Crowded House – Alone Together (1993)

FrontCüver1Together Alone is the fourth studio album by the band Crowded House. It was released in October 1993 and was their first album to feature multi-instrumentalist Mark Hart as a full band member. Unlike the band’s first three albums, which were recorded in the US and Australia and produced by Mitchell Froom, Together Alone was recorded in New Zealand with producer Youth. Seven singles were released from Together Alone, including “Distant Sun”, which was a top 10 hit in New Zealand and Canada, and “Locked Out” which reached number 12 on the UK singles chart and number 8 on the US Modern Rock chart, the latter on the strength of the song’s inclusion on the soundtrack of the 1994 film Reality Bites.

The album was mainly recorded at Neil Finn’s friends Nigel and Jody Harrocks’ house at Karekare Beach in New Zealand, with additional recording in Melbourne, Australia at both Periscope and Platinum Studios. The album’s opening track was named “Kare Kare” after the beach near where the album was recorded.

Booklet05AThe album topped the album chart in New Zealand, reached number 2 in Australia and number 4 in the UK. Due to its inclusion on the Reality Bites soundtrack, the song “Locked Out” was bundled with The Knack’s “My Sharona”, which also features in the film, as a promotional jukebox single. The video single release of “Nails in My Feet” featured a documentary of the making of Together Alone entitled Footage from the Together Alone recording session.

The song “Catherine Wheels” was written by Neil and Tim Finn while with Split Enz and was originally titled “The First To Say Gone”. The final version included input from bass player Nick Seymour which earned him a co-writing credit, one of only five he has with Crowded House. (The others are “Recurring Dream” and “Help Is Coming” from Afterglow, “Newcastle Jam” from the Special Edition Live Album and “Isolation” from Intriguer).

Booklet01AAllmusic noted that the album is, “More experimental and musically varied than any of their previous releases” and cited the addition of Mark Hart to the band’s line-up and new producer Youth as reasons for this. The album features more complex, layered guitar and keyboard arrangements than on Crowded House’s previous works. The title track features a New Zealand Māori choir and log drummers and was co-written by Ngapo ‘Bub’ Wehi of the Te Waka Huia Cultural Group Choir, who also provide backing vocals on “In My Command” and “Catherine Wheels”.

Bassist Nick Seymour created the album cover, which features a red car, possibly a taxi. It contains Jesus, a golden figure and a third occupant in the back of the car of whom only an arm, clad in a striped shirt, is visible. The car is surrounded by a golden halo and has fluffy dice hanging from the rear view mirror. The cover of the 2007 single “Don’t Stop Now” has a similar red car and the song’s video features the car during its animated sequences. The album artwork was co-designed by Seymour and Margo Chase. It incorporates photography, by Youri Lenquette and Merlyn Rosenberg, of the band and of landscapes including Karekare beach.

PromoPic1993AMore experimental and musically varied than any of their previous releases, Together Alone finds Crowded House branching out into traditional Maori music and heavy guitars, as well as the shining pop songcraft that is Neil Finn’s trademark. Picking up a new guitarist and adding the production skills of ex-Killing Joke member Youth, Crowded House energize their sound without losing sight of Finn’s classic pop songwriting, as “Locked Out” and “Distant Sun” prove. (by Stephen Thomas Erlewine)

Neil Finn – vocals, acoustic and electric guitars, piano, keyboards
Mark Hart (keyboards, guitar, lap steel guitar, mandolin, background vocals)
Paul Hester (drums, percussion, vocals)
Nick Seymour (bass, background vocals)
Noel Crombie (percussion on 08.)
Dror Erez (accordion on 09.)
Tim Finn (background vocals on 02. + 11.)
Sharon Finn (background vocals on 04., 06. + 08.)
Geoffrey Hales (percussion on 05. + 07.)
Eddie Rayner (keyboards on 01. + 06.)
Brass Band on 02. + 13.:
Clyde Dixon – Stephen Bremner – Laura Astridge – David Bremner – Shaun Jarret
Te Waka Huia Cultural Group Choir (vocals on 02., 11. + 13.)
Log Drummers on 08. + 13.:
Joe – Tereo – Martie – Jamee – Benjamin

01. Kare Kare (Finn/Hart/Hester/Seymour) 3.35
02. In My Command (Finn) 3.43
03. Nails in My Feet (Finn) 3.39
04. Black & White Boy (Finn) 4.00
05. Fingers Of Love (Finn) 4.26
06. Pineapple Head (Finn) 3.27
07. Locked Out (Finn) 3.17
08. Private Universe (Finn) 5.39
09. Walking On The Spot (Finn) 2.54
10. Distant Sun (Finn) 3.49
11. Catherine Wheels (N.Finn/T.Finn/Seymour) 5.12
12. Skin Feeling (Hester) 3.56
13. Together Alone (Finn/Hart/Wehi) 3.55


Mina Mazzini & Adriano Celentano – Mina Celentano (1998)

FrontCover1Mina Celentano is an album by Italian singers Mina Mazzini and Adriano Celentano, issued in 1998.

An immediate success upon release, Mina Celentano became the best selling album of the year in Italy (over 1.600.000 copies sold). (by wikipedia)

One-off and long overdue collaboration of two giants who probably know each other for decades.

Celetano’s street smart charm and Mina’s icy glamour are not an obvious fit but they create magic together and it works so well that it makes one wonder why it took them so long to get in the studio. Both started at the early dawn of 1960s as young punks ready to shake the world and endured long years in business to the point that they became living legends. If somebody had put them together in way back than, who knows what explosion that might have been, with young Celentano roaring and Mina answering in her energetic style – however at this point they are middle-aged people comfortable with slow-to-medium funky ballads.

Booklet03ABoth artists have huge following so it was natural that this album soared to the top of italian charts, as it should have – modern production,nothing nostalgic here, strong melodies and voices blending naturally. It’s kind of mild funk one might hear in italian coffee bars graced with top-notch than-current production and first few songs are truly classy pop that shows everything was taken seriously and nobody thought about artists as being old or over the hill. Most of the music here are duets but both artists have also a solo spot – Mina does her usual slow-burning rock ballad on “Io Ho Te” while Celentano raps on “Dolly”. There is even a comical “Che T’Aggia Dì” acted as argument between husband and wife who demands more bedroom attention or else she won’t cook anymore. (It’s almost a parody on Mina famous “Parole parole”)

Nice pop album that shows old foxes still having power, however it does make one wonder how they might have sounded together some 30 years ago. (Sasha)

I include the complete booklet (70 pages !).


Adriano Celentano (vocals, guitar)
Giorgio Cocilovo (guitar)
Umberto Fiorentino (guitar)
Nicolò Fragile (keyboards)
Paolo Gianolio (guitar)
Alfredo Golino (drums)
Maurizio Dei Lazzaretti (drums)
Mina Mazzini (vocals)
Massimo Moriconi (bass)
Massimiliano Pani (keyboards, background vocals)
Massimo Varini (guitar)
Background vocals:
Emanuela Cortesi – Giulia Fasolino – Moreno Ferrara – Paul Rosette – Silvio Pozzoli – Simonetta Robbiani – Stefano De Maco

01. Acqua e sale (Donzelli/Leomporro) 4.42
02. Brivido felino (Cenci/Audino) 3.44
03. Io non volevo (Celentano) 4.08
04. Specchi riflessi (Donzelli/Leomporro) 4.59
05. Dolce fuoco dell’amore (Fasolino) 4.39
06. Che t’aggia di’ (Celentano) 5.09
07. Io ho te (Donzelli/Leomporro) 4.54
08. Dolly (Celentano/Vaccaro) 5.35
09. Sempre sempre sempre (Albertelli/Riccardi) 4.46
10. Messaggio d’amore (Pani) 2.36



John Barry – Out Of Africa (OST) 1985

LPFrontCover1Out of Africa is a 1985 American epic romantic drama film directed and produced by Sydney Pollack and starring Robert Redford and Meryl Streep. The film is based loosely on the autobiographical book Out of Africa written by Isak Dinesen (the pseudonym of Danish author Karen Blixen), which was published in 1937, with additional material from Dinesen’s book Shadows on the Grass and other sources. This film received 28 film awards, including seven Academy Awards.

The book was adapted into a screenplay by the writer Kurt Luedtke, and directed by the American Sydney Pollack. Streep played Karen Blixen; Redford played Denys Finch Hatton; and Klaus Maria Brandauer played Baron Bror Blixen. Others in the film included Michael Kitchen as Berkeley Cole; Malick Bowens as Farah; Stephen Kinyanjui as the Chief; Michael Gough as Lord Delamere; Suzanna Hamilton as Felicity, and the model/actress Iman as Mariammo.

OurOfAfrica01The story begins in 1913 in Denmark, when Karen Dinesen (a wealthy but unmarried woman) asks her friend Baron Bror Blixen (Klaus Maria Brandauer) to enter into a marriage of convenience with her. Although Bror is a member of the aristocracy, he is no longer financially secure; therefore, he agrees to the marriage, and the two of them plan to move to Africa to begin a dairy farm.

Upon moving to British East Africa, Karen marries Bror in a brief ceremony, thus becoming Baroness Blixen. She meets and befriends various other colonial residents of the country, most of whom are British. She also meets Denys Finch Hatton (Robert Redford), a local big-game hunter with whom she develops a close friendship. However, things turn out differently from her expectations, since Bror has used her money to purchase a coffee plantation rather than a dairy farm. He also shows little inclination to put any real work into it, preferring instead to become a game hunter. Although theirs was a marriage of convenience, Karen does eventually develop feelings for Bror, but she is distressed when she learns of his extramarital affairs. To make matters worse, Karen contracts syphilis from her philandering husband (at the time, cures were uncertain) and is forced to return to Denmark for a long and difficult period of treatment using the then-new medicine Salvarsan. Bror agrees to look after the plantation in her absence.

OurOfAfrica02After she has recovered and returns to Africa, the First World War is drawing to an end. However, it becomes clear that her marriage to the womanizing Bror has not changed, and she eventually asks him to move out of their house. No longer able to have children of her own due to the effects of the syphilis, she decides to open a school to teach reading, writing, arithmetic, and also some European customs to the African tribal children of the area. However, her coffee plantation runs into financial difficulties, and she is forced to rely on bank loans to make ends meet. Her friendship with Denys Finch Hatton develops further.

OurOfAfrica03Despite her expectation and desire to have what begins as an affair turn into a lasting relationship, Karen realizes that Denys is as impossible to domesticate as the wild animals he hunts and often refers to. Although he moves into Karen’s house, he criticizes her desire to “own” things; this implies even people. He refuses to commit to marriage or give up his free lifestyle and tells her that he will not love her more just because of a “piece of paper”. Karen grudgingly continues in the relationship, knowing it will not ever be official. He decides to invite a female mutual acquaintance on one of his safaris, which exceeds Karen’s ability to tolerate his justifications for his lifestyle and behavior. Karen asks him to accede to her request to not take her along, and he refuses. She asks him to move out. The plantation finally yields a good harvest at long last, but a devastating fire breaks out in the processing shed, and the crops and all of the factory equipment are destroyed.

OurOfAfrica04Now financially broke, and her relationship with Denys over, Karen prepares to leave Africa to return home to Denmark, just as British East Africa is becoming Kenya Colony. She arranges to sell everything that she owns and empties the house of all her luxurious items for a rummage sale. In the now empty house, Denys visits her that night, and the two of them enjoy a drink and a dance. He asks her if he might escort her to Mombasa in his biplane to begin her journey home. She agrees and he promises to return after a few days. However, Denys never returns, and Karen is told that his plane has crashed and that he has been killed. Her loss now complete, Karen attends his funeral in the Ngong Hills. With Denys gone, Karen’s head servant, Farah, takes her to the station, for the train to Mombasa.

Karen later became an author and a storyteller, writing about her experiences and letters in Africa, though she never returned there. (by wikipedia)

OurOfAfrica05The music for Out of Africa was composed and conducted by veteran English composer John Barry. The score included a number of outside pieces such as Mozart’s Clarinet Concerto and African traditional songs. The soundtrack garnered Barry an Oscar for Best Original Score and sits in fifteenth place in the American Film Institute’s list of top 25 American film scores. The soundtrack was released through MCA Records and features 12 tracks of score at a running time of just over thirty-three minutes. A rerecording conducted by Joel McNeely and performed by the Royal Scottish National Orchestra was released in 1997 through Varèse Sarabande and features eighteen tracks of score at a running time just under thirty-nine minutes. (by wikipedia)

And this is a classic soundtrack by John Barry (3 November 1933 – 30 January 2011)

Unknown Orchestra conducted by John Barry
Academy of St Martin in the Fields conducted by Neville Mariner (on 04.)
Jack Brymer (clarinet on 04.)

01. Main Title (I Had A Farm In Africa) (Barry) 3.14
02. I’m Better At Hello (Karen’s Theme I) (Barry) 1.18
03. Have You Got A Story For Me” (1:14)
04. Concerto For Clarinet and Orchestra in A (K. 622) (Mozart) 2.49
05. Safari (Barry) 2.44
06. Karen’s Journey/Siyawe (Barry/Traditional) 4.50
07. Flying Over Africa (Barry) 3.25
08. I Had A Compass From Karen (Karen’s Theme II) (Barry) 2.31
09. Alone On The Farm (Barry) 1.56
10. Let The Rest Of The World Go By (Ball/Brennan) 3.17 (3:17)
11. If I Know A Song Of Africa (Karen’s Theme III) (Barry) 2.12
12. End Title (You Are Karen) (Barry) 4.01


Donald Harrison – Nouveau Swing (1997)

FrontCover1Harrison began his professional career in music playing with Doc Paulin’s New Orleans Brass Band at the age of 16. Three years later he was playing in NY with Roy Haynes at 19 . Haarison and went on to play with Jack McDuff, Art Blakey’s Jazz Messengers, Lena Horne, Miles Davis, Tony Williams, and Don Pullen in the 1980s. He also played with the re-formed Headhunters band in the 1990s. In 1991 he recorded “Indian Blues,” which captured the sound and culture of Congo Square’s off shoot culture in a jazz context. In 1994 Harrison created a new style of jazz called “Nouveau Swing”, which merges the swing beat with many of today’s popular funk and soul dance styles of music. Presently, Harrison tours leading his own groups, is a member of a trio with Ron Carter, and Billy Cobham super trio, is a member of The Cookers, and play’s with The Headhunter’s. On television Harrison was featured in Spike Lee’s HBO documentary, When the Levees Broke, and has appeared as himself in 11 episodes of HBO’s Treme where the characters Albert and Delmond Lambreaux are based on aspects of his life and the innovative jazz music he created. Another important aspect of Harrison is his work as a band leader who nurtured many young musicians into becoming band leaders. This work led to him becoming an educator at The Tipitina’s Foundation where he helps many more students. Harrison is also a Big Chief in Afro-New Orleans culture an offshoot culture of the famous Congo Square where Africans played drums in the 1700’s and 1800’s. He participates in costume making, drumming, singing. (by

DonaldHarrisonOn his Impulse! Records debut, Donald Harrison mixes his usual straight-ahead work with rhythmic elements from tropical climates. Albert Wonsey plays appropriate piano on all tracks, though Harrison employs two different rhythm sections, Christian McBride and Carl Allen for the more conventional tunes and Ruben Rogers and Dion Parson for the others. The others include “Bob Marley,” twhich borrows its rhythmic feel from such later Marley songs as “Exodus”; “Little Flowers,” which also has a Caribbean lilt; “Septembro,” the requisite samba; and “Duck’s Groove,” the requisite New Orleans second-line number. The concept is slight and inconsistently applied, as if Harrison was looking for something distinctive, but not too challenging. As ever, he is a proficient alto player with a comfortable retro style. But one might have expected more from producer Tommy LiPuma, who is usually able to make things lively even if not impressive, and one certainly hoped for more from Harrison, who is too old to be a young turk yet still shows no signs of mature mastery. (by William Ruhlmann)


Carl Allen (drums on 01., 03. – 05., 08., 10. + 13.)
Donald Harrison (saxophone)
Christian McBride (bass on 01., 03., 05. – 08., 10.)
Dion Parson (drums on 02., 04., 09. + 12.)
Reuben Rogers (bass on 02., 04., 09., 11. – 13.)
Anthony Wonsey (piano)

01. Nouveau Swing (Harrison) 5.36
02. Bob Marley (Harrison) 5.58
03. Come Back Jack (Nocenteli) 5.09
04. Little Flowers (Harrison) 6.13
05. Eighty-One (Davis/Carter) 5.26
06. Sincerely Yours (Harrison) 6.38
07. Septembro (Lins/Peranzzetta) 5.00
08. One Of A Kind (Harrison) 3.28
09. New Hope (Harrison) 7.18
10. Christopher Jr. (Harrison) 5.01
11. South Side People (Harrison) 1.10
12. Dance Hall (Harrison) 6.42
13. Duck’s Groove (Harrison) 0.53
14. Amazing Grace )Traditional) 0.50


Eloy – Inside (1973)

FrontCover1This is the first truly progressive album ELOY recorded. Frank Bornemann certainly wasn’t too happy with the political direction the band was heading on their first album. Of course original member Erich Schriever was mostly responsible for that, but of course, Frank Bornemann didn’t think music and politics should mix. So Schriever was given the boot, and original drummer Helmuth Draht left too. So Fritz Randow came in for drums, Manfred Wieczorke switched to organ and Frank Bornemann now started to sing as well as play guitar. Bassist Wolfgang Stöcker lasted long enough to appear on this album.

So of course, all the left-wing political statements are now gone, in place of sci-fi oriented lyrics, with a spacier sound, more in the PINK FLOYD realm. The album consists of four extended cuts, beginning with the side-length “Land of No Body”. Lots of PINK FLOYD references here, but parts of it also remind me of CAMEL. I just love that experimental spacy organ in the middle, it really trips me out. “Future City” sounds a whole lot like JETHRO TULL, but without the flute.

Eloy1973Apparently certain FM stations in America were flattered by that, and so they played it ( Inside did receive an American release, on the Janus label – the German version was on Harvest, which is their first album for the label), of course, if “Future City” was ever played on American radio, it was on “progressive free form” FM stations (the FM format that existed before the rise of AOR in the mid 1970s). The album closes with the mellow “Up and Down”. It wasn’t sung by Frank Bornemann, but by Manfred Wieczorke, which comes to prove that he shouldn’t sing (and he never did afterwards). Plus there’s some narration that sounds like a German Bob DYLAN. And while the vocals are the weak part of the song, the spacy organ and atmosphere more than makes up for it. Great stuff, especially if you like that underground early ’70s guitar/organ-driven prog. (by Proghead)

Frank Bornemann (guitar, vocals, percussion)
Fritz Randow (drums, guitar, percussion, flute)
Wolfgang Stöcker (bass)
Manfred Wieczorke (organ, guitar, vocals, percussion)

01. Land Of No Body 17.20
02. Inside 6.35
03. Future City 5.35
04. Up And Down 8.24

All songs written by Frank Bornemann/Fritz Randow/Wolfgang Stöcker/Manfred Wieczorke


Bob Dylan + The Band – Planet Waves (1974)

FrontCover1Planet Waves is the fourteenth studio album by American singer-songwriter Bob Dylan, released on January 17, 1974 by Asylum Records in the United States and Island Records in the United Kingdom.

Dylan is supported on the album by longtime collaborators The Band, with whom he embarked on a major reunion tour following its release (documented on the live album Before the Flood) (the tour started a couple weeks before release—though Asylum did want the album out first). With a successful tour and a host of publicity, Planet Waves was a hit, enjoying a brief stay at #1 on the US Billboard charts—a first for the artist—and #7 in the UK. Critics were not as negative as they had been with some then-recent Bob Dylan albums (namely Self Portrait and Dylan), but still not enthusiastic for the album’s brand of laid-back roots rock.

The album was originally set to be titled Ceremonies of the Horsemen, a reference to the song “Love Minus Zero/No Limit”, from the 1965 album Bringing It All Back Home; the release was delayed two weeks when Dylan decided to change the title at the last minute. Another, earlier working title was Wedding Song.

The cover art is drawn by Dylan himself. Written on the right side of the cover image is the phrase, “Cast-iron songs & torch ballads,” apparently signaling Dylan’s own conception of the album. On the left side is written “Moonglow”, which is sometimes interpreted as a subtitle. The initial release also included an insert which reportedly set out excerpts from Dylan’s personal journals. (by wikipedia)

BobDylanTheBand1974Reteaming with the Band, Bob Dylan winds up with an album that recalls New Morning more than The Basement Tapes, since Planet Waves is given to a relaxed intimate tone — all the more appropriate for a collection of modest songs about domestic life. As such, it may seem a little anticlimactic since it has none of the wildness of the best Dylan and Band music of the ’60s — just an approximation of the homespun rusticness. Considering that the record was knocked out in the course of three days, its unassuming nature shouldn’t be a surprise, and sometimes it’s as much a flaw as a virtue, since there are several cuts that float into the ether. Still, it is a virtue in places, as there are moments — “On a Night Like This,” “Something There Is About You,” the lovely “Forever Young” — where it just gels, almost making the diffuse nature of the rest of the record acceptable. (by Stephen Thomas Erlewine)

Bob Dylan (guitar, piano, harmonica, vocals)
The Band:
Rick Danko (bass)
Levon Helm (drums)
Garth Hudson (organ)
Richard Manuel (piano, drums)
Robbie Robertson (guitar)

01. On A Night Like This 2.57
02. Going, Going, Gone 3-27
03. Tough Mama 4.17
04. Hazel 2.50
05. Something There Is About You 4.45
06. Forever Young  4.57
07. Forever Young 2.49
08. Dirge 5.36
09. You Angel You 2.54
10. Never Say Goodbye 2.56
11. Wedding Song 4.42

All songs written by Bob Dylan


Júlio Resende – Amália (2013)

FrontCover1Júlio Resende
Musician, pianist and Portuguese Composer, born in Faro:

One of the most significant forces in the new generation of Fado and Jazz musicians in Portugal Júlio Resende started playing at age four. Resende had a Classical background, but soon he found out he was not satisfied to play compositions he could not improvise over.

Júlio participated in several workshops where he worked with the best masters of the New School for Jazz and Contemporary Music, Berklee College of Music, and Bill Evans Academy, Hot Clube during his stay in Université Paris – VIII.

In 2006, he completes his Philosophy studies at the Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. He currently teaches Jazz Piano at the Universidade de Aveiro for their Master’s degree in Jazz Music.

The intense and very relevant path through the universe of jazz led him to think improvisation about other musical genres. He arrives to Fado, where he crosses tradition with modernity and launches, from his piano, a new look about the Portuguese song. (taken from his website)

JulioResendeIn this voiceless Fado concert, the piano takes centre stage, with Júlio Resende invoking all the pain that Amália sings about. He began playing piano at the age of 4, studying at the conservatory in Faro, and developing a fondness for jazz. After recording three albums playing in a quartet or trio, he released his first solo album. In 2013, Valentim de Carvalho released Amália por Júlio Resende, where he sings the Fado with his piano and which he describes as the most personal solo album possible. Its very beautiful result is transferred in its entirety to his live performances.(by

This is one of the best piano albums I ever heard !

Julio Resende
Amália Rodrigues (vocals on 11.)


01. Fado Português (Régio/Oulman) 4.30
02. Vou Dar De Beber À Dor (Janes) 4.33
03. Tudo Isto É Fado (Nazaré/de Carvalho) 7.44
04. Foi Deus (Janes) 4.36
05. Estranha Forma De Vida (Rodrigues/Duarte) 4.51
06. Uma Casa Portuguesa (Ferreira/Sequeira/Fonseca) 3.57
07. Barco Negro (Piratini) 6.33
08. Gaivota (O´Neill/Oulman) 4.35
09. Ai Mouraria (dos Santos/Valério) 3.29
10. Amêndoa Amarga (dos Santos/Valério) 7.10
11. Medo (Ferreira/Oulman) 4.23


Charlie Mariano + Chris Hinze – Blue Stone (1971)

CDFrontCover1Charlie Mariano, who gained his initial fame for playing bop and cool jazz in the 1950s, by the early ’70s was exploring a mixture of world music and funk/R&B. This interesting but now somewhat dated CD reissue finds Mariano switching between alto, soprano, flute and the nagasuram in a quintet with flutist Chris Hinze and a European rhythm section that explores three Mariano originals (including the previously unreleased 18½-minute “Blue Stone”), a piece by Hinze and a traditional South Indian folk song. The moody music contains plenty of intriguing colors and some surprising moments. (by Scott Yanow)

FrontCoverReleased on LP 1973 by Freedom/Intercord 28 460 4 U

Jimm Chaaperoe (drums)
Roger Cooke (bass)
Chris Hinze (flute, piano)
Charlie Mariano (saxophones, flute)

01. Lullaby For Dewi (Hinze) 9.42
02. Mirror Of Your Mind (Mariano) 7.37
03. Blue Stone (bonus track)  (Mariano) 18.27
04. Traditional South Indian Kirtanam (Traditional) 6.32
05. Lassana Lamaya (Beautiful Child) (Mariano) 11.31


Kim Simmonds – Solitaire (1997)

FrontCover1This is the other side of Kim Simmonds … the mastermind of the brilliant Savoy Brown (one of the finest British Blues Bands) !

This 13-tracker finds the Savoy Brown lead guitarist and British blues legend in a solo acoustic mode, moving between guitar, dobro, harmonica and piano. Eight of the selections are Simmonds originals, and the covers (Mance Lipscomb’s “Sugar Babe,” Leroy Carr’s “Alabama Woman,” Fats Domino’s “Going Home” and Walter Roland’s “House Lady Blues”) are not the usual suspects one usually counts up when it comes time to do a few of your old favorites in this kind of setting. Simmonds’ acoustic tone throughout is fat, rich and present, with acoustic 12-string being featured on “Bad Morning” and nice slide dobro work on “Blind Alley.” While Simmonds makes no attempt to hide his British roots vocally by submerging it in mush-mouthed crooning and sore-throated hollering, his vocals (and several of the guitar filigrees) also lend this album a decided British folk air as well. (by Cub Koda)

Kim Simmonds (guitar, vocals, harmonica, piano)

01. Going Away (Simmonds) 3.22
02. I Keep Calling My Baby (Simmonds) 3.26
03. Blues Vibrations (Simmonds) 2.45
04. Alabama Woman (Carr) 3.07
05. Bad Morning (Simmonds) 3.54
06. House Lady Blues (Roland) 3.22
07. Solitaire (Simmonds) 2.55
08. Evening Train (Simmonds) 2.46
09. Blind Alley (Simmonds) 2.52
10. Going Home (Simmonds) 3.42
11. I’m Cutting Out (Simmonds) 2.29
12. Depression Blues (Simmonds/Traditional) 3.07
13. Sugar Babe (Lipscomb) 1.58


The Jimi Hendrix Experience: BBC Sessions (1998)

FrontCover1BBC Sessions is an album of recordings by the rock group The Jimi Hendrix Experience, released on MCA Records on June 2, 1998. It contains all the surviving tracks from their various appearances on BBC radio programmes, such as Saturday Club and Top Gear, recorded in 1967. At a BBC radio ‘session’, a practice still alive in British radio today, a band is required to record material in a studio quickly with limited overdubbing, largely limited to and relying upon their live sound. Many groups as part of this tradition choose to record some songs that are not part of their main repertoire. The album also includes the only two surviving Hendrix UK TV soundtracks (both BBC) Late Night Line Up (“Manic Depression” only survives) and the 1969 Lulu Show (complete).

BBC Sessions therefore offers its own unique example of the Experience sound, and a revealing glimpse of a song from their early repertoire Howlin’ Wolf’s “Killing Floor” and their only known studio recording of Bob Dylan’s “Can You Please Crawl Out Your Window?”.

Inlay1Apart from the “live” in studio versions of well-known Experience songs, there are several unique studio recordings of songs, i.e. “Driving South” , which includes several licks derived from Albert Collins’ “Frosty” (1962) and “Thaw Out” (1965), “Hoochie Coochie Man”, “Catfish Blues”, “Hound Dog”, “Hear My Train a Comin'” and a couple of novelty tracks: the amusing parody of a BBC Radio 1 jingle “Radio One”, and a recording with a young Stevie Wonder on drums (a cover of Wonder’s own “I Was Made to Love Her”). It also includes the sound track from the band’s infamous appearance on Lulu’s television show in 1969.

The Top of the Pops references were overdubbed by Brian Mathews onto Top Gear recordings for the BBC produced Swedish (English language) radio show of the same name. The original recordings minus Brian no longer exist.

Booklet-7AThis collection has been re-released as part of the Hendrix Family’s project to remaster Jimi’s discography in 2010 by Experience Hendrix and Legacy Recordings. The re-release contains 2 digitally remastered sound discs with “Burning of the Midnight Lamp” bonus track from August 24, 1967, and 1 DVD videodisc of footage from recording sessions, and 22 pages of program notes.

Some of this material had previously been released by Rykodisc in 1988 on an album titled Radio One. (by wikipedia)

Booklet-10AThese are the recordings that Jimi Hendrix made for BBC radio in the late ’60s. As such, they’re loose, informal, and off-the-top-of-his-head improvisational fun. These versions of the hits “Foxey Lady,” “Fire,” two versions of “Purple Haze,” and “Hey Joe” stay surprisingly close to the studio versions, but the tone of Hendrix’s guitar on these is positively blistering and worth the price of admission alone. There’s also a lot of blues on this two-disc collection, and Hendrix’s versions of “Hoochie Coochie Man” (with Alexis Korner on slide guitar), “Catfish Blues,” “Killing Floor,” and “Hear My Train A-Comin'” find him in excellent form. But perhaps the best example of how loosely conceived these sessions were are the oddball covers that Hendrix tackles, including Stevie Wonder’s “I Was Made to Love Her” (featuring Wonder on drums), Dylan’s “Can You Please Crawl out Your Window?,” The Beatles’ “Day Tripper,” and, in recognition of his immediate competition, Cream’s “Sunshine of Your Love.” No lo-fi bootleg tapes here (everything’s from the original masters and gone over by Eddie Kramer), the music and sound are class-A all the way, making a worthwhile addition to anyone’s Hendrix collection. (by Cub Koda)

Jimi Hendrix: vocals, guitar
Mitch Mitchell (drums)
Noel Redding (bass)
Alexis Korner (slide guitar on CD 1: 05.)
Stevie Wonder (drums on CD 2: 07. + 08.)


CD 1:
01. Foxy Lady (Hendrix) 2.59
02. Alexis Korner Introduction 0.27
03. Can You Please Crawl Out Your Window? (Dylan) 3.31
04. Rhythm and Blues World Service 0.12
05. (I’m Your) Hoochie Coochie Man (Dixon) 5.31
06. Traveling With the Experience 0.22
07. Driving South (Collins) 5.30
08. Fire (Hendrix) 2.43
09. Little Miss Lover (Hendrix) 2.57
10. Introducing the Experience 0.51
11. Burning Of The Midnight Lamp (Hendrix) 3.43
12. Catfish Blues (Petway) 5.28
13. Stone Free (Hendrix) 3.25
14. Love Or Confusion (Hendrix) 2.54
15. Hey Joe (Roberts) 4.01
16. Hound Dog (Leiber/Stoller) 2.42
17. Driving South (Collins) 4.49
18. Hear My Train A Comin’ (Hendrix) 5.00

CD 2:
01. Purple Haze (Hendrix) 3.17
02. Killing Floor (Burnett) 2.29
03. Radio One (Hendrix) 1.34
04. Wait Until Tomorrow (Hendrix) 2.57
05. Day Tripper (Lennon/McCartney) 3.24
06. Spanish Castle Magic (Hendrix) 3.07
07. Jammin´ (Hendrix) 3.20
08. I Was Made To Love Her (Wonder/Hardaway/Cosby/Moy) 3.04
09. Foxy Lady (Hendrix) 2.43
10. A Brand New Sound 0.54
11. Hey Joe (alternate take) (Roberts) 2.57
12. Manic Depression (Hendrix) 3.10
13. Driving South (alternate take) (Knight) 3.21
14. Hear My Train A Comin’ (alternate take) (Hendrix) 5.02
15. A Happening for Lulu 0.19
16. Voodoo Child (Slight Return) (Hendrix) 4.08
17. Lulu Introduction 0.22
18. Hey Joe (Roberts) 2.43
19. Sunshine Of Your Love (Bruce/Brown/Clapton) 1.17

CD2A* (CD 1)
** (CD 1)

* (CD 2 + artwork)
** (CD 2 + artwork)

JimiHendrixIn other words: He was one of the greatest !