I´ll be back in 2 weeks …

… because I will travel to Kos island/Greece:

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Located very close to the coasts of Turkey, Kos island is the second most popular island of Dodecanese, after Rhodes. Due to its large size, Kos Greece keeps a balance in tourism development. Some spots are very organized, while others are almost secluded and away from mass tourism. Kos Town is a mixture of Venetian and Ottoman architecture with interesting sightseeings, such as a Medieval Castle, an Ancient Agora, a Roman Odeon and of course the famous Asklepieion, an ancient healing centre, in short distance from the Town and great place to visit in your Kos holidays. The most tourist places are located on the southern side of the island, including Kardamena and Kefalos. This is where visitors can find large golden beaches with crystal water. (by greeka.com)

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I whis all readers of this blog a very good time and I will of course continue with this blog after my holidays in Kos.

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Bobby Charles – Clean Water (1987)

FrontCover1Bobby Charles was born Robert Charles Guidry on 21st February 1938 in Abbeville, Louisiana. A native Cajun
himself, he recalled that his life “changed for ever” when he re-tuned his parents’ radio set from a local Cajun station to one playing records by Fats Domino. Most successful as a songwriter, he is regarded as one of the founding fathers of swamp pop. His own vocal style was laidback and drawling. His biggest successes were songs other artists covered, such as ‘See You Later Alligator’ by Bill Haley & His Comets; ‘Walking To New Orleans’ by Fats Domino – with whom he recorded a duet of the same song in the 1990s – and
‘(I Don’t Know Why) But I Do’ by Clarence “Frogman” Henry. It  allowed him to live off the songwriting royalties for the rest of his life! Two other well-known compositions are ‘The Jealous Kind’, recorded by Joe Cocker, and ‘Tennessee Blues’ which Kris Kristofferson committed to record.

Disenchanted with the music business, Bobby disappeared from the music scene in the mid-1960s but returned  in 1972 with a self-titled album on the Bearsville  label on which he was accompanied by Rick Danko and several other members of the Band and Dr John. Bobby later made a rare live appearance as a guest singer on stage at The Last Waltz, the 1976 farewell concert of the Band, although his contribution was cut from Martin Scorsese’s film of the event.

Bobby Charles returned to the studio in later years, recording a European-only album called Clean Water in 1987.

In September 2007, he was inducted into The Louisiana Music Hall of Fame.
Bobby Charles lived for some years in quiet seclusion at Holly Beach on the Gulf of Mexico and became  a local environmental activist. After his house was destroy ed by Hurricane Rita in 2005, he returned to Abbeville. He collapsed in his home near Abbeville and died on 14th January 2010. (Robin Dunn & Chrissie van Varik)

Bobby Charles

Around 1986, Bobby recorded enough songs for an album with the aforementioned Nelson and Young and members of their bands. One band member, Ben Keith

“…asked me if I had any new songs. I said that I did and I sang him a couple of ’em and he said, ‘Man, let’s go in the studio and do ’em right now’. So we went in, we got some time and we started doin’ some songs and before we knew it we were on our way to finishing another complete album and I just felt really good about this. This is the record that I’ve always dreamed of making. This is the first time I get to make MY record the way that I wanted to make it, from cover to cover.”

The album in question was released in 1987. Produced by Bobby’s own Rice ‘n’ Gravy company (so-called after Bobby’s favourite Cajun dish), it was entitled ‘Clean Water’ and was issued in Germany by Zensor. It included a version of ‘But I Do’, performed in a very different manner to Clarence ‘Frogman’ Henry, plus nine more Charles compositions, many of which were well worth a place in any record collection. The title track reflected Bobby’s interest in ecology: “I’m trying to clean all the waters of the world. It’s a big project but I think we can do it”. Three years later when he autographed the sleeve of my copy of the album he wrote “Smile – Better Days are coming”. These sentiments are particularly ironic in view of the recent BP oil leakage into the Gulf of Mexico and the disastrous consequences. It is difficult to understand why airplay was so difficult to come by in Louisiana at the time when four singles were released, even though the album was not originally issued in the States.

“They play Cajun in Berlin, Germany before they play it in Lafayette, Louisiana which is the Cajun capital of the world and that’s embarrassing to me, it really is.”

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Personnel:
Joe Allen (bass)
Bobby Charles (vocals)
Charles Cockran (piano)
Bessyl Duhon (accordion)
Mike Elliot (guitar, synth drums programing)
Karl Himmel (synth drums programing)
Jim Horn (horns)
Wayne Jackson (horns)
Ben Keith (bass, steel guitar, background vocals)
Doanner Kupper (background vocals)
Wade Benson Landry (fiddle)
Kenny Malone (percussion)
Larry Marshall (piano)
Terry McMillan (percussion, harp)
Joey Miskulin (accordion)
Tracy Nelson (background vocals)
Hrgus Robbins (piano)
Jackie Street (bass)
Bob Wilson (piano)

BackCover

Tracklist:
01. Lil’ Cajun 3.04
02. Secrets 3.27
03. Love In The Worse Degree 3.22
04. Cowboys And Indians 2.59
05. But I Do 4.26
06. Clean Water 3.10
07. Lil’ Sister 3.07
08. Party Town 3.56
09. Le Champs Elysee! 3.39

All songs written by Bobby Charles

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Robert Charles Guidry (February 21, 1938 – January 14, 2010)

 

Steve Marriott & Peter Frampton – Humble Pie Reunion Demos (1991)

FrontCover1Humble Pie was formed in late 1968 when Steve Marriott, guitarist and incomparable blues rock vocalist, left the Small Faces, and joined forces with guitarist/singer Peter Frampton, formerly of The Herd, ex-Spooky Tooth bassist Greg Ridley, and 17 year-old drummer Jerry Shirley. Few people today remember Steve Marriott, and that’s a pity. His voice was what Jimmy Page wanted Robert Plant to sound like, and Plant openly emulated Marriott. Humble Pie’s fade out from rock consciousness was due to multitude of factors. Their studio albums were relatively poor sellers, and relying so heavily on cover songs probably worked against them. The group disbanded in 1975, reunited briefly in 1979, then saw Marriott quit and move back to England in 1983. In 1991, he and Peter Frampton were collaborating on a possible HP reunion in California, when Steve rather abruptly flew home to England. Marriott was tragically killed in a fire at his home on April 19, 1991. (by elevenwarriors.com)

This was the last recordings of Steve Marriott and the tracklist is very interesting, because Frampton & Marriott recorded some old songs from the Seventies …  includig new versions of songs like “Why I Need the Blues” (originally recorded by “Cochise” … but I guess this is the original version – with Steve Marriott as a background singer – and not a Frampton/Marriott version from 1991, unfortunately I have not the time to check this out) or “And The Band Played On” (original recorded by the great “Back Street Crawler” feat. Paul Kossoff … (maybe another fake, it sounds like the original version).

So, this is a very mysterious, strange bootleg … but … songs like “The Bigger They Come” and “I Won’t Let You Down” are definitely songs from this early 1991 sessions … a few months before Steve Marriott died …

SteveMarriott

Steve Marriott

Personnel:
Peter Frampton (guitar, vocals)
Steve Marriott (guitar, vocals, harmonica)
+
unknown studio musicians

Peter Frampton

Peter Frampton

Tracklist:
01. Scratch My Back (Big Black Dog) (Frampton/Shirley/Ridley/Marriott) 4.10
02. Why I Need the Blues (That´s Why I Sing The Blues) ( 4.14 (7.1MB)
03. Rolling Stone Part 2 (Morganfield) 4.02
04. And The Band Played On (Wilson) 4.38
05. The Bigger They Come I (Frampton/Marriott/Regan) 4:21
06. Groove By You I (unknown) 0.21
07. The Bigger They Come II (Frampton/Marriott/Regan) 4.17
08. I Won’t Let You Down I (Frampton/Msrriott) 4:31
09. The Bigger They Come III  (Frampton/Marriott/Regan) 4.20
10. Groove By You II (unknown) 3.11
11. Cold Hearted Head (unknown) 2.28
12. I Won’t Let You Down II (Frampton/Marriott) 4.36

AVerySpecialPerformance

A very special performance

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Les Paul – Les Paul Now ! (1967)

FrontCover1Les Paul was coaxed briefly out of his musical retirement in 1967 to put together an album for London’s audiophile Phase Four label — and who better than this audio pioneer? But rather than use the opportunity to redefine himself as a progressive force in a different decade, Les meekly responded with a series of remakes of his earlier Capitol hits — this time without the help of now-ex-wife Mary Ford. The tracks he originally recorded with Mary are rearranged completely for multiple guitars; only the spectacular “Tennessee Waltz” gains in the translation. The solo tracks for Capitol are remade with all kinds of fascinating stereo effects, but, with the exception of “Caravan,” otherwise follow the original blueprints with a few embellishing touches. The only two bits of new material are credited to a writer named Manners: “The System,” which went nowhere as a single, is a rare example of Les playing rock & roll, and “Los Angeles” is just a rewrite of Les’ hit “Meet Mr. Callaghan.” While it was nice to find Les back in action at the time, this record sounds like warmed-over goods. This album was re-released under the title Multi-Trackin’. (by Richard S. Ginell)

This album, originally released in 1968 on London/Decca UK’s Phase 4 label devoted to high quality stereo recordings for the HiFi market at the time, is a classic in that it features Les being briefly coaxed out of retirement to record this album of stereo instrumental remakes of several of his classic hits including “How High The Moon,” “Lover,” “Sleep,” “Tennessee Waltz,” etc. recorded on his then new stereo 8-track multitrack tape recorder manufactured by Ampex under his standards and still playing great at the time on his Les Paul guitars made by Gibson Guitars. He also features 3 songs on this album that were not originally recorded for Capitol by Les, “The System,” “Los Angeles,” and “Golden Earrings.” Because he has become an icon and has been a major force in the development of high fidelity sound, Phase 4 decided that he should be the first artist being recorded for the label, and this album is the result. (by Bradley Olson)

Les Paul

Personnel:
Les Paul (guitar)
+
a bunch of unknown studio musicians

BackCover

Tracklist:
01. Lover (Hart/Rodgers) 2.33
02. Bye Bye Blues (Bennett/Gray/Hamm/Lown) 3.01
03. The System (Paul) 1.58
04. Whispering (Coburn/Rose/Schoenberger) 2.21
05. I Really Don’t Want To Know (Barnes/Robertson) 2.28
06. Tennessee Waltz (King/Stewart) 2.12
07. How High The Moon (Hamilton/Lewis) 2.08
08. Little Rock Getaway (Sigman/Sullivan) 1.30
09. Sleep (Lebieg) 2.47
10. Caravan (Ellington/Mills/Tizol) 2.08
11. Los Angeles (Paul) 1.55
12. Lady Of Spain (Damerell/Evans/Hargreaves/Tilsley) 2.00
13. Golden Earrings (Evans/Livingston/Young) 2.34

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Caterina Valente – Sweet Beat (1968)

FrontCover1Caterina Valente (born 14 January 1931, Paris, France) is an Italian singer, guitarist, dancer, and actress. She was born into an Italian artist family. Her father, Giuseppe, was a well-known accordion player; her mother, Maria, a musical clown. She had three siblings, one of whom, Silvio (as Silvio Francesco), was also active in show business.

In 1953, she made her first recordings with Kurt Edelhagen. Soon afterwards she achieved success with songs such as “Malagueña”, “The Breeze and I” (a global million-seller), and “Dreh dich nicht um” with the Werner Müller orchestra. In 1955, she was featured on The Colgate Comedy Hour with Gordon MacRae. In the mid 1960s, Valente worked with Claus Ogerman and recorded material in both Italian and English that he arranged/conducted and/or composed on the Decca  and London  labels. She was a favorite of singer Perry Como making eight guest appearances on his NBC Kraft Music Hall television program from 1961 to 1966. Between 1966 and 1972 she was also a frequent guest on the Dean Martin Show.

In Germany she was a major performer of Schlager music. There she recorded Cole Porter’s I Love Paris under the German title Ganz Paris träumt von der Liebe, which sold more than 900,000 copies in 1954. Over the years, she has recorded or performed with many international stars, including Louis Armstrong, Chet Baker, Perry Como, Ella Valente01Fitzgerald, Benny Goodman, Woody Herman, Claus Ogerman, the Tommy Dorsey Orchestra, Sy Oliver, Buddy Rich and Edmundo Ros. In 1959, she was nominated for a Grammy Award. Valente was a principal, along with Carol Burnett and Bob Newhart, on the short-lived CBS variety series The Entertainers (1964–65). A briglia sciolta, the Italian jazz CD recorded in 1989 and re-released in later years under the titles Fantastica and Platinum deluxe, was her best-selling CD worldwide. In 2001, she released a new album, Girltalk, with harpist Catherine Michel.

In 1958, she filmed the musical comedy Hier bin ich – hier bleib ich (Here I Am, Here I Stay) which featured a guest appearance by Bill Haley & His Comets. During Haley’s segment, Valente sings a duet with Haley on a newly recorded version of his song “Vive la Rock and Roll”.

In 1952, she married the juggler Erik van Aro (Gerd Eric Horst Scholz). He recognized her talent and accompanied her in her initial years of worldwide success, although they later divorced. Their son is the singer Eric van Aro.

In 1972, she married the British pianist Roy Budd. They had a son, Alexander, before they divorced in 1979. (by wikipedia)

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When Caterina Valente was elaborating the concept for her new international album in 1968, the radio speakers were still blasting out Scott McKenzie’s 1967 hymn of praise for the flower generation of San Francisco: “Be sure to wear some flowers in your hair”. The new “swinging London” became the place of birth of new recordings by artists such as The Beatles, The Kinks and Petula Clark. And so, Caterina Valente and Eric van Aro, who was her husband and manager at that time, decided to do a tribute to sixties pop. They called the LP “Sweet Beat”, centred around four successful songs by British artists plus four more hits that were actually performed by American artists in their original version. (by shop.tapeterecords.com)

Heinz Kiessling (March 11, 1926 – December 27, 2003) was a German musician, conductor, composer and music producer, known mainly from his work for popular films and television programs.

Heinz Kiessling studied piano, composition and conducting after World War II at the Nuremberg Conservatory in 1949, and started his career in 1949 as a pianist and played in different concerts around the world. Soon after, he started working on recording music for television. In 1950, he began composing music in the jazz, dance and light music genres.[1] At times, he also led his own orchestra, and also worked many years for the RIAS Big Band in Berlin. Together with the pianist Werner Tautz he established in 1964 the label “Brilliant” through which he managed numerous national and international big bands.

Kiessling worked with many national and international stars, including Chet Baker, Luis Bonfa, Wenche Myhre, and Caterina Valente. For over two decades, he accompanied the shows of Peter Alexander. In addition, Kiessling composed the songs and scene music for numerous films and television productions, including Klimbim (de), Zwei himmlische HeinzKieslingTöchter, Dingsda, Das Traumschiff and Aktenzeichen XY… ungelöst. In total he produced over 1200 tunes and also published some of his own recordings which made him become one of the most successful German “Easy listening” composers of the post-war period.

In 1969, Kiessling wrote “In The Shadow of the Moon” for Reprise, which later on became the theme song for Frank Sinatra’s daughter Tina Sinatra TV mini-series Romeo und Julia 70.

His piece “Temptation Sensation (Haute Couture)” is used as the theme song for the FX and FXX TV show It’s Always Sunny in Philadelphia. Other pieces such as “A La Bonheur” and “On Your Bike (Tandem-Holiday)” contribute to the musical score of the show. (by wikipedia)

This is an album with classic beat and pop songs (including the Kinks song “Waterloo Sunset”)… performed in an unusual easy-listening sound !

CDFront+BackCover

CD front + back cover

Personnel:
Caterina Valente (vocals)
+
Heinz Kiesling Orchestra

BackCover1

Tracklist:
01. We Can Work It Out (Lennon/McCartney) 2.18
02. You’ve Got Troubles (Greenawy/Cook) 2.13
03. Music To Watch Girls By (Ramin) 2.15
04. Ol’ Man River (Kern/Hammerstein) 2.03
05. San Francisco (Philips) 2.38
06. Blueberry Hill (Lewis/Stock/Rose) 3.32
07. Don’t Sleep In The Subway (Trent/Hatch) 3.47
08. C’Est Si Bon (Hornez/Betti/Seelen) 2.38
09. Waterloo Sunset (Davies) 2.54
10. Trouble Feeling (Stellman/Stirling) 2.17
11. I Dig Rock And Roll Music (Mason/Stookey) 2.42
12. Happy Together (Gordon/Bonner) 2.10

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Titanic – Sea Wolf (1971)

FrontCover1Titanic is a rock band from Norway, which also included a British member in its line-up. It was first active from 1969 to 1979, and also reformed twice.

The group was made up of Kenny Aas, Kjell Asperud, John Lorck, Janne Løseth, Roy Robinson (lead singer) and around the time of their chart success John Williamson. They formed in 1969 (Norway), and released several successful albums and singles before disbanding in 1979.

The main composer was the group founder Janne Loseth, with Roy Robinson supplying the primarily English language based lyrics. In October 1971 Titanic reached Number 5 in the UK Singles Chart, with their instrumental track, “Sultana”. It was performed in the style of the then popular band, Santana. The tune also appeared on their Titanic’s album Sea Wolf.

The band remained most popular in France where they relocated. In 1974 they released ‘Macumba’ CBS 2000 written by R.Robinson & J.Williamson with Helge Groslie on keyboards reaching number one in Spain and ‘Slideing Down Again’CBS 2586,J.Williamson & J. Loseth ‘Buckshee Woman’1975 CBS 3259 J.Williamson, A. Poulton

In the late 1970s, Janne Loseth went solo and first released several singles, including “Take Me Down” (bw. “Nobody’s Man”), and “I Wished I Was a Poet” (bw. “Dancing Girl”), which featured his powerful and operatic vocal, and then became the lead singer for the French electronic band Space, best known for its 1977 album and single Magic Fly.

Titanic01

In the late 1990s, after leaving Space, Janne Loseth re-recruited Roy Robinson, and the duo released one album, Lower the Atlantic. This Titanic reunion was short lived.

In 2006, Janne Loseth reformed Titanic with three additional members: Mick Walker, Phil Wilton, and Didier Blum. He later opted to take Roy Robinson back on board and this quintet released the new single that same year, called “I’m the Law”, which is available on DVD.

Their latest reunion album Ashes and Diamonds was released on 20 February 2009 in Europe.

In late 2009, Roy Robinson sustained a stroke, which caused him to leave the band, pending his possible recovery. Janne Loseth assumed the lead vocals. Robinson and Walker were replaced by two new members: Chris Kleiner and Jean-Pierre Sjoberg.They played live gigs until 2013. During their latter days the band was located in Switzerland. In September 2014 it was announced that the band no longer exists. Original singer Roy Robinson died on June 8, 2015.

Compilation albums of the CBS period are plenty but the double album ‘Greatest Hits’ on French CBS (pink cover with yellow band logo) collects most of their non-album tracks along with a selection of their albums. (by wikipedia)

And this is their secong LP:

The sea wolves were the Vikings who once sailed the seas in search of plunder – and such legends certainly provided inspiration for the boys from Oslo.

‘Sea Wolf’ is the opening cut and is followed by a further nine self-written items which show that Titanic was one of the hottest groups of the early 1970s. This album also includes the smash hit ‘Sultana’ (UK No. 5). (by rockasteria.blogspot)

The members of Titanic then decided to switch their base of operations to the south of France, and perhaps it was the change of environment that helped broaden the band’s musical horizons, leading to the incremental classical, jazz, and Latin music influences found on the band’s 1971 sophomore album, Sea Wolf. In fact, its biggest single, “Sultana,” openly referenced Santana and would go on to chart at number five in the U.K. (by Eduardo Rivadavia)

And “Sultana” is a brilliant song in the style of Santana … this song is more than a “smash hit” … it´s a timeless classic song from that period.

Singles

Personnel:
Kenny Aas (organ)
Kjel Asperud (percussion, vocals)
John Lorck (drums)
Janny Loseth (guitar)
Roy Robinson (vocals)

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Tracklist:
01. Sea Wolf (Robinson/Aas/Loseth/Lorck/Asperud ) 5.57
02. Underbird (Robinson/Aas/Loseth) 4.33
03. Confusion (Robinson/Aas) 3.00
04. Sultana (Robinson/Aas/Loseth/Lorck/Asperud) 4.15
05. Hanging Over (Robinson/Aas/Loseth) 3.19
06. Covered In Dust (Robinson/Aas/Loseth) 3.16
07. A Stones Throw (Robinson/Aas/Loseth) 2.07
08. Scarlet (Robinson/Aas) 4.01
09. Exiled (Robinson/Aas) 4.52
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10. Sultana (Nicky Siano Mix) (Robinson/Aas/Loseth/Lorck/Asperud) 6.05

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Blood, Sweat and Tears – Same (1969)

FrontCover1The difference between Blood, Sweat & Tears and the group’s preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was “merely” a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album — consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas — was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit “You’ve Made Me So Very Happy.” But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles — “Happy,” “Spinning Wheel,” and “And When I Die” — but the whole album, including an arrangement of “God Bless the Child” and the radical rewrite of Traffic’s “Smiling Phases,” was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album. (by Bruce Eder)

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This album opens with an extended flute and chimes cover of Erik Satie. The second track is a Traffic cover rife with jazz solos. Whatever foggy pre-conceptions I had of BST (mostly “Spinning Wheel,” still excellent), this does match. Horns punctuate all sorts of moments. “And When I Die” comes swinging in with an almost country vibe. Lots of organ on the B-side. You would think the sprawling and strong Blues would close the disc, but no, it’s a lovely return to Satie.

An eclectic, completely unexpected album. Not a masterpiece, but certainly delightful. Highly recommended.(by a fan called Justin)

BST01

Personnel:
David Clayton-Thomas (vocals)
Bobby Colomby (drums)
Jim Fielder (bass)
Dick Halligan (keyboards, flute, trombone)
Jerry Hyman (trombone)
Steve Katz (guitar, vocals)
Fred Lipsius (saxophone, piano)
Lew Soloff (trumpet, flugelhorn)
Chuck Winfield (trumpet, flugelhorn)

Booklet1

Tracklist:
01. Variations On A Theme By Erik Satie (1st and 2nd Movements) (Satie) 2.36
02. Smiling Phases (Capaldi/Winwood/Wood) 5.11
03. Sometimes In Winter (Katz) 3.09
04. More And More (Vee/Juan) 3.05
05. And When I Die (Nyro) 4.06
06. God Bless the Child (Holiday/Herzog, Jr.) 5.53
07. Spinning Wheel (Clayton-Thomas) 4.08
08. You’ve Made Me So Very Happy (B.Holloway/P.Holloway/Gordy, Jr./Wilson) 4.20
09. Blues, Pt. II (Clayton-Thomas/Colomby /Fielder/Halligan/Hyman/Katz/Lipsius/Soloff/Winfield) 11.45
10. Variations On A Theme By Erik Satie (1st Movement) (Satie) 1.43

 

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