Enya – Same (The Celts) (1987)

OriginalFC1Enya is the first studio album by the Irish singer, songwriter and musician Enya, released in March 1987 by BBC Records in the United Kingdom and by Atlantic Records in the United States. It was renamed as The Celts for the 1992 international re-release of the album by Warner Music internationally and by Reprise Records in the United States. The album is a selection of music she recorded for the soundtrack to the BBC television series The Celts, aired in 1987. Four years into her largely unnoticed solo career, Enya landed her first major project in 1985 when producer Tony McAuley asked her to contribute a song to the soundtrack. After its director David Richardson liked her demo, Enya accepted his offer to compose the entire score with her longtime recording partners, producer and arranger Nicky Ryan and his wife, lyricist Roma Ryan.

Enya is the first studio album by the Irish singer, songwriter and musician Enya, released in March 1987 by BBC Records in the United Kingdom and by Atlantic Records in the United States. It was renamed as The Celts for the 1992 international re-release of the MCalbum by Warner Music internationally and by Reprise Records in the United States. The album is a selection of music she recorded for the soundtrack to the BBC television series The Celts, aired in 1987. Four years into her largely unnoticed solo career, Enya landed her first major project in 1985 when producer Tony McAuley asked her to contribute a song to the soundtrack. After its director David Richardson liked her demo, Enya accepted his offer to compose the entire score with her longtime recording partners, producer and arranger Nicky Ryan and his wife, lyricist Roma Ryan.
Enya received mostly mixed reviews from critics when it was released in 1987. It was a mild commercial success, peaking at number eight in Ireland and number sixty-nine on the UK Albums Chart. The album continued to sell; it was certified platinum by the Recording Industry Association of America (RIAA) for shipments of one million copies. Despite its commercial performance, the album helped Enya secure a recording contract with Warner after chairman Rob Dickins became a fan of its music. After the commercial success of Enya’s next two albums, the album was reissued as The Celts which outperformed its original sales. It reached a new peak of number ten on the UK Albums Chart and sold a further one million copies in the United States. In 2009, The Celts was reissued in Japan with a bonus track.

Following her work on the soundtrack to the romantic comedy film The Frog Prince (1984), Enya’s first major project as a solo artist followed when, in 1985, she was invited by producer Tony McAuley to compose a track for his BBC television documentary series The Celts. As a coincidence, Enya had recorded a track named “March of the Celts” before she was asked to be involved, and decided to submit it to the project. Initially, each episode of the series was to feature a different composer, but series director David Richardson liked Enya’s track so much, he commissioned her to compose the entire score.

Enya worked with her usual recording partners, arranger and producer Nicky Ryan and his wife, lyricist Roma Ryan. The album was recorded in two locations; at Aigle Studios, a 16-track studio installed in the Ryan’s home, then located in Artane, a northern suburb of Dublin,[4] and a sound studio at BBC Enterprises at Wood Lane, London. When they recorded at the BBC studio, Nicky had to teach the audio engineers how he and Enya worked as their unusual recording process confused them at first. Nicky said he told them “to forget everything [they had] learned and just bear with us for at least a week”.[4] One such example was Nicky’s use of reverb, which he set to 24 seconds instead of the more common placement of one-and-a-half seconds.
A total of 72 minutes of music was recorded for the series. Roma recalled that Enya was given “various pastiches” that Richardson wished to incorporate into the episodes which Enya then used as a guide for to write music to complement them. Enya includes 39 minutes of selected pieces from the soundtrack. The album’s front cover depicts Enya posing with stuffed wolves.


Several of the album’s track titles are titled or based on various historical figures and stories. In writing about the song in 2002, Roma pointed out that “Aldebaran” is named after the brightest star in the constellation of Taurus. In the Arabic language, the title translates to “the follower” as it follows the Pleiades cluster of stars, and the song is based on future Celtic people “passing Aldebaran on their journey to new territories, continuing their migratory pattern which was so predominant in their early history.” The track was recorded in its entirety at Aigle Studio as Nicky expressed the difficulty in having to recreate the recording process elsewhere. “The Celts” was used as the main title theme for the television series. “Boadicea”, which means “victorious”, is a reference to the queen Boudica of the British-Celtic Iceni tribe in East Anglia who led a resistance Roma Ryanagainst the occupying forces of the Roman Empire in 60 A.D., but was defeated and subsequently poisoned herself. As a song about her was already written, Richardson wished for a new track that depicted the idea of “being spellbound” by Boudica, which turned into “I Want Tomorrow”. In the liner notes of the album’s 1992 reissue, “I Want Tomorrow” is described, simply, as “thoughts of the present” and “March of the Celts” “echoes from the past”. “Deireadh an Tuath”, which translates from Irish as “End of the Tribe”, refers to past spirits and the fertile soil that helps ensure the future of the Celtic people, which is celebrated in the annual Gaelic festival Samhain, held on 31 October. “The Sun in the Stream” was inspired by the legend of the Salmon of Knowledge, a creature written about in various texts in Irish mythology who “possessed all the truth in the world”.
“Fairytale” is a track based on a story of early Irish literature about “love, jealousy, secrets and endurance” between Midir, a fairy king, and his love for a princess, Étaín. In the story, Etain is banished and transformed into a pool of water and emerges from it as a butterfly.[7] “Epona” is the name of the horse goddess Epona of the Gallo-Roman religion.[7] “Triad” is a track formed of three sections; “St. Patrick” is a traditional song that refers to St. Patrick who spent six years in captivity after he was captured by the Celtic people. The second part, “Cú Chulainn”, Irish for “hound of Cullan”, is named after the culture hero Cú Chulainn. “Oisin”, the final section, meaning “little fawn”, is based on the mythological character Oisín. “Bard Dance” refers to the bard, a man of ancient Celtic times who entertained the king. “Dan y Dŵr”, which translates to “Under the Water” in the Welsh language, is based on the intentional flooding of the village of Capel Celyn in Wales in order to accommodate a reservoir. (by wikipedia)


With production and lyrical help fully in place thanks to her husband-and-wife gurus Nicky and Roma Ryan, Enya’s combination of Celtic traditionalism and distinctly modern approach finds lush flower on her self-titled debut. All the elements that characterize her music — open, clear nods to her Irish heritage, any number of vocal overdubs to create an echoing, haunting feeling, and layers of synth and electronic percussion — can be found almost track for track. The flip side is that those who find such a combination to be gloopy mush won’t be at all convinced further by her work here. It’s understandable why folk music traditionalists and anti-mainstream types would get the hives, but those not coming from that angle will find much that’s rewarding. Given that the album is a commissioned piece of work, it actually stands on its own quite well. The charging surge of the title track functions both as a fine introduction and its own stirring, quietly powerful anthem, a good sign for the rest of the album. There are a couple of slight missteps — an electric guitar solo disrupts the string-and-vocal flow of the truly lovely “I Want Tomorrow,” for instance. Generally, though, her musical instincts serve her very well, with many striking highlights. The appropriately three-part “Triad” showcases her ear for vocal work excellently, while both versions of “To Go Beyond,” especially the second, which closes the disc with an exquisite extra string part, also are worthy of note. (by Ned Raggett)

What a great debut album !


Enya (vocals, keyboards)
Patrick Halling (violin)
Arty McGlynn (guitar)
Liam O’Flynn (uilleann pipes)
Roma Ryan (vocals)
Per Sundberg (saxophone)


01. The Celts (Enya/Ryan) 2.56
02. Aldebaran” (dedicated to Ridley Scott) (Enya/Ryan) 3.05
03. I Want Tomorrow (Enya/Ryan) 4.00
04. March Of The Celts (Enya/Ryan)  3.15
05. Deireadh an Tuath” (Irish for “End of the Tribe”) (Enya/Ryan)  1.42
06. The Sun In The Stream (Enya) 2.54
07. To Go Beyond (I) (Enya) 1.19
08. Fairytale (Enya) 3.02
09. Epona (Enya) 1.35
10. St. Patrick/Cú Chulainn/Oisin (Enya) 4.23
11. Portrait (Out Of The Blue)  1.23
12. Boadicea (Enya) 3.30
13. Bard Dance (Enya) 1.23
14. Dan y Dŵr” (Welsh for “Under the Water”) (Enya/Ryan) 1.41
15. To Go Beyond (II) (Enya/Ryan) 2.58




John Fahey – Zabriskie Point Sessions (1969)

FrontCover1The Story, basically… In 1969, John Fahey was asked (and paid) to compose music for director Michelangelo Antonioni’s film, Zabriskie Point. Fahey flew to Rome, tinkered around, recorded some solo guitar, and had some additional recording sessions with various musicians. Fahey got into a fight with Antonioni during a dinner, and his recordings were scrapped in favor of other artists – although an edited version of an old Fahey song was included in the film. History aside, here we have John Fahey playing some nice solo guitar for 50 minutes. It’s good stuff, enjoy. (by badpainter)

Zabriekie Notes, from John Fahey:
(from John Fahey’s book “How Bluegrass Music Destroyed My Life”)

“If I had to do it all over again, I honestly don’t know whether I would do it or not. I did make a lot of money. But it wasn’t any fun. I’ll tell you that.”

MoviePoster“I played and improvised and worked out on the guitar for many, many hours. I had the guitar fixed so the low A string was where the B string should be and vice versa, and I put it at a random tuning. It was harmonicallly in tune but was scordatura, that is, detuned. That way I would get a unique sound. And furthermore nobody would ever be able to figure out how I did it. And I played and played and played until I came up with a reasonable facsimile of some desert young-death-love music”

“I had a closed session of just me and an engineer. And with my detuned guitar, I made three takes of Antonioni gangbang, young-love obscenity music out on the desert…”

“When I first recorded with just my guitar, the third take was just what I think the Big Ant (Antionioni) wants. I have listened to it again and again and it’s really good… I had a copy of the third take made, see, and I’ve heard it time and time again and it’s great.”

The Antonioni Fiasco, by Byron Coley (Spin magazine, 1994):

“To assemble the soundtrack, Michaelangelo Antonioni (the director) reportedly asked various American hippies what music they liked.

‘Zabrieski Point’ features one particularly long sequence with couples making love in the desert, and this is the one Antonioni wanted Fahey to score.”


Fahey, 1994: “Antonioni says ‘What I want you to do is to compose some music that will go along with the porno scene.’ I kept saying, ‘Yes, sir.’ Then he starts this, ‘Now John, this is young love. Young love.’ I mean, that’s young love? All these bodies? ‘Young love. But John, it’s in the desert, where there’s death. But it’s young love.’

He kept going ‘young love/death’ faster and faster. I was sure I was talking to a madman.

So I experimented. I had instrumentalists come in and I told them just to play whatever they felt like. They had to pretend to understand what I was talking about, especially if Antonioni came in the room.

I came up with some sections of music that sounded more like death than young love. I played it for Michaelangelo and he thought it was great.”

John Fahey

Alas, it seems that after the music was all agreed, there was a celebratory dinner, and as the wine flowed the discussion turned heated. Antonioni began explaining to Fahey how he hated the USA. Fahey made him govern his Marxist malevolence.

Antonioni took offence and couldn’t understand why Fahey wasn’t part of the revolution which was engulfing the nation at the time. They had reached the point of no return.

Fahey left, and Antonioni, strangely, ditched the composed music and just used the first 3 minutes of “Dance of Death” instead.

What happened to the stuff with the instrumentalists playing whatever they felt like, and who were they anyway? What we have left to us is just Fahey alone, as usual, but sounding very subdued.


Elsewhere, Fahey has said: “This stupid film is in the book ‘The 100 Worst Ever Films Made’. It deserves inclusion.”

Thanks to badpainter for sharing the tracks at Dime.

Michaelangelo Antonioni


John Fahey (guitar)


01. Track 1 10.49
02. Track 2 18.39
03. Track 3 17.18


Music composed by John Fahey




Jim Reeves – Gentleman Jim (1963)

FrontCover1James Travis Reeves (August 20, 1923 – July 31, 1964) was an American country and popular music singer-songwriter. With records charting from the 1950s to the 1980s, he became well known as a practitioner of the Nashville sound (a mixture of older country-style music with elements of popular music). Known as “Gentleman Jim”, his songs continued to chart for years after his death. Reeves died in the crash of his private airplane. He is a member of both the Country Music and Texas Country Music Halls of Fame. /by wikipedia)

Sweet memories:
My dad had this LP record back in the early 60’s and I recall watching my parents dance to his music. As I got older I fell in love with his music and at one time I owned over 100 of his LP’s… I only have a handful left as I had to let my collection go. But this album was my all time favorite as it has my all time favorite love song… “I’d Fight the World.”  (by Ron G.)


Willy Ackerman (drums)neer
Floyd Cramer (piano)
Marvin Hughes (vibraphone)
Leo Jackson (lead guitar)
Jim Reeves )vocals)
Velma Smith (guitar)

background vocals:
The Anita Kerr Singers


01. Memories Are Made Of This (Miller/Dehr/Gilkyson) 2.14
02. Roses Are Red (My Love) (Byron/Evans) 2.47
03. After Loving You (Miller) 1.55
04.  Stand In (Robertson/Blair) 2.09
05.  Waltzing On Top Of The World (Courtney) 2.21
06. When You Are Gone (Manuel/Reeves) 2.52
07.  Just Out Of Reach (Stewart) 2.46
08.  I Love You Because (Payne) 2.42
09. I’d Fight The World (Cochran/Allison) 2,48
10. The One That Got Away (Killen/Reeves) 2.29
11. Once Upon A Time (Killen/Reeves) 2.11
12. I Never Pass There Anymore (Howard) 2.19



US BackCoverg

US Backcover

Didier Lockwood – Live In Montreux (1990)

FrontCover1Noted French jazz violinist Didier Lockwood, a disciple of the late Stephane Grappelli, has died of a heart attack in Paris, his agent said.

Lockwood, who turned 62 on February 11, died early on Sunday morning. The night before his death, he had performed at Paris jazz venue Bal Blomet.

“His wife, his three daughters, his family, his agent, his co-workers and his record label are sad to announce the sudden passing of Didier Lockwood,” his agent said in a statement.

Lockwood was playing at a jazz festival when he met Grappelli, another French jazz great who founded a string quintet called the Hot Club of France in 1934 with gypsy guitar legend Django Reinhardt.

The violinist invited the then 20-year-old Lockwood to join him on a European tour, kicking off an international career in which he gave around 4,500 concerts and released more than 35 records.

“That was the start of my career, the launchpad that got me into the world of popular jazz,” Lockwood told Radio France in 2008.

DidierLockwood03Lockwood was committed to music education, in 2001 setting up the Didier Lockwood Music Centre in a town south of Paris teaching improvisation according to a jazz violin method he developed.

French culture minister Francoise Nyssen described Lockwood as “deeply generous and outgoing” and said he would be missed by “his friends, music and all the children he wished to enlighten with his passion”.

“He wanted to make music without borders or prejudices,” she added.
(L) Didier Lockwood performs with colleagues

Born in 1956 in Calais to a French-Scottish family, Lockwood, whose father was a music teacher, gained an early taste for improvisation thanks to his elder brother Francis, a jazz pianist.

Aged 17, Lockwood joined a popular French prog rock band called Magma. He later threw himself into a multitude of musical projects and collaborations, experimenting with varied jazz styles, both electric and acoustic, from classical fusion to gypsy swing.

During his career, he wrote two operas, violin and piano concertos, lyrical works and music for films and cartoons.

“France has lost an exceptional musician, a man with rare qualities,” wrote violinist Renaud Capucon on Twitter.

Lockwood’s widow is the coloratura soprano Patricia Petibon, acclaimed for her interpretations of French Baroque music.

The couple had just recorded an album together, said Lockwood’s agent Christophe Deghelt, who called him “Mr. 100,000 volts” and said the musician had a “huge” number of projects under way when he died.

Lockwood was previously married to the singer Caroline Casadesus, with whom he had created a musical called “Jazz and the diva”.(by The Independent)


“After Stephane Grappelli and Jean-Luc Ponty, France now has a third great violin player, His name is Didier Lockwood.” (Liberation, Paris). Besides Grapelli and Ponty, Lockwood’s influences include Polish violinist Zbigniew Seifert, John Coltrane, and Frank Zappa. Born in 1956, Lockwood was classically trained, but moved on to rock-inspired jazz at an early age. He followed in Ponty’s fusion footsteps with the use of the electric violin, taking it one step further by experimenting in extending the sounds of the violin.

The 1980 Live in Montreux presents Didier Lockwood at his fusion best. He has multi-Grammy winner Jan Hammer (Mahavishnu Orchestra, music for Miami Vice) along for the ride, as well as the intense, soulful American saxophonist Bob Malach. On Fast Travel, the group performs up-tempo musical legerdemain as first Malach, then Hammer, and finally Lockwood pull out their bag of tricks.


Flyin’ Kitten radiates a bouncy melodic rock-inflected ambiance, while Ballade des Fees portrays a haunting, wispy fairytale. With its infectiously gamboling 2-beat feel, there’s a folkish quality to Zebulon Dance; Lockwood’s plucked violin and Hammer’s guitar-like synth explorations are highlights. Four Strings Bitch shows off the violin’s willful eccentricities in a virtuoso one-man performance that ventures from classic and bluesy acoustic play on through to electronic experimentation.” (unknown source)

Listen to “Four Strings Bitch”: A masteroiece for the elctric violin !

All in all: a sensational album !

Recorded in the Casino Montreux July 16, 1980 and Mountain Recording Studio Montreux.
Mixed in the MPS Studio Villingen July 28, 29, 30, 1980. 


Gerry Brown (drums)
Jan Hammer (synthesizer)
Didier Lockwood (violin)
Bob Malach (saxophone)
Marc Perru (guitar)
Bo Stief (bass)


01 Fast Travel (Lockwood) 7.15
02. Flyin’ Kitten (Lockwood) 7.43
03 Ballade des Fees (Lockwood) 5.01
04. Zebulon Dance (Lockwood) 3.58
05. ADGC (Lockwood) 5:46
06. Four Strings Bitch (Lockwood)3:45
07. Turtle Shuffle (Kajdan) 8.37




Didier Lockwood (11 February 1956 – 18 February 2018)

Rest In Peace !

Eddie Cochran – The Eddie Cochran Memorial Album (1960)

FrontCover1The Eddie Cochran Memorial Album is the second album by Eddie Cochran, released on Liberty Records in mono, LRP 3172, in May 1960. It had previously been issued as 12 of His Biggest Hits in April 1960 with the same catalogue number, but after Cochran’s death on April 17 it was retitled and reissued, and has remained so titled ever since. It is currently in print on the Magic Records label in France, on CD on EMI-Toshiba in Japan, and on BGO in the UK as a twofer with “Singin’ To My Baby.”The Eddie Cochran Memorial Album is the second album by Eddie Cochran, released on Liberty Records in mono, LRP 3172, in May 1960. It had previously been issued as 12 of His Biggest Hits in April 1960 with the same catalogue number, but after Cochran’s death on April 17 it was retitled and reissued, and has remained so titled ever since.

Eight tracks were released as singles, with “Three Steps to Heaven” appearing as a b-side. Three additional tracks “Have I Told You Lately That I Love You,” “Lovin’ Time,” and “Tell Me Why” had been released on his first album, Singin’ to My Baby in 1957. All five singles that appeared on the Billboard Hot 100 are included, with the teen anthem “Summertime Blues” being the only time Cochran made the top ten. No Cochran album has ever charted in the United States (by wikipedia)


This compilation was released by Liberty Records in 1960, shortly after Eddie Cochran’s death that spring, the first of several memorial albums (including one called Memorial Album) to come out on Cochran. And while it doesn’t really live up to its title — sad to say, Cochran never had a dozen hits, big or otherwise, to compile — it is a surprisingly good collection as an overview of Cochran’s career and sound (flaws and all), the hits included. At the time of its release, this album would have presented the very first chance that anyone would have had for an overview of Cochran’s career — the problem with the record, as with most early Cochran compilations, lies in the errors made by Liberty Daily MirrorRecords in handling Cochran’s career in the first place; the label apparently saw him developing in the same manner as Elvis Presley (which was understandable, as Elvis was the quintessential white rock & roll star of the era), and, like Presley, doing ballads as often as rockers, and found nothing incongruous in the fact that Cochran just didn’t have the voice to pull that off the way that Elvis did. It wasn’t that Cochran couldn’t do it — he could — but it was more of a stretch, and became an impossible one when he was saddled with second-rate material, as was often the case (where Elvis, until he started doing the movies full-time, never had that problem). But this album starts off on the right foot, with “C’mon Everybody” — one of Cochran’s best songs but never a huge hit in the U.S. — leading off the set, which proceeds with the deceptively complex rocker “Three Steps to Heaven.” We jump back to Cochran’s country roots with “Cut Across Shorty” and “Have I Told You Lately That I Love You,” the latter a ballad that Cochran handled surprisingly well — trying for a sound akin to what Elvis was doing on slow numbers — given his relative antipathy to the form. “Hallelujah, I Love Her So” puts us back in the heart of Cochran’s mature sound, showcasing his guitar amid its string accompaniment and some very strong singing as well. The first side closes with the obligatory “Sittin’ in the Balcony” — which, in fairness, was his first Liberty single, and does have a more than decent guitar break even if the song is a little wimpy. Side two storms out with “Summertime Blues,” as powerful a song as any white rock & roller charted in 1957.


But listeners who skip the sappy “Lovin’ Time” and jump to “Somethin’ Else” will be doing Cochran’s memory a world of good. “Tell Me Why” is another slowie, but it shows some power to Cochran’s singing, even if he doesn’t pull off what the record label wanted. “Teenage Heaven” was probably obligatory, as it was featured in the then relatively recent movie Go Johnny Go, and it avoids being totally lame by virtue of Cochran’s raspy vocalizing and a reasonably hot sax solo. And “Drive In Show” closes the set out in a manner that probably ought to be skipped, except out of curiosity over some of the more absurd numbers that Cochran was made to record in his tragically brief career. It’s not an ideal collection, by any means, but it is an honest snapshot of his music, warts and all.  (by Bruce Eder)


Jerry Allison (drums)
Perry Botkin, Jr. (guitar)
Sonny Curtis (guitar)
Mike Deasy (saxophone)
Eddie Cochran (guitar, ukulele, bass, piano, percussion, vocals)
Mike Henderson (saxophone)
Ray Johnson (piano)
Earl Palmer (drums)
Gene Riggio (drums)
Sharon Sheeley (percussion)
Dave Shriver (bass)
Connie “Guybo” Smith (bass)
Jim Stivers (piano)
The Johnny Mann Chorus (background vocals)

01. C’mon Everybody (Cochran/Capehart) 1.58
ß2. Three Steps to Heaven (Cochran) 2.25
03. Cut Across Shorty (Wilkin/Walker) 1.53
04. Have I Told You Lately That I Love You? (Wiseman) 2.38
05. Hallelujah I Love Her So (Charles) 2.21
06. Sittin’ In The Balcony (Loudermilk) 2.02
07. Summertime Blues (Cochran/Capehart) 1.59
08. Lovin’ Time (Woolsey) 2.09
09. Somethin’ Else (B.Cochran/Sheeley 2.10
10. Tell Me Why (Cochran) 2.20
11. Teenage Heaven (Cochran/Capehart) 2.07
12. Drive In Show (Dexter) 2.05





Edward Raymond Cochran (October 3, 1938 – April 17, 1960)

Zakk Wylde – Book Of Shadows (1996)

FrontCover1Zakk Wylde (born Jeffrey Phillip Wielandt on January 14, 1967) is an American musician, singer, songwriter, multi-instrumentalist and occasional actor who is best known as the guitarist for Ozzy Osbourne, and founder of the heavy metal band Black Label Society. His signature bulls-eye design appears on many of his guitars and is widely recognized. He was the lead guitarist and vocalist in Pride & Glory, who released one self-titled album in 1994 before disbanding. As a solo artist he released Book of Shadows and Book of Shadows II.

Book of Shadows is the first solo studio album by the heavy metal guitarist Zakk Wylde. The album was first released in 1996, and was reissued by Spitfire in 1999 with the bonus disc containing “Evil Ways” (the Japanese bonus track from the album’s original release), “The Color Green”, and “Peddlers of Death” (an acoustic version of a track that features on Black Label Society’s Sonic Brew).

Unlike his work with Ozzy Osbourne and Black Label Society, here Zakk Wylde shows a different side to his music; an introspective and mostly acoustic style recalling many of the lighter moments from his previous project, Pride & Glory as well as classic folk rock artists such as Neil Young.

SinglePromotional singles were released for “Between Heaven and Hell” and “Way Beyond Empty”, the latter of which also had an accompanying music video.

“Throwin’ It All Away” was written about the death of Shannon Hoon from the band Blind Melon. Shannon and Zakk had lived together and became close friends a few months before he died of a drug overdose. (by wikipedia)

After spending several years with Ozzy Osbourne and recording one album with the heavy Southern rock trio Pride & Glory, guitarist Zakk Wylde released his debut solo album, Book of Shadows, in June of 1996. Naturally, the album is a guitar showcase, with each song boasting a dazzling guitar solo or two. That much was expected. What is a surprise is the musical diversity apparent throughout the album. Wylde does kick out some heavy riff-driven rockers, but he also detours into blues, country, and folk on occasion. That diversity ensures that Book of Shadows is more listenable for the average listener than most guitarist-led albums. However, Wylde’s songwriting skills remain weak; although the playing is memorable, the melodies rarely are. Nevertheless, there’s enough prime instrumental work here to make it a very worthwhile listen for guitar aficionados and a few of the tracks should satiate fans of straight-ahead heavy boogie rock.(by Stephen Thomas Erlewine)

This isn´t a hevy rock album, it´s an album full with ballads with very pensive thoughts.


James LoMenzo (bass)
Joe Vitale (drums, keyboards, piano on “I Thank You Child”)
Zakk Wylde (vocals, guitar, keyboards, harmonica, bass on 10.)
John Sambataro (background vocals on 05.)

Zakk Wylde

01. Between Heaven And Hell 3.26
02. Sold My Soul (feat. Guiggs) 4.52
03. Road Back Home 5.48
04. Way Beyond Empty 5.25
05. Throwin’ It All Away 5.47
06. What You’re Look’n For 5.31
07. Dead As Yesterday 2.51
08. Too Numb To Cry 2.23
09. The Things You Do 4.11
10. 1,000,000 Miles Away 6.29
11. I Thank You Child 4.41

All songs written by Zakk Wylde


Two different labels


Available again: Vintage Rock The Beatles – The Early Years + Kenny Burrell – Jim Hall – Attila Zoller – Guitar Genius In Japan (1971)

Click here:

Steve Harnell (Editor) – Vintage Rock The Beatles – The Early Years

Kenny Burrell – Jim Hall – Attila Zoller – Guitar Genius In Japan (1971)


Let me know, if links are dead and I will make them available again …
Please write to: