Avril Lavigne – Let Go (2002)

FrontCover1.jpgLet Go is the debut studio album by Canadian singer-songwriter Avril Lavigne. It was released on June 4, 2002, by Arista Records. For a year after signing a record deal with Arista, Lavigne struggled due to conflicts in musical direction. She relocated to Los Angeles, where she recorded her earlier materials for the album; the kind of sound to which the label was not amenable. She was paired to the production team The Matrix, who understood her vision for the album.

The album was credited as the biggest pop debut of 2002, and was certified six-times Platinum in the United States. It was released to generally positive reviews, although Lavigne’s songwriting received some criticism. It also did extremely well in Canada, receiving a diamond certification from the Canadian Recording Industry Association, as well as reaching multi-platinum in many countries around the world, including the UK in which she became the youngest female solo artist to have a number-one album in the region.


As of 2011, Let Go had sold over 20 million copies worldwide becoming Lavigne’s highest-selling album to date. According to Billboard, the album was the 21st best-selling album of the decade. A Rolling Stone readers poll named Let Go the fourth best album of the 2000s. The album is considered as one of the albums that changed the pop punk music scene, because it helped to bring pop punk music into the mainstream, contributing to the rise of female fronted pop punk bands and female-driven punk-influenced pop music. On 18 March 2013, Let Go was re-released as a double disc-set paired with her second studio album, Under My Skin, which is released under RCA Records. The album was further promoted by the Try To Shut Me Up Tour between December 2002 and June 2003.


Lavigne relocated to Los Angeles, where she collaborated with songwriter and producer Clif Magness, who gave her ample creative control in the writing process. Lavigne and Magness wrote “Losing Grip” and “Unwanted”, songs that she deemed reflective of her vision for the entire album. However, Arista was not thrilled with the heavy-guitar laden songs that Lavigne was writing, prompting the label to look for other producers to match their demands.

Now two years since she signed the deal, Lavigne, who was then unknown, came to the attention of the three-piece production team The Matrix. Arista could not find the right direction for Lavigne, so the team’s manager, Sandy Roberton, suggested that they work together: “Why don’t you put her together with The Matrix for a couple of days?” According to member Lauren Christy, they had been listening to Lavigne’s early songs and felt they contained “a Faith Hill kind of vibe”. As soon as they saw Lavigne coming into their studio, The Matrix felt that her musical direction was incongruous to her image and attitude. After talking to Lavigne for an hour, “we cottoned on that she wasn’t happy but couldn’t quite figure out where to go”.


The Matrix played her songs with Faith Hill influences, because it was those kind of songs the label wanted Lavigne to sing. But Lavigne dismissed it, saying she wanted songs with punk rock inclinations. Lavigne played The Matrix a song that she had recorded and really loved, a track with sounds in the likes of the rock band System of a Down. Fortunately, prior to forming The Matrix, its members’ early projects were in the pop-rock type, so they readily figured out what Lavigne wanted to record and knew exactly what to do with her. They told her to come back the following day, and in the afternoon during that day, they wrote a song that evolved into “Complicated” and another song called “Falling Down” (Falling Down appears on the Sweet Home Alabama Soundtrack). They played it to Lavigne when she came back the following day, inspiring her what path she should take.


When Josh Sarubin, the A&R executive who signed Lavigne to the imprint, heard the song, he knew it was right for her. Lavigne presented the song to Reid, who agreed the musical direction Lavigne and The Matrix were taking, and set “Complicated” as the album’s lead single. Reid sent Lavigne back to The Matrix to work with them, initially for a month. Arista gave the team carte blanche to write and produce 10 songs, which took them two months. The album was originally entitled Anything But Ordinary, after the track of the same name that The Matrix produced, but Lavigne asked Reid for the album to be called Let Go instead, which is the title of an unreleased demo featured on Lavigne’s 2001 B-Sides.

Critics described Let Go as an alternative rock album with post-grunge-oriented sound. (by wikipedia)

Avril Lavigne01.jpg

Talk about pressure — being under 21 and having a record deal no longer qualifies as extraordinary. And as mass-produced teen pop makes its exit and a glut of young singer/songwriters enter, child prodigies no longer have built-in marketing appeal. So if newcomer, 17-year-old Avril Lavigne truly wants to be “Anything But Ordinary,” as she sings on her debut album, Let Go, she’ll have to dig deeper. Luckily for Lavigne, aside from youth, she does have talent. Her debut runs the gamut from driving rock numbers like “Losing Grip” — where Lavigne shows off her vocal range, powering into the anger-fueled, explosive rock chorus — to singer/songwriter pop tunes like “My World,” where Lavigne fills listeners in on the past 17 years of her life. Lavigne handles a variety of styles deftly, but she still has some growing up to do lyrically. “Sk8er Boi” has a terrific power pop bounce, but shows her lyrical shortcomings: “He was a punk/She did ballet/What more can I say” — a lot. The phrasing is awkward and sometimes silly: “It’s funny when you think it’s gonna work out/Till you chose weed over me you’re so lame,” she sings on “Too Much to Ask.”


Not surprisingly, the standout track is the first single, “Complicated,” a gem of a pop/rock tune with a killer chorus. But listen carefully and you’ll realize that “Complicated”‘s sing-song melody borrows just enough from Pink’s “Don’t Let Me Get Me” to make it familiar and likeable. Nonetheless, the song is a knockout radio hit. Lavigne, a self-professed skater punk and labelmate of Pink, shares her “Take Me As I Am” credo as well. And that said, it’s hard not to look at this record, executive produced by Arista label head Antonio “L.A.” Reid, who is thanked by Lavigne for allowing “me to be myself,” and feel cynical about the music industry’s willingness to reproduce a hit over and over. Lavigne, however, is a capable songwriter with vocal chops, and at her age, one imagines, she is still finding her feet, borrowing from the music she’s grown up listening to. The problem is Lavigne is still so young she’s listening to the radio hits of the ’90s and early 2000s: she’s Pink when she’s bucking authority, Alanis Morissette when she’s angry, and Jewel when she’s sensitive. Let Go shows promise, but the question is whether Lavigne and only Lavigne will shine through on her next effort. (by by Christina Saraceno)

In other words: A perfect Power Rock album !


Jeff Allen (bass)
Joe Bonadio (drums)
Alex Elena (drums)
Curt Frasca (guitar)
Josh Freese (drums)
Corky James (guitar)
Avril Lavigne (vocals, guitar)
Gerry Leonard (guitar)
Clif Magness (bass, guitar, keyboards, drum loop)
Dennis Johnson (beats and scratching)
Suzie Katayama (cello)
Peter Zizzo (guitar)
background vocals:
The Matrix – Sabelle Breer


01. Losing Grip (Lavigne/Magness) 3.54
02. Complicated (Lavigne/Christy/Edwards/Spock) 4.04
03. Sk8er Boi (Lavigne/Christy/Edwards/Spock) 3.24
04. I’m with Yu (Lavigne/Christy/Edwards/Spock) 3.44
05. Mobile (Lavigne/Magness) 3.31
06. Unwanted (Lavigne/Magness) 3.41
07. Tomorrow (Lavigne/Frasca/Breer) 3.49
08. Anything But Ordinary (Lavigne/Christy/Edwards/Spock) 4.12
09. Things I’ll Never Say (Lavigne/Christy/Edwards/Spock) 3.44
10. My World (Lavigne/Magness) 3.27
11. Nobody’s Fool (Lavigne/Zizzo) 3.57
12. Too Much To Ask (Lavigne/Magness) 3.46
13. Naked (Lavigne/Frasca/Breer) 3.26





Don Sugarcane Harris – Sugar Cane´s Got The Blues (1971)

FrontCover1.jpgOne of the greatest definers of late-1960s and early-1970s jazz was the collaboration of musicians from disparate backgrounds, a perfect example being Charlie Mariano’s 1976 MPS release, Helen Twelve Trees (Promising Music/MPS, 2008), featuring ex-Mahavishnu keyboardist Jan Hammer alongside ex-Cream bassist Jack Bruce. Equally, 1972’s Sugar Cane’s Got the Blues—another MPS album demonstrates that stylistic differences can often come together to create music that’s exciting and completely unexpected.

Violinist Don “Sugar Cane” Harris seemed to burst onto the scene with two appearances on Frank Zappa’s classic Hot Rats (Rykodisc, 1969), resulting in a flurry of recording activity that mysteriously died out by the mid-1970s. Got the Blues captures two electrifying performance at Berlin’s Philharmonic Hall from November, 1971, a potent combination of groove and improvisational freedom that makes Harris’ later disappearance from the scene (he passed away in 1999) all the more curious.

The quintet of musicians come from diverse backgrounds: from Britain, Soft Machine drummer Robert Wyatt and bassist Neville Whitehead, who traveled in similar circles; and from Germany, keyboardist Wolfgang Dauner and guitarist Volker Kriegel, two multi-disciplinary players comfortable across a broad spectrum of styles, one example being Kriegel’s work on The Dave Pike Set’s Live at the Philharmonie. Norwegian guitarist/ECM mainstay Terje Rypdal replaces Kreigel on Got the Blues’s most purely jazz-centric track, Horace Silver’s “Song for My Father,” which may sport the album’s most relaxed vibe, but still can’t seem to restrain Harris’ fiery delivery.


The balance of the disc’s four extended tracks belong to Harris. “Liz Pineapple Wonderful” may at first revolve around a simple set of changes and, later, a one-chord vamp, but it grooves mightily with relentless energy. In addition to a “burning down the house” solo from Harris, he also sings on the track, as he does on the pseudo-swinging minor-keyed title track which, after another introductory two-chord vamp, turns modal and double time for individual and in tandem solos from Dauner and Kriegel before a finale with everyone in the pool for three minutes of spirited free play. Harris also sings on the funky closer, “Where’s My Sunshine,” another lengthy vamp that morphs into a blues, with a surprisingly authentic piano solo from Dauner.

Harris’ unrelenting and passionate delivery keeps the excitement level high throughout, despite Got the Blues’ largely simple and vamp-based tunes. And while Kriegel’s jazz/rock tendencies are no surprise to those familiar with him, hearing the usually free jazz-DonSugarcaneHarris02.jpgentric Dauner and Whitehead kick out the jams alongside Wyatt’s powerful drumming is an eye and ear-opener. In many ways, it’s this very multi-disciplinary nature of this collective that allows an album this compositionally spare to be so viscerally compelling. (by John Kellman)

Don “Sugar Cane” Harris’ drug addiction curtailed his career long prior to his death in 2000, but this performance at the 1971 Berlin Jazz Festival stands out as his best overall recording. Taped during the same day as the highly recommended New Violin Summit (which features Harris with fellow violinists Jean-Luc Ponty, Nipso Branther, and Michal Urbaniak), Harris delivers a terrific performance with his high energy “Liz Pineapple Wonderful”; “Sugar Cane’s Got the Blues,” a sometimes lyrical but often intense number featuring great solos by keyboardist Wolfgang Dauner and guitarist Volker Kriegel; the unusually structured blues “Where’s My Sunshine”; and finally an extended very percussive treatment of Horace Silver’s “Song for My Father,” during which Terje Rypdal takes over on guitar. Harris is clearly influenced by fellow violinist Stuff Smith on this outing with an often piercing sound and frequently fierce attack; he also has a somewhat hoarse singing style like Smith’s. This record has been difficult to find since BASF quit making records in the mid-’70s, but it is well worth acquiring and thanks to a reissue in 2008 by SPV, easier than ever. (by Ken Dryden)

Recorded live at Berlin Jazz Festival (Berliner Philharmonie)
November 4th and 7th, 1971 


Wolfgang Dauner (keyboards, electronics)
Don ‘Sugar Cane’ Harris (violin, vocals)
Volker Kriegel (guitar)
Neville Whitehead (bass)
Robert Wyatt (drums)
Terje Rypdal (guitar on 03.)


01. Introduction (in German)/Liz Pineapple Wonderful (Harris) 10.30
02. Sugarcane’s Got The Blues (Harris) 15.23
03. Song For My Father (Silver) 10.52
04. Where’s My Sunshine (Harris) 12.42


  • (coming soon)


Don Francis Bowman “Sugarcane” Harris (June 18, 1938 – November 30, 1999)

Melanie – In Concert – Live At Montreux (1973)

FrontCover1.jpgMelanie Anne Safka-Schekeryk (born February 3, 1947) is an American singer-songwriter. Known professionally as Melanie (and sometimes as Melanie Safka), she is best known for her hits “Brand New Key”, “Ruby Tuesday”, “What Have They Done to My Song Ma”, and her song about performing at the 1969 Woodstock Music Festival, “Lay Down (Candles in the Rain)”.

Melanie was born and raised in the Astoria neighborhood of Queens, New York City. Her father, Frederick M. Safka (1924-2009), was of Ukrainian ethnic background and her jazz singer mother, Pauline “Polly” Altomare (1926-2003), was of Italian heritage. Melanie made her first public singing appearance at age four on the radio show Live Like A Millionaire, performing the song “Gimme a Little Kiss”. She attended Red Bank High School in Red Bank, New Jersey, after transferring from Long Branch High School, graduating in 1966.

In the 1960s, when she was starting out, Melanie performed at The Inkwell, a coffee house in the West End section of Long Branch, New Jersey. After school, her parents insisted that she go to college, so she studied acting at the American Academy of Dramatic Arts in New York, where she began singing in the folk clubs of Greenwich Village, such as The Bitter End, and signed her first recording contract.

Melanie01.jpgInitially signed to Columbia Records in the United States, Melanie released two singles on the label. Subsequently, she signed with Buddah Records and first found chart success in Europe in 1969 with “Bobo’s Party” which reached Number 1 in France. Melanie’s popularity in Europe resulted in performances on European television programs, such as Beat-Club in West Germany. Her debut album received positive reviews from Billboard which heralded her voice as “wise beyond her years. Her non-conformist approach to the selections on this LP make her a new talent to be reckoned with.”

Later in 1969, Melanie had a hit in the Netherlands with “Beautiful People”. She was one of only three solo women who performed at the Woodstock Festival in 1969 and the inspiration for her first hit song, “Lay Down (Candles in the Rain)”, apparently arose from the Woodstock audience lighting candles during her set (although most of the “candles” were actually matches or lighters). The recording became a hit in Europe, Australia, Canada, and the United States in 1970. The B-side of the single featured Melanie’s spoken-word track “Candles in the Rain”. “Lay Down” became Melanie’s first Top Ten hit in America, peaking at Number 6 on the Billboard singles chart and achieving worldwide success. Later hits included “Peace Will Come (According To Plan)” and a cover of the Rolling Stones’ “Ruby Tuesday”.


In 1970, Melanie was the only artist to ignore the court injunction banning the Powder Ridge Rock Festival scheduled to be held on July 31, August 1 and August 2, 1970. She played for the crowd on a homemade stage powered by Mister Softee trucks. Shortly following this performance, she played at the Strawberry Fields Festival held from August 7 to 9, 1970, at Mosport Park, Ontario. She also performed at the Isle of Wight Festival held between August 26 and 30, 1970, at Afton Down, where she was introduced by Keith Moon and received four standing ovations (she also appeared at the 2010 Isle of Wight festival). She was also the artist who sang to herald in the summer solstice at Glastonbury Fayre (later the Glastonbury Festival) in England in June 1971.

Melanie left Buddah Records when they insisted that she produce albums on demand. In 1971 she formed her own label, Neighborhood Records, with Peter Schekeryk, who was also her producer and husband. (by wikipedia)


I guess, this was her last album for Buddah Records and it´s a very rare one:

This LP is perhaps the rarest of all Melanie albums. Buddah Records released the record in 1973. Initially it was thought to only have been released in Germany however, copies printed in Yugoslavia also exist,

Like Leftover Wine it features a solo concert, this time recorded in Montreux on June 12th, 1971. Whether the album was issued in limited numbers or whether it was withdrawn after release I cannot say. I came across my copy several years ago, it being the first one I had seen in many years of searching. Though copies now appear regularly on auction sites. (melaniesafkarecordings.uk)

And this ist not only a rare album, but it´a pretty good one … Melanie at her best, believe me ! What a woman, what a voice, what great songs and lyrics …

Oh yes, I´m still in love with Melanie!

Recorded live at Montreux on June 12th, 1971


Melanie Safka (vocals, guitar)


01. Chords Of Fame (Ochs) 4.50
02. Baby Guitar (Safka) 3.00
03. Alexander Beetle (Safka) 2:50
04. Nickel Song (Safka) 3.16
05. Carolina On My Mind (Taylor) 5.14
06. Peace Will Come (Safka) 5.18
07. Babe Rainbow (Safka) 5.50
08. What Have They Done To My Song, Ma (Safka) 4.23
09. Lay Down (Candles In The Rain) (Safka) 5.35



Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

We were so close, there was no room
We bled inside each other’s wounds
We all had caught the same disease
And we all sang the songs of peace

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown
So raise candles high
‘Cause if you don’t we could stay black against the night
Oh, raise them higher again
And if you do we could stay dry against the rain

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

We were so close, there was no room
We bled inside each other’s wounds
We all had caught the same disease
And we all sang the songs of peace

Some came to sing, some came to pray
Some came to keep the dark away

So raise candles high
‘Cause if you don’t we could stay black against the sky
Oh, oh, raise them higher again
And if you do we could stay dry against the rain

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down
Let your white birds smile
At the ones who stand and frown

Lay down, lay down, lay it all down

Biréli Lagrene – Gipsy Project – Just The Way You Are (2007)

frontcover1Biréli Lagrène (born 4 September 1966) is a French jazz guitarist. He came to prominence in the 1980s for his Django Reinhardt-influenced style. He often performs in swing, jazz fusion and post-bop styles.

Lagrène was born on 4 September 1966 in Saverne, Alsace, France, into a Romani family and community. His father and grandfather were guitarists, and he was raised in the gypsy guitar tradition. He started playing at age four or five, and by seven was improvising jazz in a style similar to Django Reinhardt’s, whom his father admired and wanted his sons to emulate. In 1980, while still in his early teens, he recorded his first album, Routes to Django: Live at the Krokodil (Jazz Point, 1981).

During the next few years, Lagrène toured with Al Di Meola, Paco de Lucía, and John McLaughlin, all of them guitarists, and played with Benny Carter, Benny Goodman, and Stéphane Grappellii. He joined Larry Coryell and Vic Juris in New York City for a tribute to Reinhardt in 1984, and went on tour with Coryell and Philip Catherine. He also performed with Jaco Pastorius, Stanley Clarke, the Gil Evans Orchestra, Christian Escoudé, and Charlie Haden. In 1989 he performed in a duo with Stanley Jordan.[1]

Lagrène recorded Gipsy Project (Dreyfus, 2001) and Gipsy Project and Friends (Dreyfus, 2002). With his usual cohorts Diego Imbert (double bass) and Hono Winterstein (rhythm guitar), the latter session featured Henri Salvador and Thomas Dutronc (son of Françoise Hardy and Jacques Dutronc). (by wikipedia)

Biréli Lagrène2.jpg

Guitarist Bireli Lagrene has long built upon the tradition that began with the Gypsy swing of the Quintet of the Hot Club of France with virtuoso guitarist Django Reinhardt. On this outing, Lagrene continues in the tradition while changing the instrumentation, incorporating drums, sax, and occasionally piano, but he also expands the repertoire to include modern songs written after Django’s death. “After You’ve Gone” and “I’ll See You in My Dreams” all fit like a comfortable pair of well-worn shoes, while Lagrene adds a friendly vocal to “All of Me” and digs up an old Reinhardt original (“Feerie”) that gives the leader a chance to show off his chops. Lagrene also arranged several strong originals written by his musicians. His swinging treatment of George Benson’s “Before You Go” features tenorist Franck Wolf in a breezy arrangement, while Lagrene switches to electric guitar for a laid-back setting of “Flamingo.” Even Elvis Presley’s “Love Me Tender” is successfully transformed into swing, though Lagrene’s loungy “Tim and Zoe” features electric guitar and synthesizer in the style of George Benson’s crossover recordings, a total misfit at the end of an otherwise flawless CD. (by Ken Dryden)

biréli lagrène

André Ceccarelli (drums)
Diego Imbert (bass)
Biréli Lagrène (guitar, vocals)
Hono Winterstein (guitar)
Franck Wolf (saxophone)
Roberto Jermaine Landsberger (piano on 14.)


01. After You’ve Gone (Creamer/Layton) 4.19
02. Just The Way You Are (Joel) 6.50
03. Lune de miel (Winterstein) 3.52
04. I’ll See You In My Dreams (Kahn/Jones) 3.21
05. All Of Me (Marks/Simmons) 4.33
06. Féérie (Reinhardt) 2.56
07. It’s impossible (Manzanero) 5.31
08. Cap’tain Ferber (Wolf) 3.23
09. Guet-apens (Imbert) 3.05
10. Flamingo (Anderson/Grouya) 3.57
11. Before You Go (Benson) 5.29
12. Lolita (Winterstein) 5.11
13. Love Me Tender (E. Presley/Matson) 5.00
14. Tim & Zoé (Lagrène) 7.15



Albion – Broken Hopes (2007)

FrontCover1.jpgAlbion is a Neo Prog band from Poland with female vocals. Very beautiful and melodic compositions in a nice atmosphere. “Albion” mixes short and long compositions, and sometimes the influence of bands like MARILLION become very clear. Close to the powerful neo Progressive rock, ALBION reminds of MARILLION, IQ and JADIS, with a Steve HACKETT style of guitar sound and subtle keyboard parts.

ALBION came into existence in 1992 when members of two dissolving bands from Cracow decided to start a new band. At the beginning the band consisted of the following four members: Jerzy Antczak (guitars), Krzysztof Malec (keyboards), Paweł Konieczny (drums) and Tomasz Kaczmarczyk (bass guitar).

After a short period of time joined Anna Batko taking the role of the vocalist.
This lineup started to work on the material which was to appear on ALBION’s first release. It was issued in 1994 under the title “Survival Games” by Art-Rock but only on a cassette (it was reissued next year on CD without the permission of the band by an italian label Mellow Records). During the recording process the bass guitarist Tomasz Kaczmarczyk left the band and his part was played by Paweł Konieczny who at this moment took the bassist’s role leaving the drums to Grzegorz Olszowski.

After the release of the cassette the band got a new manager Aleksander Król who, along with Sick Records Europe, decided to issue the band’s new material on a cassette and CD. The selftitled album was issued in 1995. After this release ALBION took part in many festivals and concerts in Poland.

When composing pieces for the next album another changes in the lineup took place – Grzegorz Olszowski was replaced by Rafał Paszcz behind the drums and the vocalist’s role passed to Katarzyna Sobkowicz. The album “Wabiąc cienie” appeared only after 10 years in 2005 issued by Lynx Music… (by progarchives.com – thanks to Bartłomiej Ślązak)


Albion seems to have some problem keeping a stable line up through their short career so far. Only original members remaining are guitarrist Jerzy Antczak and keyboards player Krzysztof Malec. Fortunatly they still have singer Katarzyna Sobkowicz-Malec on vocals (who joined them for their second official CD). Former drummer Rafal Paszcz is listed as a guest musician. Unlike their line up thought, the quality of Albion´s music only grew since it inception. If Albion (1995) was good and Wabiac Ciene (2005) was very good, Broken Hopes reaches the excellency leavel.

The group has matured both as players and as songwriters. Their music sounds like an interesting mix of early Quidam and latter day Satellite, with some strong Pink Floyd overtones. But make no mistake, they have their own sound and Katarzyna Sobkowicz-Malec is a gifted and unique singer, in a country that seems to have some of the finest prog female vocalists in the world nowadays. Oddly enough, guest bassist Krzysztof Wyrwa is one fo the best features in this CD, with fine bass runs throught the whole CD.

Katarzyna Sobkowicz-Malec1.jpg

The arrangements are varied and tasteful, with lush keyboards passages and some great guitar licks and solos. Those guys do understand about writing songs and make their music emotional and creative. The CD is a little short for my liking, but the band did not waste a single note, something really hard to hear lately. The second track is the 11 minute epic The Place, one of the most beautiful prog songs I ever heard. I get chills down my spine every time I hear it. This tune alone is worth the price of the CD.

I´m glad to say Albion more than fulfilled their promising start. Broken Hopes was one of the best new releases in 2007. Fans of early Marillion, Pendragon, Quidam, Satellite, etc. should not miss this terrific work. Highly recommended for any music lover. (by Tarcisio Moura)


Jerzy Antczak (guitar)
Krzysztof Malec (keyboards)
Katarzyna Sobkowicz-Malec (vocals)
Aretha Chmiel (saxophone)
Rafal Paszcz (drums)
Krzysztof Wyrwa (bass)


01. XX / XXI 1.02
02. The Place 11.56
03. Once Upon A Time 5.58
04. This Is It 2.43
05. Angel 4.56
06. I Am 5.45
07. Turks Fruit 5.56
08. This Is The Way Where We Go 8.24
09. Near The End 3.59

Music: Jerzy Antczak – Krzysztof Malec – Katarzyna Sobkowicz-Malec
Lyrics: Jerzy Antczak


  • (coming soon)

Pornosonic – Unreleased 70s Porn Music (1999)

lpfrontcover1Pornosonic is a project by Don Argott inspired by the style of music in adult films. Two albums have been released.

This album claim to be soundtracks from non-existent unreleased porn movies, but they are modern creations. Famous adult film actor Ron Jeremy was to hired by Mini Mace Pro Records to perform voice overs. (by wikipedia)

Especially in the wake of Boogie Nights, it’s common to think of the ’70s as the golden age of porn, before a more businesslike, crank-’em-out approach and lower-budget production techniques began to rob the films of some of their liveliness. It’s also possible to link the music used in their soundtracks to that general trend, since much ’80s and ’90s porn used cheap-sounding, repetitive vamps played by generic synth/guitar rock combos, which never quite augmented the films like the classic, sexy ’70s sound. That sound — wah-wah guitars sometimes spiced with organ or horn accents, and a backbeat that’s half funk, half hard rock — is all over Pornosonic: Unreleased 70s Porno Music, which purportedly contains soundtrack excerpts from mid-’70s porn flicks. However, there are a few too many knowing winks in producer/guitarist/composer Don Argott’s presentation to believe that — from the spoken introductions by highly recognizable porn veteran Ron Jeremy, which mimic the blindingly obvious innuendo of porn-film dialogue, to the way the song titles play off of the titles of their supposed “source films.”


Alternate frontcovers

But even if it isn’t genuine, Pornosonic accomplishes its mission quite well — so well, in fact, that the wink-wink-nudge-nudge dialogue snippets can actually break the mood created by some pretty sexy music. The irony is kind of fitting in a way, since porn rarely takes itself too seriously, but the slinky grooves are so effective at recreating their intended atmosphere that it isn’t really necessary. Quibbles aside, though, it’s a highly entertaining project. (by Steve Huey)

You don´t have to like porns from the Seventies … this is a pretty good Funk album … and it´s  a sort of a trash album …


Jarred Alterman (bass, piano (clavinova)
Don Argott (guitar)
Rob Giglio (drums)
Jo Hewitt (vocals)
Nick Kendall (percussion, violin)
Daniel Lee (trumpet)
Dan McKinney (organ)
Benjamin Shwartz (flute)
Mike Viggiani (guitar)
Nancy Falcow (vocals on 10.)
background vocals:
D. Mason Bendewald – Laura Shepherd
Ron Jeremy as Ron Jeremy


01. Dick Dagger’s Theme (from: Dick Dagger’s Big Dick Dilemma) (Argott) 3.10
02. Cramming For College (from: Cramming For College) (Argott) 2.53
03. Nice n’ Sleazy Does It (from If It Ain’t Easy It Ain’t Sleazy) (Argott) 3.25
04. Spiderpussy (from Spiderpussy) (Argott) 2.40
05. Special Delivery (from A Happy Ass) (Argott) 2.40
06. Sex Starved Secretaries (from Takin’ Dictation) (Viggiani/Argott) 3.52
07. Prepare For Take Off (from: Mile High Club) (Argott) 2.50
08. Her Magic Carpet (from: Donna Does DeNise) (Argott) 3.19
09. Laying Pipe (from Plumber’s DeLight) (Argott) 2.23
10. Spiderpussy (Slight Return) (from Spiderpussy 2: Caught in the Web) (Argott) 4.59




US porn Star Ron Jeremy in action during the Seventies

Sting – Bring On The Night (1986)

FrontCover1.jpgBring on the Night is a 1986 live album by Sting recorded over the course of several live shows in 1985 and released in 1986. The title is taken from a song by The Police from their 1979 album Reggatta de Blanc. The songs performed include Sting’s early solo material from the studio album The Dream of the Blue Turtles, and from his time with The Police, with a few of the performances played as medleys of the two. The touring band features the prominent jazz musicians Branford Marsalis, Darryl Jones, Kenny Kirkland, and Omar Hakim.

Despite not featuring any hit singles, the album reached number 16 on the UK Album Charts[3] and won Sting a Grammy Award in 1988 for Best Pop Vocal Performance, Male.

Bring on the Night is also a 1985 documentary directed by Michael Apted covering the formative stages of Sting’s solo career—released as DVD in 2005. (by wikipedia)


Sting really got carried away with the idea that his supporting crew for Dream of the Blue Turtles was a real jazz band, and technically, he was kind of right. He did pluck them straight out of Wynton Marsalis’ backing band (thereby angering Wynton and emboldening his anti-rock stance, while flaring up a sibling rivalry between the trumpeter and his saxophonist brother Branford — a veritable hat trick, that), and since he was initially a jazz bassist, it seemed like a good fit. At the very least, it seemed like a monumental occasion because he documented the entire development of the band and making of Dream with a documentary called Bring on the Night, releasing a double live album as its soundtrack just a year after the debut hit the stores. This could be called hubris (and it will be called that here), especially because the appearance of the live album feels like a way of showcasing Sting’s jazz band and jazz chops. Most of the songs run around five minutes long and there are no less than three medleys, two of which marry an old Police number with a tune from Dream. Arriving as a second solo album, it can’t help but feel a little unnecessary, even if the loose, rather infectious performances show what Sting was trying to achieve with his debut. Even so, this is a record for the cult, and while it will satisfy them, to others it will seem like, well, hubris. (by Stephen Thomas Erlewine)


Omar Hakim (drums, background vocals, electronic percussion)
Darryl Jones (bass)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone, clarinet, rap, percussion)
Sting (bass, guitar, vocals, keyboards)
background vocals:
Janice Pendarvis – Dolette McDonald


CD 1:
01. Bring On the Night/When the World Is Running Down, You Make the Best of What’s Still Around (Sting) 11.46
02. Consider Me Gone (Sting) 4.52
03. Low Life (Sting) 4.07
04. We Work The Black Seam (Sting) 7.01
05. Driven To Tears (Sting) 6.59
06. Dream Of The Blue Turtles/Demolition Man (Sting) 5.55

CD 2:
01. One World (Not Three)/Love Is The Seventh Wave (Sting)  11.13
02. Moon Over Bourbon Street (Sting)  4.25
03. I Burn For You (Sting) 5.26
04. Another Day (Sting) 4.45
05. Children’s Crusade (Sting) 5.30
06. Down So Long (Atkins/Lenoir) 4.37
07. Tea In The Sahara (Sting) 6.26