Beatles Monthly – Nr. 1 August 1963

FrontCoverThe Beatles Book (also known as Beatles Monthly) was founded in 1963. It was first published in August 1963 and continued for 77 editions until it stopped publication after the December 1969 edition. It was revived in 1976, and ceased publication in 2003.

In early 1963 a publisher, Sean O’Mahony, (who already published a magazine about the music scene called Beat Instrumental) heard Please Please Me and asked Brian Epstein if he could publish a magazine devoted to The Beatles. Epstein and the group agreed and the title launched in August 1963 with a print run of 80,000. By the end of the year circulation had grown to 330,000 copies per month. O’Mahony edited the magazine under the name of Johnny Dean.

The magazine’s photographer, Leslie Bryce, had unrivalled access to the group throughout the 1960s, travelling the world and taking thousands of photographs. In addition, Beatles roadies Neil Aspinall and Mal Evans wrote many of the articles, and artist Bob Gibson created numerous cartoons and caricatures of the fab four on a regular basis. (He eventually did the cartoons for the Beatles’ 1967 Magical Mystery Tour EP-set/US-album booklet.)


In May 1976 O’Mahony revived the publication and republished all 77 original issues surrounded by eight (later sixteen) pages of new Beatles news and articles. The reissue programme was completed in September 1982, coincidentally at a time when interest in the band was high due to the impending twentieth anniversary of “Love Me Do”. Consequently, the decision was taken to continue the magazine with all new content. Publication continued until January 2003 (Issue 321) when it once again ceased.(by wikipedia)

Enjoy this sentimental trip in the early days of the fab four …
















Little Charlie & The Nightcats – Night Vision (1993)

FrontCover1Little Charlie & the Nightcats (now billed as Rick Estrin & the Nightcats) is an American four-piece electric blues and swing revival combo, currently consisting of guitarist Kid Andersen, harmonicist and lead vocalist Rick Estrin, bassist Lorenzo Farrell and drummer J. Hansen.

Charles Baty (born 1953) was studying mathematics at University of California Berkeley when he and Rick Estrin (born 1949) formed Little Charlie & the Nightcats in 1976. Their first album, All the Way Crazy, was issued in 1987. It includes the songs “Poor Tarzan”, “Suicide Blues” and “When Girls Do It”. The following album, Disturbing the Peace (1988), included “That’s My Girl”, “My Money’s Green”, “She’s Talking” and “Nervous”. They began touring in the United States and internationally. They played at the San Francisco Blues Festival in 1980 and 1982, the Montreal International Jazz Festival, the San Diego Street Scene, Seattle’s Bumbershoot Festival and the Juneau Jazz & Classics Festival in 2002.

Their 1993 album, Night Vision, was produced by Joe Louis Walker, who also performed on it. The album included “My Next Ex-Wife,” which won a W.C. Handy Award for Song of the Year. The band’s drummer, Dobie Strange, was replaced by June Core in 1996.


In early 2008, Baty announced he was entering “soft” retirement and no longer tours with the band, except for reunion tours and shows in Europe and select North American festivals. Baty performed with JW-Jones at the Mont Tremblant Blues Festival, Ottawa Bluesfest, and Piazza Blues in Bellinzona, Switzerland, in July 2009. Estrin continued with the band, which was renamed Rick Estrin & the Nightcats. Baty was replaced on guitar by Chris “Kid” Andersen (born 1980), originally from Telemark, Norway. Andersen had backed Charlie Musselwhite and Terry Hanck, and had fronted his own band.

Baty’s most recent blues recording was as a guest on JW-Jones’s Bluelisted (2008), an album which marked the first time in his career that he documented his harmonica playing on a recording and the first time he and another West Coast blues musician, Junior Watson, had recorded together on the same tracks.

In 2013, Estrin was nominated for a Blues Music Award in the category B.B. King Entertainer.[5] He was nominated again in 2014 for the same award, and the ensemble was nominated for Band of the Year (by wikipedia)


Unlike their previous efforts (where it sounded like the band pulled the van up to the studio, unloaded their gear, and played a set and split before someone hollered out for last call), this one sounds more like a real album. With Joe Louis Walker producing, the boys explore new twists on their wide-ranging bag of tricks. The band’s humor is found in abundance on sleazy blues items like “I’ll Never Do That No More” and the soul rocker opener “My Next Ex-Wife,” while the boys truly get down to business on the rockabilly-tinged “Backfire” and the smokin’ shuffle “Can’t Keep It Up.” Augmenting their basic lineup are guest appearances by Walker and a host of others in support, making this their most musical sounding album yet. (ny Cub Koda)

Little Charlie Baty (guitar)
Rick Estrin (vocals, harmonica)
Brad Lee Sexton (bass)
Dobie Strange (drums)
Tim Devine (saxophone on 01. + 03.)
Jeff Lewis (trumpet on 01. + 03.)
Jimmy Pugh (keyboards on 02., 03., 06., 07. + 10.)
Joe Louis Walker (guitar on 03.)
Donnie Woodruff (background vocals on 01., 02., 04. + 05.) (tracks: 1, 2, 4, 5 )


01. My Next Ex-Wife (Estrin) 4.32 SpotifyAmazon
02. I’ll Never Do That No More (Estrin) 4.00
03. You Win (Estrin/Woodruff/Portnay) 3.58
04. Sure Seems Strange (Estrin/Woodruff) 3.56
05. Can’t Keep It Up (Estrin) 4.33
06. Dog Eat Dog (Estrin) 5.23
07- I Dare You, Baby (Mayfield)
08. Crying Won’t Help You (Whittacker) 5.21
09. Grow Up, Baby (Estrin) 3.57
10. California On My Mind (Estrin) 4.00
11. Backfire (Estrin) 2.12
12. Pressin’ On (Estrin) 3.25
13. Buzzsaw (Estrin) 2.57




Joan Baez – Live in New York (75th Birthday Concert) (TV rip) (2016)

FrontCover1On January 27th, 2016, folk icon Joan Baez celebrated her 75th birthday with a historic performance at the Beacon Theatre in New York City. The special event honored her legendary 50-plus years in music in an intimate, career-spanning live performance. Baez performed alongside fellow artists and friends, including: David Bromberg, Jackson Browne, Mary Chapin Carpenter, Judy Collins, David Crosby, Indigo Girls, Emmylou Harris, Damien Rice, Paul Simon, Mavis Staples, Nano Stern and Richard Thompson.

The legendary Joan Baez hosts her own birthday celebration and what a celebration it is, filled with a who’s who of guests who stop by to harmonize. Opening on guitar with the one, two punch of Steve Earle’s “God is God” from her last solo album “Day After Tomorrow” and the splendid Phil Och’s composition which she has been singing since the ’60’s, “There But For Fortune”, Baez sets the mood for an entrancing evening of acoustic folk music.

David Crosby trades vocals with the birthday girl on the Lennon and McCartney gem “Blackbird”. Irishman Damien Rice joins Joan for the traditional Irish ballad “She Moved Through the Fair”, with its sublime imagery of the swan in the evening moving over the lake.


A real highlight is Mary Chapin Carpenter duets with Baez on Donovan’s “Catch The Wind”, a song that Joan and her late sister Mimi Farina performed for years in concert. Emmylou Harris then takes the stage to perform Stephen Foster’s “Hard Times Come Again No More”. a staple of Emmylou’s which benefits from the addition of harmonies from Baez. The amazing Jackson Browne joins Joan and Emmylou for Woody Guthrie’s “Deportee”, a haunting and true song about immigrant workers killed in a plane crash. This is a staple of Baez’s repertoire and one that she did solo on her last live CD “Bowery Songs”.

Mavis Staples then joins her for a medley of “Oh Freedom” (before I’ll be a slave, I’ll be buried in my grave, and go home to my Lord and be free) and the strident, defiant “Ain’t Gonna Let Nobody Turn Me Around.” The latter was the opener of Joan’s acclaimed A&M records live release “From Every Stage”.


Disc 2 opens with Mary Chapin Carpenter and the Indigo Girls harmonizing on the beautiful “The Water is Wide”, a classic folk tune if ever there was one. Richard Thompson’s “She Never Could Resist A Winding Road” would most likely be on the new studio record. The song, a paen to wanderlust, fits perfectly into Baez’s life as a traveling troubadour, having toured the world many times over.

Then Jackson Browne takes the stage again for a duet with Baez on Browne’s “Before the Deluge”, a song that Baez first covered on her “Honest Lullaby” album. The lovely soprano of Judy Collins blends with Joan’s dusky mezzo soprano on Joan’s iconic song about Bob Dylan, the always lovely “Diamonds and Rust”. Baez sings the line, “50 years ago I bought you some cuff links”, joking about “back then they actually sold them”.

Chilean singer Nano Stern joins Joan on another Baez concert staple “Gracias a la Vida” (“Thanks to Life”), after first acknowledging Baez for her performances and activism on behalf of his country. One of the most moving moments of the show for me was Paul Simon and Joan Baez harmonizing on Simon’s masterpiece “The Boxer”. The lyrics “after changes upon changes, we are more or less the same”, seemed apt on the occasion of Baez’s 75th birthday party. She may be older and grayer, but she is as lively, gracious and vibrant as ever. Her voice has changed from the high soprano of her early years but to me it sounds regal, authoritative, and sure.

The show ends with Dylan’s “Forever Young” …


The audience at New York City’s Beacon Theater sang happy birthday to the birthday girl. It seemed appropriate that Baez get a gift from the audience after so generously sharing the gift of song with her musical friends. It was definitely an evening to remember. Highly recommended. (by Bruce A. Potts)

Video ripped from a HDTV – Arte (Germany) – broadcast


Joan Baez (vocals, guitar)
Gabriel Harris (percussion)
Dirk Powell (guitar)
David Crosby – Mary Chapin Carpenter – Emmylou Harris – Mavis Staples – The Indigo Girls – Damien Rice – Richard Thompson – Jackson Browne – Judy Collins – Nano Stern – Paul Simon

01. God Is God (Earle) 3.35
02. There But For Fortune (Ochs) 4.34
03. Blackbird (with David Crosby) (/Lennon/McCartney)3.20
04. Catch The Wind (with Mary Chapin Carpenter) (Leitch) 4.01
05. Hard Times Come Again No More (with Emmylou Harris) (Foster) 5.30
06. Swing Low, Sweet Chariot (Traditional) 3.50
07. Oh, Freedom (with Mavis Staples) (Traditional) 2,46
08. Ain’t Gonna Let Nobody Turn Me Around (with Mavis Staples) (Traditional) 3.39
09. The Water Is Wide (with The Indigo Girls and Mary Chapin Carpenter) (Traditional) 4.54
10. She Moved Through The Fair (with Damien Rice) (Traditional) 5.41
11. She Never Could Resist A Winding Road (with Richard Thompson) (Thompson) 3.39
12. Before The Deluge (with Jackson Browne) (Browne) 6.38
13. Diamonds And Rust (with Judy Collins) (Baez) 5.44
14. Gracias a la vida (with Nano Stern) (Parra) 6.21
15. The Boxer (with Paul Simon and Richard Thompson) (Simon) 7.26
16. Forever Young (Dylan) 4.31



And here´s the audio version of this concert
(click on the pic)


Gib eine Beschriftung ein

Echoes Of Swing – Dancing (2015)


Swing is not dead, infact it never left us. This is a real treat for intent music listeners. In the music of Avant-Garde jazzers such as Lester Bowie or Dave Douglas, one is facinated not only by their moderness, but also by their parallel respect & affection for the history of jazz. With the German-English-American quartet ‘Echoes of Swing’ there appears here to be a musical situation going in the opposite direction. As the band name gives away, Swing is the basis of their music. From there, the four of them travel along a winding path of musical mysteries, some of which Swing helped to form. And where the acoustic footprints have left their mark in such a productive way as here, it would be absurd to talk about music that belongs in a museum or locked up in some collection. …hard to believe but this music, with ingenious arrangements, performed ‘en passant’, elegant, inspired, has all the qualities to keep the jazz fans of not only yesterday content, but also of the jazz fans of tomorrow. (Tom. R. Schulz)

EchoesOfSwing01This extraordinary band take earlier forms of jazz and do radical things to them. It’s not done to mock or parody them in any way, but to coax out hidden delights and add a few of their own. It’s witty and stimulating, and it depends on the superb musicianship of just four players – their pinpoint accuracy of timing and tonal delicacy, not to mention originality and sheer instrumental technique. I know of nothing else quite like it. (The Guardian)

>Another outstanding album from this versatile and creative group: The excellent and detailed arrangements are performed with meticulous skill, infused with intense collective flair, making the quartet sound much bigger. With ist intriguing fresh-spin approach to the vintage jazz legacy and high standard of performance, this international quartet deserves high praise and widespread recognition. (Jazz Journal International)


Colin T. Dawson (trumpet, vocals)
Chris Hopkins (saxophone)
Bernd Lhotzky (celesta, piano)
Oliver Mewes (drums)


01 Hipsters Hop (Hopkins) 4.10
02. Gavotte I, English Suite No. 6 (BWV 811) (Bach) 3.00
03. CharlestonJames P. Johnson / Cecil Mack 3:42
04. Dream Dancing (Porter) 4:38
05. Diplomata (Vianna, Jr. (aka Pixinguinha) 3.0
06. Lion’s Steps (Lhotzky) 4:00
07. Ballet Of The Dunes (Hopkins) 4:58
08. All You Want To Is Dance (Johnston/Burke) 2:38
09. Sandancer (Dawson) 3:03
10. Carioca (Youmans/Eliscu/Kahn) 3:36
11. Premier Bal (Bechet/Dimey) 4:08
12. Ragtime Dance (Joplin) 4:05
13. Moonlight Serenade (Miller/Parish) 4:40
14. Salir a la Luz (Lhotzky) 4:13
15. Original Dixieland One Step (Jordan/LaRocca/Crandall/Robinson) 3.10
16. Dancing On The Ceiling (Rodgers/Hart) 3.45



Emerson, Lake & Palmer – Live ´77 (Montreal) (VHS rip) (1983)

FrontCover1Emerson, Lake & Palmer took an extended break in 1974. They regrouped in 1976 to record Works Volume 1 at Mountain Studios in Montreux, Switzerland and EMI Studios in Paris, France. It is a double album with one side of an LP containing songs by each member and a fourth of group material. Much of the album was recorded with an orchestral accompaniment; Emerson’s side consists of his 18-minute, three-movement “Piano Concerto No. 1”. Lake contributes five songs he co-wrote with Sinfield, and Palmer’s includes two covers of classical pieces by Sergei Prokofiev and Bach. One of the two group tracks, “Fanfare for the Common Man”, is a cover of the same-titled orchestral piece by Aaron Copland, who gave permission to have the band release it. Works Volume 1 was released in March 1977 and peaked at No. 9 in the UK and No. 12 in the US. A single of “Fanfare for the Common Man” was released and reached No. 2 in the UK, the band’s highest charting UK single.

In November 1977, Works Volume 2 was released as a compilation of shorter tracks recorded from 1973–76 during various album recording sessions. The album was not as commercially successful as the band’s previous albums; it reached No. 20 in the UK and No. 37 in the US. Three tracks from the album were released as singles: “Tiger in a Spotlight”, “Maple Leaf Rag”, and “Watching Over You”.


The two Works albums were supported by North American tours which lasted from May 1977 to February 1978, spanning over 120 dates. Some early concerts in 1977 were performed with a hand-picked orchestra and choir, but the idea was shelved after 18 shows with the band due to budget constraints. The final concert with the orchestra and choir took place on 26 August 1977 at the Olympic Stadium in Montreal that was attended by an estimated 78,000 people, the highest attended Emerson, Lake & Palmer concert as a solo act.[49] It was released in 1979 as Emerson, Lake & Palmer in Concert and reached No. 73 in the US. Emerson wished for a double album release, but Atlantic Records decided against it due to the band’s pending dissolution at its time of release. In 1993, the album was repackaged with additional tracks as Works Live, and put out on video in 1998.[49] According to Lake on the Beyond the Beginning DVD documentary, the band lost around $3 million on the tour. Lake and Palmer blame Emerson for the loss as the use of an orchestra on tour was his idea (by wikipedia)

And here´s a VHS-rip from their show in Montreal …

I´m a strong fan of Ermson, Lake & Palmer but to be honest … in their last years they had lost the direction … but this is yet a nice performance …


Keith Emerson (keyboards)
Greg Lake (vocals, bass, guitar)
Carl Palmer (drums, percussion)
A 70 piece unknown orchestra


0.1. Abaddon’s Bolero (Ravel/Emerson)
02.. The Enemy God Dances With The Black Spirits (excerpt from ‘The Scythian Suite’, 2nd Movement) (Prokofiev)
03. Karn Evil 9 – First Impression – Part II (Emerson/Lake)
04.. Pictures At An Exhibition:
04.1. Promenade (Mussorgsky)
04.2. The Gnome (Mussorgsky/Palmer)
04.3. The Hut Of Baba Yaga (Mussorgsky(Lake)
04.4. The Curse Of Baba Yaga (Emerson/Lake/Palmer)
04.5. TheHut Of Baba Yaga (Mussorgsky)
04.6. The Great Gate of Kiev (Mussorgsky(Lake)
05. C’est La Vie (Lake/Sinfield)
06. Lucky Man (Lake)
07. Piano Concerto No.1, 3rd Movement, Toccata Con Fuoco (Emerson)
08.. Tank (Emerson/Palmer)
09. Nutrocker (Fowley)
10. Pirates (Emerson/Lake/Sinfield)
11. Fanfare For The Common Man (Copeland)

Total time: 1.25.30




David Oistrakh + The Philharmonia Orchestra – Violin Concerto (Khachaturian) (1955)

FrontCover1Aram Khachaturian’s Violin Concerto in D minor was completed in 1940 and dedicated to the Russian violinist David Oistrakh, who premièred the concerto in Moscow on September 16, 1940. Oistrakh advised Khachaturian on the composition of the solo part and also wrote his own cadenza that markedly differs from the one originally composed by Khachaturian. The concerto was initially well received and awarded the Stalin Prize for arts in 1941. The work became a staple of the 20th century violin repertoire, and maintains its popularity into the 21st century.

French flautist Jean-Pierre Rampal transcribed the piece for flute in 1968, with encouragement from Khachaturian. Rampal’s transcription included a different cadenza in the first movement, but Rampal otherwise strove to adhere to Khachaturian’s original.

The Violin Concerto was the second of three concertos Khachaturian wrote for the individual members of a renowned Soviet piano trio that performed together from 1941 until 1963. The others were: the Piano Concerto for Lev Oborin (1936); and the Cello Concerto for Sviatoslav Knushevitsky (1946).

The work is scored for solo violin and an orchestra consisting of one piccolo, two flutes, two oboes, one English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, tambourine, piccolo snare, cymbals, bass drum, harp and strings.

Aram Khachaturian

The concerto consists of three movements with the following tempo markings:

Allegro con fermezza
Andante sostenuto
Allegro vivace

Allegro con fermezza
As with most concertos, the first movement is in sonata form and begins with a brief orchestral introduction, followed by the entrance of the soloist with the initial theme. The solo violin then introduces the lyrical second theme, marked espressivo, with responses from the woodwinds. A brief cadenza precedes the development section, which prominently features the soloist in several virtuoso passages. A second longer cadenza begins with a quiet duet between the solo violin and clarinet, but soon becomes more animated. The recapitulation of the principal themes leads to a brief coda, based upon the motif of the initial theme. The movement is in common time although there are extended sections in 3/4. The overall key is d minor. The technical demands of this music are considerable.

Andante sostenuto
After an introduction featuring the bassoon and clarinet, the soloist enters with the movement’s principal melody. The movement is notable for its variety of moods and the wide-ranging, highly expressive writing for the soloist. Toward the close, the soloist repeats the principal melody, but now played an octave lower, and with a ‘dolce clarinet obbligato. After a dramatic orchestral outburst, the movement reaches its conclusion, as the violin’s final sustained notes are supported by the horn and muted upper strings, along with descending passages in the flute, bassoon, harp and pizzicato lower strings. The movement is in 3/4 time although common time appears in phases. The overall key is a minor. The general tone of this andante is dark, often threatening, sometimes sad and sometimes angry, especially at the two orchestral climaxes. The second climax then fades away into nothing over a descending scale by the woodwinds over a held G-sharp violin note, which sounds like a semitone away from true.

Allegro vivace
In contrast to the second movement, this one is energetic and enthusiastic. Like many of the classical violin concertos, this one is in the parallel major i.e. D major. The tempo marking is Allegro vivace, 3/8 but the real feel is 6/8 and Presto. Unlike the first two movements, the rhythm remains almost constant throughout. The structure is rondo and the main theme (which comes after a longish orchestral introduction) is derived from an Armenian dance tune. The second melodic subject, which comes after an exuberant transition passage, is the same as the lyrical second theme from the first movement, now reworked to fit the new beat and given urgency and forward drive by a thumping string accompaniment. The third theme features nonstop semiquaver runs and leads back to a reprise of the main tune. A transitional passage then takes us to the coda, which starts with the main theme again but transposed and in rapidly shifting keys. After a vast circle of modulations the music finally comes in for landing on D.


The considerable length of the movement (approximately 450 bars of 6/8 or 900 of 3/8) together with the almost ceaseless semiquaver motion make this one of the most challenging works in the solo violin repertoire. (by wikipedia)

David Fyodorovich Oistrakh (30 September [O.S. 17 September] 1908 – 24 October 1974), PAU, was a renowned Ukrainian-born classical violinist and violist.

Oistrakh collaborated with major orchestras and musicians from many parts of the world, including the Soviet Union, Europe, and the United States, and was the dedicatee of numerous violin works, including both of Dmitri Shostakovich’s violin concerti, and the violin concerto by Aram Khachaturian. He is considered one of the preeminent violinists of the 20th century.

David Oistrakh01Oistrakh received many awards and distinctions. Within the Soviet Union, David Oistrakh was awarded the Stalin Prize in 1943, the title of People’s Artist of the USSR in 1953, and the Lenin Prize in 1960. He also won the 1935 Soviet Union Competition. Several reputable works from the standard violin repertoire are dedicated to Oistrakh, including a concerto by Khachaturian, two concerti by Shostakovich, and several other pieces.

Oistrakh’s fame and success were not limited to the Soviet Union: he placed second at the Henryk Wieniawski Violin Competition in Warsaw, after 16-year-old prodigy Ginette Neveu, and further improved upon that by winning the grand prize in the Queen Elisabeth Competition in Brussels.

Additionally, the asteroid 42516 Oistrach is named in honour of him and his son, the violinist Igor Oistrakh.

David Oistrakh is known to have played at least seven Stradivarius violins owned by the Soviet Union. He initially selected the 1702 Conte di Fontana Stradivarius, which he played for 10 years before exchanging it for the 1705 Marsick Stradivarius in June 1966, which he played until his death. (by wikipedia)

This is the second version of the “Violin Concerto” … the first was recorded in 1945 and the third in 1965 … This versuon ws recorded in 1954 and without any doubts, this ist one of the best classical sompositions of the last century.

David Oistrakh02

David Oistrakh / Aram Khachaturian

David Oistrakh (violin)
The Philharmonia Orchestra conducted by Aram Khachaturian



Concerto for Violin and Orchestra:
01. First Movement – Allegro Con Fermezza 13.56
02. Second Movement – Andante Sostenuto 11.57
03. Third Movement – Allegro Vivace 9.21

Music composed by Aram Khachaturian



Phantom, Rocker & Slick – Cover Girl (1986)

FrontCover1Phantom, Rocker & Slick was an American rock band active in the mid-1980s. The bandmembers were drummer Slim Jim Phantom, bassist Lee Rocker, and guitarist Earl Slick. Phantom and Rocker had previously played together as members of the Stray Cats. They released two albums, Phantom, Rocker & Slick and Cover Girl, on EMI Records before disbanding.

Slim Jim Phantom and Lee Rocker grew up together in New York City. They began writing songs when they were 12 years old. Along with Brian Setzer they formed the Stray Cats. When the Stray Cats broke up they began looking for a new guitarist and met sessionman Earl Slick at a music trade show leading to the formation of the band. Years earlier Rocker had been a fan of Slick’s guitar work on David Bowie’s David Live. Slick also played on Bowie’s Station to Station and John Lennon’s Double Fantasy.

Their first release, 1985’s self-titled Phantom, Rocker & Slick was produced by Michael Barbiero and Steve Thompson and was a moderate success peaking at 62 on the PhantomBillboard 200. Its first single was “Men Without Shame” and was written in ten minutes. It did well on the Top Rock Tracks chart peaking at number 7[6] and was played in the active rotation on MTV. The single “My Mistake” also appeared on the Top Rock Tracks chart, peaking at 33,[8] and featured Keith Richards of The Rolling Stones on guitar. Nicky Hopkins also made a guest appearance on the album, playing piano on the track “No Regrets”.

The release of their second album, Cover Girl, in 1986 was the beginning of the end for the band. It did poorly reaching only 181 on the Billboard 200[ and they soon broke up with Phantom and Rocker rejoining the Stray Cats and Slick returning to session work. (by wikipedia)

Phantom, Rocker & Slick: to me, one of the best projects/bands that have ever existed in the Stray Cats circle.

“Cover Girl” was their second and final album. Very good album in my opinion, slightly weaker, more pop than rock if we compare it to their first album but overall, really good. “Cover Girl”, “It’s Good To Be Alive” and a cover originally written by The Hollies, “Long Cool Woman In A Black Dress” could have been good hits if this album had had the chance back then. (by straycatscollectorsbootlegs.blogspot)


Stray Cats rhythm section teams up with Bowie sideman Earl Slick to create a unique blend of vintage rocking nirvana! Slick is a veritable encyclopaedia of classic guitar licks and tones…imagine Keith Richards with added chops and that still doesn’t do him justice! Cover Girl is the second outing for this trio and it has everything the brilliant debut managed, and more! The songs are all well crafted bluesy affairs, catchy as hell, and really pulse along to Phantom’s snapping rhythm’s and Rocker’s crisp vocal. Slick shines on all the numbers, possibly my favorite is the shimmering Sidewalk Princess with its delicious intro. All in all, a great good time rock record that somehow vanished without a squeak in 1986. Phantom and Rocker are back with Setzer, and Slick is Bowie’s main guitarist, but for me, this and the debut was their finest hour. Cover Girl deserves re-appraisal from those who dismissed it back in the day. Long deleted and not on CD, do yourself a favor and grab a vinyl copy. (Jack O’Brien)

Grab it !


Slim Jim Phantom (drums, vocals)
Lee Rocker (vocals, bass)
Earl Slick (guitar, vocals)
Luis Conte (percussion)
Lon Price (saxophone)
Kevin Russell (guitar)
Pete Solley (keyboards)


01. Cover Girl (Phantom/Rocker/Slick) 3.22
02. The Only Way To Fly (Phantom/Rocker/Slick/Russell) 3.56
03. Sidewalk Princess (Phantom/Rocker/Slick) 5.29
04. It’s Good To Be Alive (Phantom/Rocker/Slick/Russell) 3.35
05. Still Got Time (Phantom/Rocker/Slick/Russell) 4.01
06. Can’t Get It Right (Phantom/Rocker/Slick) 3.47
07. Going South (Phantom/Rocker/Slick/Russell) 4.52
08. I Found Someone Who Loves Me (Phantom/Rocker/Slick)  4.00
09. Enough Is Enough (Phantom/Rocker/Slick/Russell) 3.28
10. Dressed In Dirt (Phantom/Rocker/Slick) 3.45
11. Long Cool Woman In A Black Dress (Clarke/Cook/Greenaway) 2.57




The inlets

Dr. Feelgood – Down At The BBC In Concert 1977 – 78 (2002)

FrontCover1Dr. Feelgood was the ultimate working band. From their formation in 1971 to lead vocalist Lee Brilleaux’s untimely death in 1994, the band never left the road, playing hundreds of gigs every year. Throughout their entire career, Dr. Feelgood never left simple, hard-driving rock & roll behind, and their devotion to the blues and R&B earned them a devoted fan base. That following first emerged in the mid-’70s, when Dr. Feelgood became the leader of the second wave of pub rockers. Unlike Brinsley Schwarz, the laid-back leaders of the pub rock scene, Dr. Feelgood was devoted to edgy, Stonesy rock & roll, and their sweaty live shows — powered by Brilleaux’s intense singing and guitarist Wilko Johnson’s muscular leads — became legendary. While the group’s stripped-down, energetic sound paved the way for English punk rock in the late ’70s, their back-to-basics style was overshadowed by the dominance of punk and new wave, and the group had retreated to cult status by the early ’80s.


Brilleaux (vocals, harmonica), Johnson (guitar), and John B. Sparks (bass) had all played in several blues-based bar bands around Canvey Island, England before forming Dr. Feelgood in 1971. Taking their name from a Johnny Kidd & the Pirates song, the group was dedicated to playing old-fashioned R&B and rock & roll, including both covers and originals by Johnson. John Martin (drums), a former member of Finian’s Rainbow, was added to the lineup, and the group began playing the pub rock circuit. By the end of 1973, Dr. Feelgood’s dynamic live act had made them the most popular group on the pub rock circuit, and several labels were interested in signing them. They settled for United Artists, and they released their debut album, Down by the Jetty, in 1974.

DrFeelgood02According to legend, Down by the Jetty was recorded in mono and consisted almost entirely of first takes. While it was in fact recorded in stereo, the rumor added significantly to Dr. Feelgood’s purist image, and the album became a cult hit. The following year, the group released Malpractice — also their first U.S. release — which climbed into the U.K. Top 20 on the strength of the band’s live performances and positive reviews. In 1976, the band released the live album Stupidity, which became a smash hit in Britain, topping the album charts. Despite its thriving British success, Dr. Feelgood was unable to find an audience in the States. One other American album, Sneakin’ Suspicion, followed in 1977 before the band gave up on the States; they never released another record in the U.S.

Sneakin’ Suspicion didn’t replicate the success of Stupidity, partially because of its slick production, but mainly because the flourishing punk rock movement overshadowed Dr. Feelgood’s edgy roots rock. Wilko Johnson left the band at the end of 1977 to form the Solid Senders; he later joined Ian Dury’s Blockheads. Henry McCullough played on Feelgood’s 1977 tour before John “Gypie” Mayo became the group’s full-time lead guitarist. Nick Lowe produced 1978’s Be Seeing You, Mayo’s full-length debut with Dr. Feelgood. The album generated the 1979 Top Ten hit “Milk and Alcohol,” as well as the Top 40 hit “As Long as the Price Is Right.” Two albums, As It Happens and Let It Roll, followed in 1979, and Mayo left the band in 1980. He was replaced by Johnny Guitar in 1980, who debuted on A Case of the Shakes, which was also produced by Nick Lowe.


During their first decade together, Dr. Feelgood never left the road, which was part of the reason founding members John Martin and John Sparks left the band in 1982. Lee Brilleaux replaced them with Buzz Barwell and Pat McMullen, and continued touring. Throughout the ’80s, Brilleaux continued to lead various incarnations of Dr. Feelgood, settling on the rhythm section of bassist Phil Mitchell and drummer Kevin Morris in the mid-’80s. The band occasionally made records — including Brilleaux, one of the last albums on Stiff Records, in 1976 — but concentrated primarily on live performances. Dr. Feelgood continued to perform to large audiences into the early ’90s, when Brilleaux was struck by cancer. He died in April of 1994, three months after he recorded the band’s final album, Down at the Doctor’s. The remaining members of Dr. Feelgood hired vocalist Pete Gage and continued to tour under the band’s name. Former Feelgoods Gypie Mayo, John Sparks, and John Martin formed the Practice in the mid-’80s, and they occasionally performed under the name Dr. Feelgood’s Practice. (by Stephen Thomas Erlewine)


With 20 years having elapsed since the firestorm of punk first set hippie beards a-blazing, the late 1990s saw history finally get around to some serious re-evaluation: the realization that the bands which started the whole ball rolling were not American proto-snots from some vast Midwestern garage; that theStooges and the Velvets were unknown to most of the kids who were forming bands (you can’t afford imports when you’re young and on the dole); and that Dr. Feelgood kicked harder ass than all those Yankee squealers put together. (Russ Garrett)

Wow, what a treat! I’ve recently started listening to the Feelgoods again as I enter middle age (don’t go there), and I invested in this. it’s NOT just another hodge podge dragged out of the vaults, but a couple of great gigs, well recorded, with fantastic atmosphere. I remember, when the official ive albums As it Happens and On the Job were released, thinking they were a bit muted-sounding. Not this one. These live recordings capture the energy of a Feelgood show as well as anything else I’ve heard. (by Angry bluesman)

Tracks 1 to 11 recorded at Queen Mary College, Mile End Road, London on 1.12.77.Broadcast on BBC TV and Radio 1’s
“Sight And Sound In Concert” programme on 10.12.77.

Tracks 12 to 22 recorded at The Paris Theatre, Lower Regent Street, London on 1.11.78.Broadcast on BBC TV and Radio 1’s “In Concert” programme on 18.11.78.


Lee Brilleaux (vocals, guitar, harmonica)
Gypie Mayo (guitar)
John B. Sparks (bass, background vocals)
John “The Big Figure” Martin (drums, background vocals)


01. Looking Back (Watson) 2.17
02. Stupidity (Burke) 2.23
03. You’ll Be Mine (Dixon) 2.57
04. You Upset Me Baby (King/Josea/Davis)  4.03
05. Homework (Perkins/Clark) 2.19
06. Baby Jane (Simmonds/Reed/Bishop/Wilson/Nesbitt) 2.56
07. The Blues Had A Baby, And They Named It Rock’N’Roll (#2) (Morganfield/McGhee) 2.21
08. That’s It I Quit (Lowe) 2.46
09. Lucky Seven (Lewis) 2.31
10. She’s A Windup (Brilleaux/Mayo/Sparks/Martin) 2.11
11. Lights Out (David/Rebennack) 2.33
12. Looking Back (Watson) 2.03
13. Sugar Shaker (Brilleaux/Mayo/Sparks) 3.58
14. I Thought I Had It Made (Brilleaux/Mayo) 2.34
15. Ninety-Nine And Half (Won’t Do) (Cropper/Pickett/Floyd) 2.52
16. Milk And Alcohol (Lowe/Mayo) 2.38
17. Night Time (Gottehrer/Fieldman/Goldstein) 3.59
18. Shotgun Blues (Brilleaux/Mayo/Sparks/Martin) 4.50
19. You Upset Me Baby (King/Josea/Davis) 3.39
20. Down At The Doctors (Jupp) 3.06
21. She’s A Windup (Brilleaux/Mayo/Sparks/Martin) 1.50
22. Lights Out (David/Rebennack) 2.23




Cheers !

Lee Brilleaux (born Lee John Collinson: 10 May 1952 – 7 April 1994

Gypie Mayo (born John Phillip Cawthra; 24 July 1951 − 23 October 2013)

George Shearing Quintet – Strolling (1965)

FrontCover1Sir George Shearing, OBE (13 August 1919 – 14 February 2011) was a British jazz pianist who for many years led a popular jazz group that recorded for Discovery Records, MGM Records and Capitol Records. The composer of over 300 titles, including the jazz standard “Lullaby of Birdland”, had multiple albums on the Billboard charts during the 1950s, 1960s, 1980s and 1990s. He died of heart failure in New York City, at the age of 91.


Born in Battersea, London, Shearing was the youngest of nine children. He was born blind to working class parents: his father delivered coal and his mother cleaned trains in the evening. He started to learn piano at the age of three and began formal training at Linden Lodge School for the Blind, where he spent four years.

Though he was offered several scholarships, Shearing opted to perform at a local pub, the Mason’s Arms in Lambeth, for “25 bob a week” playing piano and accordion. He joined an all-blind band during that time and was influenced by the records of Teddy Wilson and Fats Waller. Shearing made his first BBC radio broadcast during this time after befriending Leonard Feather, with whom he started recording in 1937.


In 1940, Shearing joined Harry Parry’s popular band and contributed to the comeback of Stéphane Grappelli. Shearing won seven consecutive Melody Maker polls during this time. Around that time he was also a member of George Evans’s Saxes ‘n’ Sevens band.

In 1947, Shearing emigrated to the United States, where his harmonically complex style mixing swing, bop and modern classical influences gained popularity. One of his first performances was at the Hickory House. He performed with the Oscar Pettiford Trio and led a jazz quartet with Buddy DeFranco, which led to contractual problems, since Shearing was under contract to MGM and DeFranco to Capitol Records.[citation needed]

In 1949, he formed the first George Shearing Quintet, a band with Margie Hyams (vibraphone), Chuck Wayne (guitar), later replaced by Toots Thielemans (listed as John Tillman), John Levy (bass) and Denzil Best (drums) and recorded for Discovery, Savoy and MGM, including the immensely popular single “September in the Rain” (MGM), which sold over 900,000 copies; “my other hit” to accompany “Lullaby of Birdland”. Shearing said of this hit that it was “as accidental as it could be.”


Shearing’s interest in classical music resulted in some performances with concert orchestras in the 1950s and 1960s, and his solos frequently drew upon the music of Satie, Delius and Debussy for inspiration. He became known for a piano technique known as “Shearing’s voicing”, a type of double melody block chord, with an additional fifth part that doubles the melody an octave lower. (This style is also known as “locked hands” and the jazz organist Milt Buckner is generally credited with inventing it.[citation needed])

In 1956, Shearing became a naturalized citizen of the United States. He continued to play with his quintet, with augmented players through the years, and recorded with Capitol until 1969. He created his own label, Sheba, that lasted a few years. Along with dozens of musical stars of his day, Shearing appeared on ABC’s The Pat Boone Chevy Showroom. Earlier, he had appeared on the same network’s reality show, The Comeback Story, in which he discussed how to cope with blindness.

Shaering05In 1970, he began to “phase out his by-now-predictable quintet” and disbanded the group in 1978. One of his more notable albums during this period was The Reunion, with George Shearing (Verve 1976), made in collaboration with bassist Andy Simpkins and drummer Rusty Jones, and featuring Stéphane Grappelli, the musician with whom he had debuted as a sideman decades before. Later, Shearing played with a trio, as a soloist and increasingly in a duo. Among his collaborations were sets with the Montgomery Brothers, Marian McPartland, Brian Q. Torff, Jim Hall, Hank Jones and Kenny Davern. In 1979, Shearing signed with Concord Records, and recorded for the label with Mel Tormé. This collaboration garnered Shearing and Tormé two Grammys, one in 1983 and another in 1984.

Shearing remained fit and active well into his later years and continued to perform, even after being honoured with an Ivor Novello Lifetime Achievement Award in 1993. He never forgot his native country and, in his last years, would split his year between living in New York and Chipping Campden, Gloucestershire, where he bought a house with his second wife, singer Ellie Geffert. This gave him the opportunity to tour the UK, giving concerts, often with Tormé, backed by the BBC Big Band. He was appointed OBE in 1996. In 2007, he was knighted. “So”, he noted later, “the poor, blind kid from Battersea became Sir George Shearing. Now that’s a fairy tale come true.”

He was the subject of This Is Your Life in 1992 when he was surprised by Michael Aspel.

In 2004, he released his memoirs, Lullaby of Birdland, which was accompanied by a double-album “musical autobiography”, Lullabies of Birdland. Shortly afterwards, however, he suffered a fall at his home and retired from regular performing.


Lynn Redgrave and George Shearing at an
Arts and Entertainment Network Party in New York

In 2012 Derek Paravicini and jazz vocalist Frank Holder did a tribute concert to the recordings of Shearing. Ann Odell transcribed the recordings and taught Paravicini the parts, as well as being the MD for the concerts. Lady Shearing also endorsed the show, sending a letter to be read out before the Watermill Jazz Club performance.

Shearing was married to Trixie Bayes from 1941 to 1973. Two years after his divorce he married his second wife, the singer Ellie Geffert, who survived him.

Shearing was a member of the Bohemian Club and often performed at the annual Bohemian Grove Encampments. He composed music for two of the Grove Plays (by wikipedia)

And here´s a fine example of his tasteful mixture between jazz and easy listening …  Maybe you should imagine … sitting in a bar with a hot lady on your side … close your eyes an drift away …


The George Shearing Quintet


01. Strolling (Levy Jr.) 3.01
02. November Sea Scape (Hyams) 2.31
03. Easy Livin’ (Wright/Forrest) 6.05
04, Lonely Moments (Williams) 3.14
05. This Is Cuba? (Shearing) 2.30
06. If You Were The Only Girl In The World (Ayer) ‎2.49
07. I’ll Never Smile Again (Lowe) 2.53
08. Loose Leaf (Zarantonello) 2.26
09. Midnight Mood (Shearing/Hazard) 3.03
10. Minoration (Pate) 2.28
11. My Silent Love (Suesse) 2.47
12. We’ll Be Together Again (Fischer) 2.24




Sir George Shearing, OBE (13 August 1919 – 14 February 2011)

Ludovico Einaudi – In A Time Lapse (2013)


Ludovico Maria Enrico Einaudi OMRI (born 23 November 1955) is an Italian pianist and composer. He trained at the Conservatorio Verdi in Milan. Einaudi began his career as a classical composer, and began incorporating other styles and genres—including pop, rock, world music, and folk music. (by wikipedia)

Einaudi composed the scores for a number of films and trailers, including This Is England, The Intouchables and I’m Still Here, the TV miniseries Doctor Zhivago, and Acquario in 1996, for which he won the Grolla d’oro for best soundtrack. He has also released a number of solo albums of piano and orchestra, notably I Giorni in 2001, Nightbook in 2009, and In a Time Lapse in 2013. Taranta Project, a collaborative album, was released in May 2015, and Elements was released in October 2015.

Ludovico Einaudi’s album In A Time Lapse was composed over a period of two years and recorded in October 2012 in a monastery near Verona. Epic and emotional as his bestselling album Divenire, experimental and adventurous as Nightbook,

Ludovico Einaudi01

In A Time Lapse goes further by incorporating baroque and Italian folk music, late romantic strings textures, and a wide variety of colors through percussion and electronics. The theme is a deep reflection on the idea of time; in the words of Einaudi, ”When you get conscious that our time is limited, it’s the moment where you try to fill that space with all your energy and emotions… and live every moment of your life fully as when you were a child.” The album features Einaudi’s band and the string orchestra I Virtuosi Italiani. Violinist Daniel Hope appears on several pieces, including Orbits, where the solo violin climbs the sky towards infinity. (Editorial Reviews,

Ludovico Einaudi02

Italian pianist Ludovico Einaudi, grandson of an early president of postwar Italy and student of Luciano Berio, has at times used either his first or his last name solo. His music is a bit difficult to pin down, for it treads up to the lines of minimalism, new age, and pop piano without quite going over any of them. It depends on repeated, slowly shifting piano figures but is too grand to be really minimalist. Stress reduction and contemplativeness are the chief virtues ascribed to it by its admirers, but it doesn’t have the improvisatory jazz basis of American new age music. And though individual junctures might sound like passages from Elton John, the music tends to stop short of pop emotional payoffs and go off in a new direction. This generic slipperiness is the key to Einaudi’s appeal, which seems set to expand to the U.S.: as in the days of old, where recorded music was conceived of primarily as an aid to selling live concert tickets, In a Time Lapse comes stickered with an American tour schedule. Should you try it out?

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Einaudi has the odd combination of being original without being especially challenging; his music sort of lies there. But this release may well be a good place to start. Its most noticeable new feature is a light overlay of pop electronics not present on Einaudi’s solo piano and piano-and-orchestra music. It actually works well, lending rhythmic and textural variety to the beginnings of each piece. The music soon enough progresses into chord arpeggios on Einaudi’s piano, but he has the opportunity to apply his simple musical logic to a variety of moods. This, too, sets the music apart from new age models. In short, who knows? Even if crossover is not your bag, you may find yourself drawn by this. Or maybe you just want something that will relax you in freeway traffic. Einaudi could work either way. (by James Manheim)


Francesco Arcuri (kalimba)
Alice Costamagna (violin)
Marco Decimo (cello, glockenspiel)
Mauro Durante (violin,tambourine)
Leo Einaudi (loop)
Ludovico Einaudi (piano, bass, celeste, electronics, glockenspiel, guitar loops,  synthesizer
Alberto Fabris (bass, g)uitar)
Franco Feruglio (bass)
Svetlana Fomina (viola)
Redi Hasa (cello)
Daniel Hope (violin)
Antonio Leofreddi (viola)
Robert Lippok (electronics)
Alberto Martini (violin)
Federico Mecozzi (violin)
Francesca Tirale (harp)
Parco della Musica Contemporanea Ensemble (percussion ensemblel)
Virtuosi Italiani Orchestra


01. Corale 2.05
02. Time Lapse 5.31
03. Life 4.23
04. Walk 3.28
05. Discovery At Night 4.26
06. Run 5.32
07. Brothers 4.51
08. Orbits 2.57
09. Two Trees 5.26
10. Newton’s Cradle 7.53
11. Waterways 4.18
12. Experience 5.15
13. Underwood 4.14
14. Burning 5.09
15. Bever 4.01
16. The Dark Bank Of Clouds 3.11
17. Sarabande 4.14
18. Ronald’s Dream 3.46
19. Corale Solo 2.47

Music composed by Ludovico Einaudi



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