, In April Came the Dawning of the Red Suns. Acoustic ramblings like “Excerpt From Guitar Concerto #1,” where she plays solo for 44 seconds, are more inviting than much of what was on the group’s self titled debut. Since her prowess was a big part of the hype, why those introspective glimpses weren’t extended is the mystery. There’s also a pretty interlude, “Rainy Sunday Evening,” which comes between two awful moments on side one, “Betty Lou” and “I Can Only Love You,” proving the previous point. A ’50s-type vocal sound slips into this morass, and these two titles display the worst elements found when “experiencing” the band’s first effort, despite the fact that only lead guitarist Lawton and Tommy Sullivan remain. With Ramatan2another Atlantic producer, Geoffrey Haslam, taking over from Tom Dowd and heavy string sections replacing the marquee talent former bandmates Mitch Mitchell and Mike Pinera brought to the table, the album has sparks that just never take off. Instrumental portions of “I Can Only Love You” have merit decimated by a god awful vocal from Sullivan, who sings much better on “The Land” and “Autumn Now,” two songs that sound like Robbie Robertson and the Band jamming with America after some gig. The heavy orchestration — 11 strings and eight horns — conducted by Charles Gouse, brings a certain refinement to this rock band that live and in its earlier incarnation was an all-out assault. Haslam worked with artists and projects as diverse AprilLawton1as the Velvet Underground’s Loaded, the J. Geils Band, Bette Midler’s The Divine Miss M, Delbert McClinton, and others, and he brings his polish to smooth out the rough edges — but as the late Jimmy Miller used to say (paraphrased), “a big part of it is the talent you’re given to work with.” When a singer doesn’t have that ability to get it across, you can end up with the dilemma facing Ramatam. The strength Haslam brought to the first J. Geils album, bringing it all together and letting it play out, is less-efficient here, though this is a vast improvement over Dowd’s work on Ramatam’s debut. If the first edition of this ensemble was a poor-man’s supergroup, this version finds good production impeded in parts by Tommy Sullivan morphing into that poor-man’s Jim Dandy from Black Oak Arkansas. Imagine Dandy attempting to sing to a boogie-woogie version of Cream’s music and you’ll understand the dilemma. “Stars and Stripes Forever” is a pointless exercise opening side two, but it leads into the shining moment, Lawton’s pretty vocal supplemented by Bruce Morgenheim’s violin on a song called “Bounty on My Table.” That respite is knocked off the table with “Downrange Party,” where the group seems to have their Jim Dandy persona clashing with the Jimi Hendrix Experience and some horns to boot — dreadful. The one-minute “Free Fall” by Sullivan is as enticing as some of Lawton’s creative spurts, and the fact that there is some magic that escaped this project is obvious. What was needed was the removal of the grating, pointless pseudo-Southern rock, replacing it with a psychedelic jam à la Iron Butterfly — a band a former member belonged to. A good digital editor could actually cut and paste and come up with something very special if those involved were so inclined. Then a really special moment, like the ’50s send-off “Rhinoceros,” would have more punch. (by Joe Viglione)


April Lawton (guitar, vocals, bass, organ, harmonica)
Tommy Sullivan (vocals, guitar, piano, saxophone, bass, synthesizer)
Jimmy Walker (drums, percussion, vocals)
Raymond Beckenstein (horn)
Garnett Brown (horn)
Harold Coletta (strings)
Dominick Gravine (horn)
Emanuel Green (strings)
Jimmy (percussion, vocals)
Arthur Kaplan (horn)
Harold Kohon (strings)
Joseph Malignaggi (strings)
Richard Maximoff (strings)
Kermit Moore (strings)
David Nadien (strings)
Joe Newman (horn)
Bruce Morgenheim (strings, guitar, vocals)
Gene Orloff (strings)
Max Polikoff (strings)
Seldon Powell (horn)
George Ricci (strings)
Russ Savakus (strings)
Joseph J. Shepley (horn)
Marvin Stamm (horn)


01. The Land / Rainy Sunday Evening (Lawton/Sullivan) 6.19
02. Betty Lou (Lawton/Sullivan) – 4:01
03. I Can Only Love You (Lawton/Sullivan)- 5:44
04. Excerpt From Guitar Concerto #1 (Lawton) – 0:45
05. Autumn Now (Lawton/Sullivan) – 3:54
06. Stars And Stripes Forever (Sousa) 2.33
07. Bounty On My Table (Lawton/Sullivan) – 3:54
08. Downrange Party (Lawton/Sullivan)- 5:11
09. Free Fall (Sullivan) 1.04
10. Push A Little (Lawton/Sullivan) – 5:16
11. Rhinoceros (Lawton/Walker/Sullivan) 3.28



Frans Brüggen – The Art Of The Recorder (1995)

FrontCover1Franciscus (“Frans”) Jozef Brüggen (30 October 1934 – 13 August 2014) was a Dutch conductor, recorder player and baroque flautist.

Born in Amsterdam, Brüggen was the last of the nine children of August Brüggen, a textile factory owner, and his wife Johanna (née Verkley), an amateur singer. He studied recorder and flute at the Amsterdam Muzieklyceum. He also studied musicology at the University of Amsterdam. In 1955, at the age of 21, he was appointed professor at the Royal Conservatory of The Hague. His reputation was initially as a recorder and Baroque flute virtuoso, and he commissioned several works for recorder including Luciano Berio’s Gesti (1965). In 1972, he co-founded the avant-garde recorder ensemble Sour Cream with Kees Boeke and Walter van Hauwe.

FransBrüggen01In 1981, Brüggen co-founded with Sieuwert Verster the Orchestra of the 18th Century (Orkest van de Achttiende Eeuw). Although he did not have a formal title with the orchestra, he was its de facto chief conductor until his death. The Orchestra of the Age of Enlightenment (OAE) named Brüggen its co-principal guest conductor, in parallel with Simon Rattle, in 1992. The OAE later gave him the title of Emeritus Conductor in 2007. He was the conductor of the Radio Kamerorkest in the Netherlands from 1991 to 1994, and joint chief conductor of the orchestra, alongside Peter Eötvös, from 2001 until the dissolution of the orchestra in 2005. Brüggen conducted the final concert of the successor to the Radio Kamerorkest, the Netherlands Radio Chamber Orchestra, on 14 July 2013.

Brüggen was a visiting professor at Harvard University and the University of California, Berkeley.

His recordings include, as a flautist, selections from the Pièces de Clavecin en Concerts of Jean-Philippe Rameau, and as a conductor, symphonies of Beethoven, Joseph Haydn and Franz Schubert.

FransBrüggen02Brüggen was married twice. His first marriage to Ineke Verwayen produced two daughters, Laura and Alicia. His second marriage was to the art historian Machtelt Israëls, and produced two daughters, Zephyr and Eos. His second wife and all four of his daughters survive him. Brüggen was the uncle of recorder soloist and Amsterdam Loeki Stardust Quartet member, Daniël Brüggen. (by wikipedia)

In 1995 Teldec Records released a box with 12 CD´s called “The Art Of The Recorder ((The Teldec Recordings, 1962-1979)”. And this is a sort of oromotion sampler with highlights from all these CD´s.

And it´s time to discover Frans Brüggen, an extraordinary musician !

Frans Brüggen (recorder)
various orchestras (see booklet)

01. Concerto in E minor, Presto (Telemann) 2.43
02. Sonata in A minor, Allegro (Bigaglia) 2.06
03. Doen Daphne d’over schoone Maeght (Van Eyck) 9.10
04. In Nomine (Tye) 1.45
05. Concerto in D major, Allegro (Babell) 2.45
06. Suite in G minor, Gigue (Dieupart) 1.08
07. Sonata in D minor, Courante (Philidor) 1.42
08. Sonata in C major, Tambourin (Lavigne) 2.14
09. Trio Sonata in G minor, Adagio e piano (Bach) 2.31
10. Fantasia in F major, Alla Francese (Telemann) 4.01
11. Fantasia in F major, Presto (Telemann) 0.55
12. Sonata in D minor, Furioso (Händel) 2.12
13. ‘La Follia’, Allegro (Corelli) 2.54
14. Concerto in A minor (Vivaldi) 2.52
15. Concerto in A minor (Vivaldi) (2) 1.58
16. Concerto in A minor (Vivaldi) (3) 2.36
17. Le Rossignol-en-amour (Couperin) 7.49
18. Concerto in F major, Allegro (Bach) 6.59
19. Sonata in C major, Allegro (Telemann) 2.27
20. Trio Sonata in C major, Vivace (Quantz) 3.03
21. Concerto in F major, Allegro assai (Sammartini) 4.13
22. Engels Nachtegaeltje (Van Eyck) 5.41


BookletBackCover1What a fine collection !