Strange Things (Are Happening) (Magazine) – Volume 1 – Number 5 (April/May 1989)

FrontCoverHere is another “Strange Things” magazine from my archive:

Recently included in Ugly Things’ list of the greatest fanzines of all time, Strange Things was different from the run-of-the-mill zines. Although rooted in the great music of the ’60s and early ’70s, the editors and writers found room to cover everything from Krazy Kat comics to the Barbarella movie. Excellent, entertaining writing from Brian Hogg and colleagues, and a timelessly cool layout. More magazines should be like this!

Strange Things (Are Happening) was a part of Bam-Caruso Records:

Bam-Caruso, the pioneering record label, started in 1983 by Phil Smee, growing from the dying embers of St Albans “Waldo’s Records”, with a mission to record the best new sounds emerging from the UK and America’s so called “paisley underground”, and merge them with rare and unknown psyche and garage/pop gems from the ’60s, to be licensed in.

Enjoy this rare and brilliant magazine from the 80´s … more issues will come !

























The backcover of this magazine

Ekseption – Beggar Julia’s Time Trip (1970)

FrontCover1.JPGFor this, their second album, the band had some changes in the line-up: both Rob Kruisman (saxophones, flute, guitar, vocals) and Huib van Kampen (guitar, Tenor saxophone) left the band, being replaced by Dick Remelink ( saxes, flute). Drummer Peter de Leeuwe also left the band (but returned for their next album), being replaced by Dennis Whitbread. Also the band had a lead singer called Michel van Dijk, plus some guest appearances from Tony Vos (saxes, tonytone, electronic effects, and also the main producer of some of their albums), Linda van Dyck ( voice on “Prologue” & “Epilogue”), and Eric van Lier (trombone, tuba), who also was going to participate in their ‘00.04’ album from 1971.

This album is really a concept album about a beggar named Julia who does a time trip through several centuries (more or less as I understood the concept). The main composer in the original musical pieces in this album is keyboard player Rick van der Linden, with some collaborations with lyrics from singer Michel van Dijk, who really only sings in two songs (‘Juila’ and ‘Pop Giant’), and from Linda van Dyck who does some narration. There are some sections in the album which really are done with electronic sound effects and their function is more to work as links to other musical pieces. These electronic sound effects make this album sound a bit influenced by psychedelia, and they really sound like ‘experiments’ maybe done with Moogs or with other electronic devices.


As in every album by the band, there are several arrangements done to Classical Music pieces (Albinoni`s ‘Adagio’, J.S. Bach`s ‘Italian Concerto’, and Tchaikovsky`s ‘Concerto’). The appearance of an electric guitar solo in ‘Concerto’ and its previous appearance as the B-side of the ‘Air’ single in 1969 makes me think that ‘Concerto’ was really recorded for their first album, but was finally released in their second album. Of these Classical Music pieces I prefer more ‘Adagio’ and ‘Concerto’. There are also some brief appearances from other uncredited Classical Music pieces in some parts of the album, like some bars from Rachmaninoff`s First Piano Concerto and a bit from J.S Bach`s ‘Sicilano in G’, a musical piece which the band was going to record in a full arrangement for their ‘Ekseption 5’ album from 1972.

This is maybe their first attempt for a full Prog album, having a conceptual story, and with each musical piece being linked one after the other without interruptions (other to the natural end of the Side One in the old LP version). The Jazz, Rock, Classical and Pop influences are very present, and maybe in this second album the band sounds more ‘mature’, more ‘serious’, and with maybe having less inclinations to appear in the radio, even if they still released some singles. (by Guillermo)


Rein van den Broek (trumpet, fluegelhorn)
Cor Dekker (bass)
Michel Van Dijk (vocals, percussion)
Rick van der Linden (keyboards, spinet, percussion)
Dick Remelink (saxophone, flute)
Dennis Whitbread (drums, percussion)
Gerard Beckers (electronics, effects)
Linda van Dyck (vocals on 02 + 09.)
Eric van Lier (trombone, tuba)
Jan Schuurman (electronics, effects)
Tony Vos (saxophone, percussion, electronics, effects)


01. Ouverture (v.d. Linden) 3.23
02. Prologue (L. v. Dyck/v.d. Linden) 2.21
03. Julia (M. v. Dijk/v.d. Linden) 2.22
04. Flying Power (v.d. Linden) 0.32
05. Adagio (Albinoni) 3.45
06. Space I (Bach) 0.44
07. Italian Concerto (Bach) 5.03
08. Concerto (Tchaikovsky) 3.53
09. Space II (R. v.d. Linden) 0.25
10. Pop Giant (M. v. Dijk/v.d. Linden) 3.55
11. Space III (v.d. Linden) 0.21
12. Feelings (v.d. Linden) 3.08
13. Epilogue (L. v. Dyck/v.d. Linden) 0.57
14. Finale: Music For Mind/Theme Julia (v.d. Linden) 4.00



Hot Tuna – Live In Japan, 1997 (2004)

EagleFrontCover1.jpgLive in Japan is a live album by Hot Tuna recorded in 1997 in Yokohama, Japan. Originally the band planned to play an electric set as part of their Japanese tour, but the venue in Yokohama was quite small (only holding fifty people) and there wasn’t any room for an electric setup. The band played acoustic, and afterwards Jack Casady suggested to Jorma Kaukonen that the recording was good enough for a new live album. Michael Falzarano and Kaukonen listened to the tape and decided that Casady was right, and a new album was released. The album was Hot Tuna’s last release on Relix Records. In 2004 Eagle Records remastered the album and re-released it with previously unreleased performances of “Parchman Farm”, “Follow the Drinking Gourd”, “Keep Your Lamps Trimmed & Burning” and “Folsom Prison.” Three of the tracks from the initial release were dropped from the remaster: “Hesitation Blues”, “Candy Man” and “Keep on Truckin'”.(by wikipedia)


Live In Japan is the eighth live Hot Tuna performance released by Relix Records. It was recorded in a cramped club in Yokohama in 1997. The show was an impromptu acoustic set because the club was too small to hold the all the band’s electric equipment. However don’t expect the delicate, interwoven acoustic blues of 1969’s Hot Tuna (Recorded Live). Even though Hot Tuna draws on much of the same material here, the treatments are up-tempo and at times a little muddy. Like many of the Relix offerings, Live In Japan has a bootleg feel that is both immediate and rough. This version of Hot Tuna features Pete Sears, formerly of Jefferson Starship, on keyboards and accordion. He gives Hot Tuna a different dimension that is not always a smooth fit. As usual, though, the finger- picking of Jorma Kaukonen and the rumbling bass of Jack Casady dominate the stage. Their talents remain undiminished. This is an exuberant performance that must have been great to see. But home listeners may find themselves saying, “I guess you had to be there.” (by S. Colby Miller)


Relix front + back cover

Jack Casady (bass)
Michael Falzarano (guitar)
Jorma Kaukonen (guitar, vocals)
Pete Sears (keyboards)
Harvey Sorgen (drums, percussion)


01. Walkin’ Blues (Johnson) 5.16
02. Parchman Farm (Allison) 5.37
03. True Religion (Traditional) 5.20
04. Been So Long (Kaukonen) 3.52
05. Uncle Sam Blues (Traditional) 5.11
06. Vampire Woman (Smith) 2.59
07. Follow The Drinking Gourd (Traditional) 5.05
08. Keep Your Lamps Trimmed & Burning” (Rev. Gary Davis) – 4:19
09. Let Us Get Together Right Down Here (Davis) 3.00
10. Third Week In The Chelsea (Kaukonen) 5.05
11. 99 Year Blues (Daniels) 6.23
12. Ice Age (Kaukonen) 6.38
13. San Francisco Bay Blues (Fuller) 4.25
14. Folsom Prison Blues (Cash) 4.04
15. Mann’s Fate (Kaukonen) 6.09




More Hot Tuna:



Susan Maughan – Hey Look Me Over (1967)

FrontCover1.jpgSusan Maughan (born Marian Maughan, 1 July 1938, is an English singer who released successful singles in the 1960s. Her most famous and successful song, “Bobby’s Girl” (a cover of the Marcie Blane single), reached number three in the UK Singles Chart at Christmas time in 1962. It also reached number six in the Norwegian chart in that year.

Maughan was born in Consett, County Durham. The sleeve notes on her 1963 album, written by John Franz, stated that

“Susan’s family moved to Birmingham (in 1953) when Susan was 15. She started work there as a shorthand typist, but all the time she scanned the musical press to see if any band leaders needed a girl singer. Her luck was in as the well known Midlands leader Ronnie Hancock was advertising for that very thing! An immediate audition was arranged, and Susan joined this fine band and sang happily with them for three years. In September 1961 Susan decided to try her luck in London, and during her brief 36-hour visit she won not only a recording contract but also a year’s contract as featured singer with the Ray Ellington Quartet. Her biggest break came in September 1962 when she recorded ‘Bobby’s Girl’; her success brought so many offers that in November 1963 Susan decided to branch out as a solo artist.”

In early 1963, following the success of “Bobby’s Girl”, Maughan had further minor UK hits entitled “Hand A Handkerchief To Helen” and “She’s New To You”. Also at that time she released her first album on Philips called I Wanna Be Bobby’s Girl But…. All songs on this album featured male names, including the John D. Loudermilk songs “Norman” and “James (Hold The Ladder Steady)” which were hits in the US for the American singer Sue Thompson. Thompson had a minor UK hit in 1965 with “Paper Tiger”, and the songs were also covered in the UK by Carol Deene.

Susan Maughan02.jpgJohn Franz’s 1963 sleeve notes conclude: “Susan is one of the most conscientious artists in the entertainment industry – never quite believing in her own triumphs but continually striving to improve her work in every detail. This hard work, coupled with her natural singing talent can only lead to greater achievements in the future.”

She appeared at the 1963 Royal Variety Performance, and in the 1963 film What a Crazy World. Maughan also appeared in the film Pop Gear (1965) and sang the title song for the second Charles Vine low-budget superspy film, Where the Bullets Fly (1966). In 1971 she appeared in series five of the Morecambe & Wise BBC television series, having previously appeared on their 1962 ATV series. In that year she also replaced Clodagh Rodgers in the show at London’s Adelphi Theatre, Meet Me in London, after Rodgers withdrew just before curtain up on the first night when one of her songs was cut. Late in rehearsals it had become clear the show was too long for one running twice-nightly.

In 1974, she recorded the song, Time, from the film, Dirty Mary, Crazy Larry, which she sang during her appearance the same year on the Wheeltappers and Shunters Social Club show.

She married advertising executive Nicolas Teller, February 1965. She now lives in Eastbourne with second husband Nick Leigh, a theatre director (by wikipedia)

Susan Maughan03.jpg

And here´s one of their pretty good jazz albums from the Sixties, including a nice version of the Neil Diamond song “I’m A Believer” (you know … The Monkees !) and the jazz classic “Cute”, orignally performed by Count Basie in 1958

‘”Susan Maughan turns on, tunes in and drops out with Hey Look at Me, the kind of self-consciously groovy vocal jazz set that is unmistakably the product of Swingin’ London circa 1967. A square, frustratingly sentimental singer on previous LPs, Maughan digs into pop hits like “There’s a Kind of Hush” and “I’m a Believer” with gusto, but what pulls the record back from the precipice of kitsch is the smart, sophisticated arrangements of pianist Laurie Holloway, who manages to generate some truly soulful moments.” (by Jason Ankeny)

Susan Maughan01

Kenny Baldock (bass)
Laurie Holloway (piano)
Bobby Kevin (drums)
George Kish (guitar)
Phillip Lee (guitar)
Susan Maughan (vocals)
Kenny Napper (bass)
Spike Heatley (bass)
John Spooner (drums)


01. Hey Look Me Over (Leigh/Coleman) 1.37
02. Great Day (Rose/Eliscu/Youmans) 2.41
03. I’m A Believer (Diamond) 2.00
04. More (Oliviero/Newell/Ortolani) 2.25
05. On Green Dolphin Street (Kaper/Washington) 2.56
06. I’m All Smiles (Martin/Leonard) 3.07
07. Let’s Fall In Love (Arlen/Koehler) 1.56
08. Call Me (Hatch) 2.56
09. Matchmaker, Matchmaker (Bock/Harnick) 2.24
10. There’s A Kind Of Hush (All Over The World) (Stephens/Reed) 2.46
11. Cute (Hefti/Styne) 2.11
12. Softly As I Leave You (De Vita/Shaper) 2.06



The George Shearing Quintet – Shearing On Stage! (1959)

Muro do Classic RockSir George Albert Shearing, British pianist (born Aug. 13, 1919, London, Eng.—died Feb. 14, 2011, New York, N.Y.), created a cool quintet sound that contrasted with the aggressive energy of bebop and made him a favourite modern-jazz artist. One of the many songs that he composed, “Lullaby of Birdland” (1952), written for New York City’s Birdland nightclub, became a jazz standard. Shearing, who was blind from birth, played with leading swing musicians and was already one of the most popular performers in British jazz when he first visited the U.S. in 1946. After he settled in the U.S. a year later, he formed a quintet that played themes in distinctive piano-vibes-guitar unisons.
The George Shearing Quintet recorded the single “September in the Rain” (1949) and a series of albums that became jazz hits, and they accompanied popular singers, including Nancy Wilson, Peggy Lee, and Nat King Cole. From 1979 he performed principally as a piano soloist, although he was often accompanied by a bassist and sometimes worked with other performers, such as singer Mel Tormé and guitarist Jim Hall; on occasion he also played classical works. Shearing’s autobiography, Lullaby of Birdland, written with Alyn Shipton, was published in 2004. He was knighted in 2007. (by
And here´s a live recording from the Fifites:
A wonderful album, compromised only because it was recorded live, with the result that the audio is of less than studio quality. Shearing’s imitation of Errol Garner’s On The Street Where You Live is absolutely outstanding. (by Charles)


Percy Brice (drums)
Al McKibbon (bass)
Armando Perazo (percussion)
Emil Richards (vibraphone)
George Shearing (piano)
Jean “Toots” Thielemans (guitar, harmonica)



01. September In The Rain (Dubin/Warren) 3.38
02. On The Street Where You Live (Loewe-Lerner) 1.15
03. Roses Of Picardy (Weatherly/Wood) 3.00
04. Little Niles (Weston) 7.38
05. Caravan (Ellington/Mills/Tizol) 4.59
06. I’ll Remember April (Raye/de Paul/Johnston) 3.33
07. Little White Lies (Donaldson) 5.14
08. East Of The Sun (Bowman) 3.25
09. Nothing But The Best (Best)




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


János Rolla (Liszt Ferenc Kamarazenekar Orchestra) – The Four Seasons (Vivaldi) (1987)

FrontCover1.JPGThe Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. They were written around 1721 and were published in 1725 in Amsterdam, together with eight additional violin concerti, as Il cimento dell’armonia e dell’inventione (“The Contest Between Harmony and Invention”).

The Four Seasons is the best known of Vivaldi’s works. Though three of the concerti are wholly original, the first, “Spring”, borrows motifs from a Sinfonia in the first act of Vivaldi’s contemporaneous opera Il Giustino. The inspiration for the concertos was probably the countryside around Mantua, where Vivaldi was living at the time. They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters’ and the prey’s point of view, frozen landscapes, and warm winter fires.

Unusually for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music—i.e., music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the

OriginalTitelPage.jpgpage. For example, in the middle section of the Spring concerto, where the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi separated each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections.

There is some debate as to whether the four concertos were written to accompany four sonnets or vice versa. Though it is not known who wrote the accompanying sonnets, the theory that Vivaldi wrote them is supported by the fact that each sonnet is broken into three sections, each neatly corresponding to a movement in the concerto. Regardless of the sonnets’ authorship, The Four Seasons can be classified as program music, instrumental music intended to evoke something extra-musical and an art form which Vivaldi was determined to prove sophisticated enough to be taken seriously.

In addition to these sonnets, Vivaldi provided instructions such as “The barking dog” (in the second movement of “Spring”), “Languor caused by the heat” (in the first movement of “Summer”), and “the drunkards have fallen asleep” (in the second movement of “Autumn”). (by wikipedia)

The Four Seasons are one of the most important compositions of all time and her we can hear a real great version byRolla János, a Hungarian violinist and conductor. He was very popular in his country and if you listen to this masterpiece of music, you will know why.

And the beautfiful pictures on the  frontcover was taken from the Flemish Calendar.


László Czidra (strings)
Mária Frank (cello)
Rolla János (violin)
Zsuzsa Pertis (harpsichord, organ)
László Som (bass)
Liszt Ferenc Kamarazenekar Orchestra conducted by Rolla János



Concerto No. 1 in E major, Op. 8, RV 269, “La primavera” (Spring):
01. Allegro 3.20
02. Largo 2.26
03. Allegro  4.11

Concerto No. 2 in G minor, Op. 8, RV 315, “L’estate” (Summer):
04. Allegro Non Molto
05. Adagio 2.04
06. Presto  2.38

Concerto No. 3 in F major, Op. 8, RV 293, “L’autunno” (Autumn):
07. Allegro 5.03
08. Adagio Molto 2.04
09. Allegro 3.18

Concerto No. 4 in F minor, Op. 8, RV 297, “L’inverno” (Winter):
10. Allegro Non Molto 3.23
11. Largo 2.13
12. Allegro 2.52

Music composed by Antonio Vivaldi



Angel – Sinful (1979)

LPFrontCover1.JPGSinful is the fifth and most pop-oriented album by the rock band Angel. It was originally titled Bad Publicity and a few copies of the album with that name and a different album cover were sold before being replaced. The album went to #159 on the Pop Album Charts in the USA in 1979. (by wikipedia)

When I was a kid, my brother had this album on 8-track and I was fascinated with it. Not only b/c the 8-track casing was red and looked cool, but the main thing that struck me was how freakin’ killer the band themselves looked. I knew that when I grew up I wanted to be in a band and look just like Greg Giuffria or Punky Meadows; or even Paul or Ace from Angel’s sister band, KISS. And seeing them perform in the Jodie Foster/Cherie Currie movie, “Foxes”, made them even more fascinating. This was/is bubblegum glam/pop metal in it’s finest form. These guys drew the map for the Sunset Strip scene that came a little later on and included bands like Ratt, Dokken and Stryper. But Angel was far better than many of the bands they inspired. Just listen to the opening track, “Don’t Take Your Love”. You got fat, analogue slap-synth keyboards over catchy, upbeat and simple guitar and bass melodies, with vocals that are strong and befitting of metal and yet somehow innocent or something (pouty?). The way the bass kicks in after the initial beginning flourishes, you know you’re in for a treat. That opening track sets up and paves the way for what is, in my opinion, a perfect glam record, and THE prototype for what people now refer to as hair metal. I have all six of the Angel albums, in one format or other, but Sinful to me is their pinnacle. (Swedish Glamster)


At the time of its 1979 release, Angel were floundering madly. They’d just come off their best selling and charting album, “White Hot,” and still could not break through to the success of their similarly themed or sounding acts. They still had one of the most talked about stage shows in the world (and still garnered those comparisons of being the “anti-kiss”). What they did not have was the breakthrough anthem or the hit single, and “Sinful” was meant to change that. Angel left behind the prog-rock of “Angel” and “Helluva Band” two albums back, and now had become a first rate glam-pop group.


Eddie Leonetti, who also produced “White Hot,” came back to the boards for this album. “Sinful” is a more guitar focused album than “White Hot” was, but not the arena rock blast that Eddie Kramer gave to “On Earth as It Is in Heaven.” Greg Guifria is more in the background, but still shows his chops (“Don’t Take Your Love”). As a point of fact, “Sinful” is an album that bridges the 70’s rock of Styx’ “The Grand Illusion” to hair glam of the 80’s bands like Poison. Had they hung around for the more androgynous period of Twisted Sister and their ilk, Punky Meadows would have been a guitar god. “Bad Time” and “Wild and Hot” (eventually used in the film “Detroit Rock City”) should have been power-glam classics, but Angel were just too far ahead of the curve. (Tim Brough)

And this album is indeed a pretty good one … But their song “Wild And Hot” is a masterpiece of heavy metal … hard rock … call it what you like … it´s a monster song !


Barry Brandt (drums)
Gregg Giuffria (keyboards)
Punky Meadows (guitar)
Frank DiMino (vocals)
Felix Robinson (bass)


01. Don’t Take Your Love (DiMino/Giuffria) 3.32
02. L.A. Lady (Meadows) 3.46
03. Just Can’t Take It (DiMino/Meadows) 3.44
04. You Can’t Buy Love (Brandt/DiMino) 3.38
05. Bad Time (DiMino/Giuffria) 3.42
06. Waited A Long Time (Brandt/DiMino) 3.14
07. I’ll Bring The Whole World To Your Door (DiMino/Leonetti/Meadows) 2.54
08. I’ll Never Fall In Love Again (Giuffria) 3.34
09. Wild And Hot (Meadows) 3.00
10. Lovers Live On (Meadows/Robinson) 2.59



Up in the morning, ready for school
‘Nother day of that golden rule
Doin’ my homework, all week long
Same old exams, always get ’em wrong
Teacher don’t care, she don’t understand
We’re just crazy, ’bout rock n’ roll bands
When they get it together
There is nothing better
When I feel that beat
I just wanna jump out of my seat
Yeah, yeah, yeah, yeah

‘Cause we’re wild and we’re hot
And we’re ready to rock
No one can make us stop
‘Cause we’re wild and we’re hot

Mommy and Daddy, think I’m a fool
Stay out nights, late for school
I don’t care what they say
When I hear those guitars play
When they play it together
There is nothing better
When I feel that beat
I just wanna jump out of my seat
Yeah, yeah, yeah, yeah

‘Cause we’re wild and we’re hot
And we’re ready to rock
No one can make us stop
‘Cause we’re wild and we’re hot

The show is over, now I got to go home
Sit in my room, I’m all alone
I can still hear, my superstars
Gettin’ me high, takin’ me far
When I feel that beat
I just wanna jump out of my seat
Yeah, yeah, yeah, yeah

‘Cause we’re wild and we’re hot
And we’re ready to rock
No one can make us stop
‘Cause we’re wild and we’re hot
Yeah, yeah, yeah, yeah


taken from


The labels of the “Bad Publicity” edition

Tony Spinner – Saturn Blues (1993)

FrontCover1.jpgTony Spinner in his own words:

I was born a poor black child… No, wait! That was Steve Martin’s character in “The Jerk.” I was born June 9, 1963 in Cape Girardeau, Missouri. I grew up listening to the radio and to records. I was immediately attracted to 50’s rock music at an early age, especially Chuck Berry (he’s still one of my music heros.) Mom and Dad played records by Marty Robbins, Elvis Presley, Little Richard, Chuck Berry, etc. We also watched tv music shows like Sonny and Cher, Tom Jones, Dean Martin, and Johnny Cash. I liked to see people perform music live on tv. This got me interested in playing guitar. Later on I got into heavier music like Jimi Hendrix, Duane Allman, Rory Gallagher, Johnny Winter and Robin Trower. They are still my heroes and important influences today.

Most people recognize me from my work as backing guitar player and singer for other bands and musicians. I toured with Pat Travers, recorded and toured with Paul Gilbert of TonySpinner01Mr. Big and from 1999 to 2009 and continue to write and record with Paul to this day. I also worked as a backing guitar player and background singer for TOTO. You can see me on all of TOTO’s live recordings during that time period and I’ve toured the world many times with the group.

In the shadow of my work as a backing musician, I have continued to work on my solo career. I’ve recorded a total of nine (9) solo albums so far, as well as made guest appearances on many other artist’s CD’s and tribute recordings. The first three of my solo recordings, “Saturn Blues” (1993), “My ’64” (1995) and “Crosstown Sessions” (1996) were released on Mike Varney’s Blues Bureau International label. Due to TOTO’s busy touring schedule, it took some time before I recorded “Chicks & Guitars,” my fourth album that was released in 2005. That album is the only one I’ve done entirely on my own, without any record company involvement. (I really like that one!) “Live in Europe” was recorded and released in 2007 on Grooveyard Records along with “Rollin’ and Tumblin'” which was recorded in 2009. “Down Home Mojo,” also on Grooveyard Records (my favorite so far!) was recorded in 2011 and the I continue to record for Grooveyard Records to this day!

The Tony Spinner Band has been touring throughout Europe since 2004. The current line-up of my European band consists of bass player Michel Mulder and drummer Alex TonySpinner02Steier. These guys are great musicians as well as super nice people. They have the same passion for making good music as I do.

When I play at home in the U.S., I have some local guys that I play with. Brent Long on bass and vocals and Derek Doyle on drums. They’re also great guys and we have big time fun jammin’ in the clubs here in the South. Put on your bullet proof vest and get your tetanus shot and come see us some time! (Sometimes the clubs can get kinda rough, ha ha!)

My goal as a musician is to make good music with lots of improvisation. The tunes I play include rock, blues, funk and groove influenced jams. I never have liked set lists so I don’t use one. You never know what you’ll get but it is always honest, inspired and real “from the heart music.” Kinda like… “Earth Music For Aliens”, yeah, that’s the ticket!!! That’s what it’s all about to me! (taken from his website)

Why is Tony Spinner so unknown among rock guitar audience? The guy is great and his exciting licks bring me memories of Hendrix and Vaughan (actuallym he dedicated this album to the two fret-masters). I’m not kidding, SATURN BLUES is a hell of a rock album. Its production remembers me of hard rock, but you can still listen to the blues in all the songs! It is a power trio kicking, and Spinner plays very well and also sings. About the voice: some people who listened complained it sounded like those pop metal of the ’80s, and they have some reason. But hey, the instrumental in this album is great and I still think Tony’s voice fits well in the rock tradition.
TonySpinner04.jpgI was in a record store better known for its jazz catalogue when I met this album in the “blues session” and asked for a quick listen. Man, when “Atomic Blast” exploded in the headphones, I knew I had discovered something.
“Make it through” is a classic mid-tempo rocker, and the solo is 100% Hendrix. A friend of mine, who is a fine guitarrist himself and has perfect pitch, said it was as if Tony incorporated Jimi’s spirit. I have to agree!
“Fall Down” begins with the sonic abuse of an over-saturated amp, and then moves into gung ho rock with killer chops. Perfect to listen to when you’re driving in the highway, just beware not to exceed speed limits!
“You’re my everything”, “Hello California” and “Angeline” brings us closer to the blues, but with the adrenaline of rock always present.
It is the kind of music that makes you feel good, with lots of energy, it has none of the contrived sorrow and delusion that has been so associated to rock after the grunge breaktrough. Some may find it old-fashioned, but I love it and it is so good to discover an artist that still rocks in a more uplifted way.
“Freedom” is also high-voltage rock’n’roll and “Hey Zombie” a funky mid-tempo, You can listen to classic and thrilling guitar licks all the way, and with a terrific tone!
Summing up, highly recommended and I only wish Spinner could receive more promotion. I found in Amazon he has 2 more albuns and I’m gonna check them too. But one thing is for sure: SATURN BLUES is no-nonsense, terrific rock. (by an amazon customer)


Aynsley Dunbar (drums)
John Onder (bass)
Tony Spinner (guitar, vocals)
background vocals on 06.:
Michael Onesko – Mike Varney


01. Atomic Blast 4:51
02. She’s My Everything 4:34
03. Freedom 3.52
04. Hey Zombie 4.52
05. Angeline 4.58
06. Make It Throught 5.33
07. Delilah 6.43
08. World Fall Down 5.39
09. Hello California 7.14
10. Drivin’ All Night 4.36

All songs written by Tony Spinner



Shirley Horn – I Remember Miles (1998)

FrontCover1.jpgI Remember Miles is a 1998 studio album by Shirley Horn, recorded in tribute to Miles Davis. The album cover illustration was a drawing Davis had once done of them both.

Horn’s performance on this album won her the Grammy Award for Best Jazz Vocal Performance at the 41st Grammy Awards. (by wikipedia)

No thanks to the paucity of musical genius in the latter half of the 1990s, tribute albums to the departed just kept pouring forth, although in Shirley Horn’s case, she was repaying an old personal debt to her subject. After all, it was Miles Davis who originally got Horn out of D.C. in 1960 as his opening act at the Village Vanguard and contributed his trumpet to one of her comeback albums (1990’s You Won’t Forget Me). Not only that, Horn’s understated, laconic, deceptively casual ballad manner is a natural fit for the brooding Miles persona, and she doesn’t have to change a thing in this relaxed, wistfully sung, solidly played collection.


She doesn’t actually perform any Davis compositions; everything here consists of standards that Miles covered or transformed in the 1950s, including three numbers from Porgy and Bess. Roy Hargrove adds his effective muted Miles imitations on “I Fall In Love Too Fast” and open flurries on “I Got Plenty O’ Nuttin'”; and Toots Thielemans makes like a long, lonesome train whistle on “Summertime.” Former Davis cohorts Ron Carter and Al Foster join the rhythm section in a remarkably searching, extended “My Man’s Gone Now,” the only track which takes note of the electric music that consumed so much of Miles’ output (in this case, inspired by the We Want Miles version, not the more familiar Gil Evans interpretation). In a sad way, the very idea of a Miles tribute is an oxymoronic denial of the ever-restless spirit of this genius who didn’t believe in looking backwards. But Shirley Horn certainly serves the man’s sensitive side well. (Richard S. Ginell)


Ron Carter (bass)
Al Foster (drums on 02. + 04., 07. + 08.)
Roy Hargrove (flugelhorn, trumpet)
Shirley Horn (piano, vocals)
Charles Ables (bass on 01., 06., 08. + 09.)
Buck Hill (saxophone on 04.)
Toots Thielemans (harmonica on 03.)
Steve Williams (drums, percussion on 01., 06., 08. + 09.)


01. My Funny Valentine (Hart/Rodgers) 5.35
02. I Fall In Love Too Easily (Cahn/Styne) 5.40
03. Summertime (G.Gershwin(I.Gershwin/Heyward) 4.59
04. Baby Won’t You Please Come Home (Warfield/Williams) 7.24
05. This Hotel (Keating/Quine) 3.39
06. I Got Plenty O’ Nuttin’ (G.Gershwin(I.Gershwin/Heyward) 3.40
07. Basin Street Blues (Williams) 5.30
08. My Man’s Gone Now (G.Gershwin/I.Gershwin/Heyward) 10.39
09. Blue In Green (Davis/Evans/Jarreau) 6.00



Michael Penn – Free For All (1992)

FrontCover1Free-for-All was singer-songwriter Michael Penn’s second full-length record, released in 1992 on RCA. There were no big hit singles of the strength of his only top 40 hit, 1989’s “No Myth”, but the album did feature two songs that reached the Top 20 on the Modern Rock Charts: “Long Way Down (Look What the Cat Drug In)” peaked at number 14, while the second single, “Seen the Doctor”, reached nine spots higher, for a number 5 placing. The album led to a bitter battle between Penn and his record company, leading him to forgo releasing a follow-up until 1997. (wikipedia)

Free-for-All (1992) is the album that proved to skeptics that Michael Penn was neither a one-hit wonder nor an artistic lightweight trading on his famous surname. It’s a darker, less immediately engaging album than March, but it’s also a far more consistent album than that wildly uneven debut. From the ominous opener, “Long Way Down (Look What the Cat Drug In),” through to the seething closer, “Now We’re Even,” this is a murky but memorable set of tunes about deception, anger, broken promises, and recriminations. Hardly Frank Stallone territory. Penn and creative partner Patrick Warren (who, just as he did on March, contributes an atmospheric instrumental at the album’s halfway point) fill the album with odd, unsettling sounds and trippy textures, but never at the expense of the songs.


The creepy atmosphere and prominent production tricks on songs like the raging “Seen the Doctor” (the album’s best song and an unfortunate flop as a single) actually enhance the dismissive, bitter lyrics and the nagging guitar hook. Well-reviewed but poor-selling, Free-for-All marked the start of Michael Penn’s unfortunate, long battle for a modicum of respect from his record company. It would be five years before he released another album. (by Stewart Mason)

Free-for-All (1992) is the album that proved to skeptics that Michael Penn was neither a one-hit wonder nor an artistic lightweight trading on his famous surname. It’s a darker, less immediately engaging album than March, but it’s also a far more consistent album than that wildly uneven debut. From the ominous opener, “Long Way Down (Look What the Cat Drug In),” through to the seething closer, “Now We’re Even,” this is a murky but memorable set of tunes about deception, anger, broken promises, and recriminations. Hardly Frank Stallone territory.


Penn and creative partner Patrick Warren (who, just as he did on March, contributes an atmospheric instrumental at the album’s halfway point) fill the album with odd, unsettling sounds and trippy textures, but never at the expense of the songs. The creepy atmosphere and prominent production tricks on songs like the raging “Seen the Doctor” (the album’s best song and an unfortunate flop as a single) actually enhance the dismissive, bitter lyrics and the nagging guitar hook. Well-reviewed but poor-selling, Free-for-All marked the start of Michael Penn’s unfortunate, long battle for a modicum of respect from his record company. It would be five years before he released another album. (by Stewart Mason)


Kenny Aronoff (drums, percussion)
Tony Berg (harmonica, percussion)
D.J. Bonebrake (drums, percussion)
Bennett Chesne (guitar, background vocals)
Joel Hirsch (djembe, udu)
Jim Keltner (drums, percussion)
Ron Leonard (cello)
Pat Mastelotto (drums, percussion)
Ian McHandel Lepine (drums, percussion)
Wendy Melvoin (trombone)
Gurf Morlix (pedal steel guitar, steel guitar, background vocals)
Michael Penn (vocals, guitar)
John Pierce (bass)
Patrick Warren (keyboards)
background vocals:
Chris Hickey – Steven Soles – Glenn Tilbrook – Keith Wilkinson


01. Long Way Down (Look What the Cat Drug In) 3.53
02. Free Time 4.13
03. Coal 3.33
04. Seen The Doctor 3.14
05. By The Book 5.03
06. Drained 4.00
07. Slipping My Mind 2.36
08. Strange Season 3.51
09. Bunker Hill 4.39
10. Now We’re Even 6.05

All songs composed by Michael Penn