Various Artists – European Jazz – Volume 05 – France (Part 2) (2012)

At one time, the concept of “European Jazz” meant very little indeed. While jazz was developing in the USA in the 1920s, there was almost no European jazz to speak of. Some Americans – Benny Carter, Coleman Hawkins, Sidney Bechet – came to Europe and made an impact there in the 1930s but it was not until the thirties that Europeans began to develop their own jazz significantly. Perhaps the most outstanding group was the Quintet of the Hot Club of France, formed in 1934, with its two virtuosos Django Reinhardt and Stéphane Grappelli.

This group is not represented in this ten-CD boxed set, which suggests that the compilation is making no attempt at a historical survey. Indeed, it is difficult to know what this set is trying to do. It seems as if the compilers simply put together tracks to which they had access, and there is little attempt to provide a balanced view of European jazz. Nevertheless, this collection can be educative in opening our ears to some artists we may not have heard before. It also supplies a cross-section (albeit limited) of how Europeans developed jazz, mostly in the 1950s and 1960s.

This compilation makes it clear that European jazz was very much influenced by the Americans. For example, the tenorist on track 2 of the third CD sounds very like Stan Getz, while the altoist on the third track betrays the influence of Charlie Parker. And the Michael Naura Quintet on the eighth CD could be mistaken for the Modern Jazz Quartet.

I can’t tell you who most of the individual musicians are, as detailed personnels are sadly not given. This is a nuisance, as I would like to be able to identify (for instance) the bongo Brandenburgplayer on track 9 of the fifth CD. However, one lesson of many tracks in this collection is that many Europeans learnt from the bebop pioneers – and from such groups as the Gerry Mulligan Quartet. As most of the tracks in this compilation come from the fifties and sixties, there is little individuality in the music from the different countries, as it was only later that they began to develop their own distinctive styles.

This CD is the second to be devoted to France, included Bernard Pfeiffer.  He is a world-class pianist and it is good to find him included here. Another is  Michel Legrand and he has always been a fine pianist. Michel’s clear lines and swinging style are a joy. He is followed by Stéphane Grappelli displaying his rhapsodic violin style but also playing the piano with delicacy. (musicweb-international.com)

No, no, no … this compilation is not so weak, as we read above … it´s a great compilation with lots of rarities from the young European Jazz-Scene during the 50´and this time we hear great Jazz from France ! Excellent stuff !

Tracklist:

Legrand:
01. Tired Blues (Pfeiffer) 2.39
02. Steeplechase (Parker) 2.49
03. Midday On The Champs-Elysées (Rocherolle) 2.49
04. Caravan (Mills/Tizol/Ellington) 3.10

Michel Legrand:
05. Sous les Ponts de Paris (Rodor/Scotto) 2.52
06. Paris In The Spring (Gordon/Revel) 3.31
07. Sous le Ciel de Paris (Giraud/Drejac) 1.50
08. Paris Canaille (Ferré) 2.03
09. Paris je t‘aime d‘amour (Bataille/Grey/Schertzinger) 4.23
10. I Love Paris (Porter) 2.51
11. La vie en Rose (Piaf/Louiguy) 3.08

Stéphane Grappelli:
12. Dans la Vie (Louiguy) 3.52
13. Vous Qui Passez Sans Me Voir (Hess/Misraki/Trénet) 3.54
14. Marno (Grappelli) 2.49
15. Crazy Blues (Grappelli) 2.46
16. Viens Au Creux De Mon Epaule (Aznavour) 2.55
17. Red-O-Rey (Grappelli) 2.52

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More from the “European Jazz” edition:

Johnny Horton – Country & Western Superstar (1973)

John LaGale “Johnny” Horton (April 30, 1925 – November 5, 1960) was an American country music, honky tonk and rockabilly singer and musician, during the 1950s and early 1960s, best known for his international hits beginning with the 1959 single “The Battle of New Orleans”, which was awarded the 1960 Grammy Award for Best Country & Western Recording. The song was awarded the Grammy Hall of Fame Award and in 2001 ranked No. 333 of the Recording Industry Association of America’s “Songs of the Century”. His first number 1 country song was in 1959, “When It’s Springtime in Alaska (It’s Forty Below)”.

Horton’s music usually encompassed folk ballads based on American historic themes and legend. He had two successes in 1960 with both “Sink the Bismarck” and “North to Alaska” utilized over the opening credits for the John Wayne film of the same name. Horton died in November 1960 at the peak of his fame in a traffic collision, less than two years after his breakthrough. Horton is a member of the Rockabilly Hall of Fame and the Louisiana Music Hall of Fame.

Horton was born in Los Angeles, to John Loly Horton (1889–1959) and the former Ella Claudia Robinson (1892–1966), the youngest of five siblings, and reared in Rusk in Cherokee County in east Texas. His family often traveled to California to work as migrant fruit pickers. After graduation from high school in Gallatin, Texas, in 1944, Horton attended Lon Morris Junior College in Jacksonville, Texas, with a basketball scholarship. He later attended Seattle University and briefly Baylor University in Waco, although he did not graduate from any of these institutions.

Horton soon returned to California, where he got a job in the mail room at Selznick International Pictures. His future wife, Donna Cook, was working at the studio as a secretary at the time. After a short stint studying geology in Seattle in 1948, Horton went to Alaska to look for gold. It was during this period that he began writing songs. Returning south, he entered and won a talent contest in Henderson, Texas. Encouraged by this result, he returned to California to pursue a music career.

His guest appearances on Cliffie Stone’s Hometown Jamboree on KXLA-AM and KLAC-TV in Pasadena and his own half-hour show The Singing Fisherman led to the opportunity to record some songs on the Cormac record label. By the time the company folded in 1952, Horton recorded ten singles for that label. Fabor Robison, owner of Abbott Records, acquired the masters. Around this time Horton married Donna Cook.

By this time Horton was appearing regularly on Louisiana Hayride, so he and Donna moved to Shreveport, Louisiana, where the show was recorded. He also signed a contract with Mercury Records and began recording. His first song for that label, “First Train Headin’ South” b/w “(I Wished for an Angel) The Devil Sent Me You” (Mercury 6412), received good reviews. He and his new backup band, the Rowley Trio, began touring under the name The Singing Fisherman and the Rowley Trio in 1952, eventually changing the name to Johnny Horton and the Roadrunners. The group included Horton as lead singer, Jerry Rowley on fiddle, his wife Evelyn on piano, and his sister Vera (Dido) on guitars. The constant touring was hard on Horton’s marriage, and Donna moved back to Los Angeles. They were soon divorced.

On September 26, 1953, Horton married Billie Jean Jones, widow of Hank Williams, who had died January 1, 1953. Horton parted ways with the Rowley trio, but continued to appear occasionally on Louisiana Hayride. His contract with Mercury expired in late 1954, with his recording of “All for the Love of a Girl” (Mercury 70227) being his best seller, at 35,000 to 45,000 copies. Horton, himself always an avid fisherman, got a job in a tackle shop and put his music career on hiatus. But by the following year, his new manager and bassist Tillman Franks had obtained Horton a one-year contract with Columbia Records. They traveled to Nashville in a borrowed car for their first recording session. Influenced by the work of Elvis Presley, Horton began adopting a more rockabilly style.

“Honky-Tonk Man” was recorded on 11 January 1956 at the Bradley Film & Recording Studios in Nashville, one of four songs Horton recorded that day. Session musicians on the recording were Grady Martin and Harold Bradley, as well as Bill Black (at the time Presley’s bassist). Soon afterwards “Honky-Tonk Man” was released as a single (Columbia label: 4-21504) paired with another song from the same session, “I’m Ready if You’re Willing”. They went out on tour, with the band featuring Franks on bass and Tommy Tomlinson on guitar. He then moved to East Peoria, Illinois where he had had four children with Darcy Melba Dwyer.

“Honky-Tonk Man” was reviewed by the March 10 issue of Billboard, which said of “Honky Tonk Man”, “The wine women and song attractions exert a powerful hold on the singer, he admits. The funky sound and pounding beat in the backing suggest the kind of atmosphere he describes. A very good jukebox record.”[1] Their review of “I’m Ready if You’re Willing” was also positive: “Horton sings out this cheerful material with amiable personality. This ever more popular stylist ought to expand his circle of fans with this one.” The song peaked at No. 9 on the C&W Jockey chart (now Hot Country Songs) and at No. 14 on the Best Seller chart.

Horton returned to the studio on May 23, but the “A” side of his next single, “I’m a One Woman Man” (Columbia 21538), was one of the songs recorded back in January. The “B” side was “I Don’t Like I Did”. Billboard described “One Woman Man” as a “smart and polished job,” and Horton as “singing with a light, airy touch. Guitar work is just as convincing, adding up to listenable, commercial stuff”. He and his band toured through the United States and Canada to promote the record, which reached No. 7 on the Jockey chart and No. 9 on the Best Seller and Jukebox charts.

“I’m Coming Home” / “I Got A Hole In My Pirogue” (Columbia 40813) was released around this time as well. On February 9, Billboard noted that “not only Southern markets are doing good business with this, but Northern cities report that both country and pop customers are going for this in a big way”.[1] It was again a success on the country charts (No. 11 Jockey, No. 15 Best Seller) but it failed to score the popular music charts.

Later major successes include the song “The Battle of New Orleans” (written by Jimmy Driftwood), which was awarded the 1960 Grammy Award for Best Country & Western Recording. The song was awarded the Grammy Hall of Fame Award and in 2001 ranked No. 333 of the Recording Industry Association of America’s “Songs of the Century”. Horton had two other successes in 1960 with “Sink the Bismarck” and “North to Alaska” for John Wayne’s movie, North to Alaska.

On the night of November 4–5, 1960, Horton and two other band members, Tommy Tomlinson and Tillman Franks, were travelling from Austin, Texas to Shreveport when they collided with an oncoming truck on a bridge near Milano in Milam County, Texas. Horton died en route to the hospital, and Tomlinson (1930-1982) was seriously injured; his leg later had to be amputated. Franks (1920-2006) suffered head injuries, and James Davis, the driver of the truck, had a broken ankle and other minor injuries.

The funeral was held in Shreveport on November 8, 1960, officiated by Tillman Franks’ younger brother, William Derrel “Billy” Franks, a Church of God minister. Johnny Cash did one of the readings, choosing Chapter 20 from the Book of John.[1] Horton is interred, with a cemetery bench in his honor, at the Hillcrest Memorial Park and Mausoleum in Haughton, east of Bossier City in northwestern Louisiana.

When Johnny Cash, a good friend of Horton’s, learned about the accident he said, ” locked myself in one of the hotel’s barrooms and cried.” Cash dedicated his rendition of “When It’s Springtime in Alaska (It’s Forty Below)” to Horton on his album Personal File: “Johnny Horton was a good old friend of mine.” Over time, Horton’s material has been re-released a number of times, through boxsets and compilations.

Horton was inducted into The Louisiana Music Hall of Fame and posthumously inducted into the Delta Music Museum Hall of Fame in Ferriday, Louisiana.

Some racist songs by “Johnny Rebel” have sometimes been incorrectly associated with Horton. Rebel did not begin recording until after Horton’s death. The mistake is apparently because Horton recorded the historical song “Johnny Reb”.

Horton was married twice. His first marriage, to Donna Cook, ended with a divorce granted in Rusk, Texas. In September 1953, he married Billie Jean Jones, the widow of country music singer Hank Williams. (She was Williams’ second wife.) With Billie Jean, Horton had two daughters, Yanina (Nina) and Melody. Billie Jean’s daughter, Jeri Lynn, was legally adopted by Johnny. (by wikipedia)

And here´s a compilation album, produced for the German record market in 1973.

Enjoy this trip in the early days of Country & Western music !

Personnel:
Johnny Horton (vocals, guitar)
+
a lot of other musicians

Tracklist:
01. The Battle Of New Orleans (Driftwood) 2.31
02. When It’s Springtime In Alaska (It’s Forty Below) (Franks) 2.37
03. Johnny Reb Kilgore) 2.20
04. Sink The Bismarck (Horton/Franks) 3.14
05. North To Alaska (Phillips) 2.49
06. The Golden Rocket (Snow) 2.05
07. Got The Bull By The Horns (Boyd/Jones) 2.10
08. Johnny Freedom (“Freedomland”) (Weiss/Styne) 2.47
09. John Paul Jones (Driftwood) 2.20
10. Young Abe Lincoln (Make A Tall, Tall Man) (Huffstettler/Horton) 1.57
11. Rock Island Line (live) (Traditional) 2.41
12. All For The Love Of A Girl (live) (Horton) 2.54
13. Whispering Pines (Halsey) 2.56
14. The First Train Heading South (Horton) 2.20
15. Lost Highway (Payne) 2.36
16. The Battle Of Bull Run (Payne) 2.37
17. The Sinking Of Reuben James (Almanac Singers) 0.40
18. I’m Ready, If You’re Willing (Claud/Organ) 2.19
19. Honky-Tonk Man (Horton/Franks/Hauser) 2.13
20. I’m Coming Home (Horton/Franks) 2:05

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In may of nineteen forty-one the war had just begun
The germans had the biggest ships
That had the biggest guns
The Bismark was the fastest ship
That ever sailed the seas
On her deck were guns as big as steers
And shells as big as trees
Out of the cold and foggy night
Came the british ship the Hood
And ev’ry british seaman he knew and understood
They had to sink the Bismark the terror of the sea
Stop those guns as big as steers
And those shells as big as trees

We’ll find that german battleship
That’s makin’ such a fuss
We gotta sink the Bismark
‘Cause the world depends on us
Hit the decks a-runnin’ boys
And spin those guns around
When we find the Bismark we gotta cut her down

The Hood found the Bismark and on that fatal day
The Bismark started firin’ fifteen miles away
We gotta sink the Bismark was the battle sound
But when the smoke had cleared away
The mighty Hood went down
For six long days and weary nights
They tried to find her trail
Churchill told the people put ev’ry ship a-sail
‘Cause somewhere on that ocean
I know she’s gotta be
We gotta sink the Bismark to the bottom of the sea

We’ll find that german battleship
That’s makin’ such a fuss
We gotta sink the Bismark
‘Cause the world depends on us
Hit the decks a-runnin’ boys
And spin those guns around
When we find the Bismark we gotta cut her down

The fog was gone the seventh day
And they saw the mornin’ sun
Ten hours away from homeland
The Bismark made its run
The admiral of the british fleet said
Turn those bows around
We found that german battleship
And we’re gonna cut her down

The british guns were aimed
And the shells were comin’ fast
The first shell hit the Bismark
They knew she couldn’t last
That mighty german battleship is just a memory
Sink the Bismark was the battle cry
That shook the seven seas

We found that german battleship
Was makin’ such a fuss
We had to sink the Bismark
‘Cause the world depends on us
We hit the deck a-runnin’ and
We spun those guns around
We found the mighty Bismark
And then we cut her down

The Brandos – Live At Loreley (2018)

The Brandos are an American rock band formed in 1985 in New York City by Dave Kincaid (vocals, guitar), Ernie Mendillo (bass, vocals), Ed Rupprecht (guitar, vocals) and Larry Mason (drums, vocals).

The Brandos achieved commercial success in the United States in 1987 with the release of their first album, Honor Among Thieves and the single “Gettysburg”. They have also established a strong fan base in Europe, where they have done promotion and extensive touring since the late 1980s. They have occasionally made it high on the record charts in countries such as the Netherlands.

In 2010 the recordings from the 2004 Irish Tour were mixed and the live album David Kincaid and The Brandos – Live in Europe was released on Dec. 1, 2010 and distributed in Europe by Blue Rose. The only current member of The Brandos is singer, guitarist and songwriter Dave Kincaid.

The passion, grit and power of New York’s The Brandos has origins in the Seattle scene of the early eighties. In the fall of 1984, Dave Kincaid and Larry Mason were playing the Seattle club circuit as members of The Allies. With a local radio hit (‘Emma Peel’), critically acclaimed recordings, and a video under their belts. At the same time, New Jersey based Soul Attack (with Ernie Mendillo and Ed Rupprecht) were playing gigs in and around their home state, with occasional jaunts into New York City. They had also made and released a local record in 1984.

Frustrated with The Allies’ lack of success, Kincaid decided to move to New York in 1985. Immediately upon arrival Kincaid began scouring the local music papers, namely the Village Voice, looking for a new band. Soul Attack had just lost their principal singer and songwriter, and had just placed an ad looking for a replacement. Kincaid joined the band and they eventually changed their name to The Brandos and performed their first show on February 14, 1986. Featuring Kincaid on vocals and guitar, Ernie Mendillo (bass, vocals), Ed Rupprecht (guitar), and Larry Mason (drums), the band began playing most of New York’s most renowned clubs such as CBGB, Tramps, The Bitter End and Kenny’s Castaways. The band also spent one month touring the Pacific Northwest. By October they had enough material for an album. While recording, the band continued to perform in the New York area, along with a brief tour of Germany in May 1987.

The Brandos released their debut album, Honor Among Thieves, on Relativity Records in late August 1987. The album spent 19 weeks in the Billboard charts and peaked at No.108 in late October. During this period, the band began touring the U.S. and Europe, opening for well-known bands such as The Georgia Satellites, INXS, The Cars and The Alarm. Their first video was released and was placed in medium rotation on MTV. The favorable reviews began to pour in: the Gavin Report dubbed them “Best new American band”, Rolling Stone magazine ran a full-page story describing them as “Real contenders”, and Time magazine clinched it with their quote “The Brandos’ roots run deep and offer great nourishment”. In early 1988, the band won Best Album (Independent Label), and Kincaid was honored with Best Male Vocalist (Independent Label) at the New York Music Awards. The Brandos also left Relativity that year and signed with Geffen Records. Their relationship with Geffen was strained from the outset and the group ended up at RCA Records in 1989. After a massive corporate restructuring, RCA dropped The Brandos upon completion of their second LP, Trial by Fire (unreleased), in 1990.

The better part of 1991 was spent writing and recording new material for a new album that would become Gunfire at Midnight, which would land a contract with SPV GmbH in Germany in the spring of 1992. Two singles from the album (‘The Solution’ and ‘The Keeper’) would reach the top 100 in the Netherlands. Extensive touring in Europe would follow, solidifying the band’s fan base even further, however Rupprecht and Mason decided to leave the band in 1993. The Brandos recorded their next album The Light of Day with the help of a few friends, especially ex-Del Lords members Scott Kempner (guitar, vocals) and Frank Funaro (drums, vocals). They filled out the live band, and an extensive tour and live album, recorded in Amsterdam in December 1994, followed. In 1996, The Brandos returned with Pass the Hat and Frank Giordano (guitar, vocals) replacing Kempner. The album marked a return to a more stripped-down guitar sound. Kincaid released a solo album, The Irish Volunteer, in 1997 but returned to The Brandos for another album (Nowhere Zone) in 1998 followed by two tours of Europe with the likes of Bryan Adams, Van Morrison, and Deep Purple.

1999 saw the release of Contribution: The Best of 1985-1999. The band continued to tour Europe over the next few years. (by wikipedia)

And here´s one of their high energy gigs … recorded live in Germany, 1999:

1999 the Brandos did another European tour with the line-up Dave Kincaid, Ernie Mendillo, Frank Giordana and Tom Engels. One of the anchor dates the four piece played a outdoor festival for German TV show “Rockpalast” at Loreley on July 9th. The ste included nine songs, two more live tracks have been added to the disc; “I got It”, a Little Richard cover, was recorded at the Stadsfest in Bremen, germany 1987, another one in 1998 at the Kongresshalle in Giessen, also in Germany. (by sonicrendezvous.com)

Personnel:
Tom Engels (drums, vocals)
Frank Giordana (guitar, vocals)
Dave Kincaid (vocals, guitar, mandolin)
Ernie Mendillo (bass, vocals)

Tracklist:
01. Introduction (in German by Alan Bangs)/Can’t Go Home (Kincaid) 5.06
02. The Solution (Kincaid) 4.29
03. Trial By Fire (Funk/Kincaid) 6.54
04. Nothing To Fear (Funk/Kincaid) 6.38
05 The Warrior’s Son (Kincaid) 5.25
06. My Father’s Gun / Connachtmans’s Rambles / The Mist Covered Mountain (Kincaid) 6.48
07. Gettysburg (Funk/Kincaid) 4.57
08. Walk On The Water (Fogerty) 5.36
09. Gunfire At Midnight (Kincaid) 5.03
10. Strange Interiors (Funk/Kincaid) 3.54
11. I Got It (Penniman) 3.56

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Tanita Tikaram – Ancient Heart (1988)

Ancient Heart is the debut studio album by Tanita Tikaram. The record was initially released by Warner Music Group on 13 September 1988. The album had huge success and was a hit globally, launching Tanita’s mainstream career. Guest musicians included Rod Argent, Mark Isham, Peter Van Hooke, Dave “Clem” Clempson,Paul Brady, and Brendan Croker. Argent and Van Hooke produced the album. The record includes four singles.

It was the best selling album of 1989 in Germany (by wikipedia)

Singer/songwriter Tanita Tikaram’s debut album, Ancient Heart, stands as one of the most underappreciated albums of the 1980s, and she, along with Tracy Chapman, preceded the 1990s’ onslaught of female singer/songwriters by almost a decade. Tikaram, who was only 19 when this album was released, created a melancholy and wistful work, mature beyond her years, of startling originality and honesty. While this album may be considered folkish and artsy, it never stoops to the clichés that dominated those styles of music in the later Lilith Fair years. Her near perfect signature song “Twist in My Sobriety” is a stark, sinuous, desperate torch song that managed to garner a bit of radio and video airplay in its day and sounded like nothing else then or since.

Other highlights include the lovely and more upbeat “Cathedral Song,” “World Outside Your Window,” and “Good Tradition”,” as well as the jazzy “For All the Years” and the haunting “I Love You” and “Valentine Heart” — the latter being one of the album’s true highlights. Ancient Heart is a smoky, world-weary album, that, years after its initial release, does not sound one bit dated and has effortlessly stood the test of time. The definite highlight of Tanita Tikaram’s career. (by Jose F. Promis)

Personnel:
Rod Argent (keyboards)
Pete Beachill (trombone)
Paul Brady (mandolin)
Clem Clempson (guitar)
Mark Creswell (guitar)
Brendan Croker (guitar)
Mitch Dalton (guitar)
Martin Ditcham (percussion)
John Georgiadis (violin)
Keith Harvey (cello)
Peter van Hooke (drums)
Mark Isham (trumpet, flugelhorn)
Ian Jewell (viola)
Noel Langley (trumpet)
David Lindley (violin)
Rory McFarlane (bass)
Malcolm Messiter (oboe)
Helen O’Hara (violin)
Brendon O’Reilly (violin)
Marc Ribot (guitar)
Tanita Tikaram (vocals, guitar)
Philip Todd (saxophone)

Tracklist:
01. Good Tradition 2.52
02. Cathedral Song 2.54
03. Sighing Innocents 3.34
04. I Love You 2.45
05. World Outside Your Window 4.54
06. For All These Years 5.16
07. Twist In My Sobriety 4.52
08. Poor Cow 1.58
09. He Likes The Sun 5.29
10. Valentine Heart 4.06
11. Preyed Upon 5.05

All songs written by Tanita Tikaram

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Various Artists – Abba (A Heavy Metal) Tribute (2001)

A Tribute to ABBA is a tribute album of ABBA songs played by a variety of heavy metal and hard rock bands, released on 2 April 2001 by German record label Nuclear Blast. The compilation was also released in Japan under the title ABBAMetal: A Tribute To ABBA.

Well, this is a must hear for any Metal fans, especially those into novelty album. If you own Pat Boone’s In A Metal Mood or The Bluegrass Tribute To AC/DC then here’s another to add to your nutty collection, a bunch of Power Metal bands tributing ABBA!

Actually, novelties aside this is really well done. I was expecting it to sound all silly and goofy but after I listened to this it made me realise how much ABBA needed a tribute. Ok, some of it is silly and goofy, like that electronic-influenced version of Take A Chance On Me which isn’t even far from the original anyway (what can you expect from a band called Rough Silk?) and the last track is pretty bad, it sounds nothing like the rest, with an electronic-beat chorus and dumb indie-rock verses and a very annoying vocalist.

The rest, however, is brilliant! We open with a cool version of Summernight City by Therion, complete with violins and such, and then Metalium throw out an AWESOME speedy take of Thank You For The Music! Voulez-Vous sounds quite cool, and Paradox’s S.O.S. is pretty fucking insane, especially in the chorus. Thrashiest song on here. Then we go to Eagle, which is the best song ABBA ever did, and Sargant Fury do a fun version (Rob Rock did it better though, on Rage Of Creation). One Of Us sounds pretty damn beautiful too.

The only think that disappointed me is that The Winner Takes It All wasn’t included (and Does Your Mother Know for that matter) but besides that this is a fun little album to own. (by Muloc7253)

And you have the chance to discover a lot of totally unknown Heavy Metal Bands !

Tracklist:
01. Therion: Summer Night City (Andersson/Ulvaeus) 4.58
02. Metalium: Thank You For The Music (Andersson/Ulvaeus) 3.24
03. Sinergy: Gimme! Gimme! Gimme! (A Man After Midnight) (Andersson/Ulvaeus) 4.22
04. At Vance: Money, Money, Money (Andersson/Ulvaeus) 3.09
05. Morgana Lefay: Voulez-Vous (Andersson/Ulvaeus) 4.27
06. Paradox: SOS (Andersson/Ulvaeus/Anderson) 2.36
07. Rough Silk: Take A Chance On Me” (with Anke Hansen) (Andersson/Ulvaeus) 4.49
08. Spiral Tower: Chiquitita (Andersson/Ulvaeus) 5.35
09. Sargant Fury: Eagle (Andersson/Ulvaeus) 4.51
10. Flowing Tears: One Of Us (Andersson/Ulvaeus) 5.05
11. Nation: Waterloo (Andersson/Ulvaeus/Anderson) 3.18
12. Custard: Super Trouper (Andersson/Ulvaeus) 4.18
13. Tad Morose: Knowing Me, Knowing You (Andersson/Ulvaeus/Anderson) 3.27
14. Glow: Dancing Queen (Andersson/Ulvaeus/Anderson) 2.30

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1994 – Please Stand By (1979)

Way back in 1979 the debut album by female-fronted US band 1994 was a record I played to death, and still play regularly today due to Rock Candy’s excellent re-issue five years ago. On the back of the success of Heart and Pat Benatar there were many other good bands of the same ilk from the same era, with fellow Americans Storm (another great brace of great reissues from the same label), Spider and Canada’s Toronto immediately springing to mind. When 1994s sophomore record ‘Please Stand By…’ was first released I was initially very disappointed, but I soon came to like it a lot, even if I never actually loved it as much as their debut.

Who couldn’t love the vocals of the lovely Karen Lawrence? A particularly versatile singer who could just as easily strip the paint off your woodwork with her throaty roar as caress your ears with her beautiful melodies. The main difference for me on this album was the loss of original guitarist Steve Schiff, whose incendiary playing lit up every song, and whilst he was ably replaced by Rick Armand (and bassist Bill Rhodes,who plays more guitar than bass here), the results were maybe just a little too varied and the album lacked the consistent style of their self-titled release. Having said that the opening title-track is a great upbeat song,and the song the original LP ended with, the raucous ‘Keep Ravin’ On’,is perhaps the heaviest thing they recorded. Both ‘Wait For Me’ and ‘Stop The Heartache’ are nicely arranged Heart-like mid-paced songs with soaring vocals and catchy melodies, whilst ‘Our Time Will Come’ is an impressive power ballad with an inspired guitar solo. The highpoint of the album is the killer hard rocker ‘So Bad’ with it’s multiple stereo guitar parts and pounding bass lines, not to mention a brilliant vocal performance from Ms. Lawrence, but sadly the album is let down by the cheesy jazz-pop of ‘Don’t Break Up’ and the funky 80s vibe of ‘Wild In The Streets, which never seems to get going.

With another great production job from legendary Aerosmith/Alice Cooper man Jack Douglas, this re-issue sparkles with power and clarity and I’m still hearing sounds that I’d never heard before in the thirty years that I’d been listening to the LP. Paul Suter’s sleeve essay tells the usual sad story of lack of record company support and a band falling apart under the pressure, which is a shame because 1994’s sophomore release is still better than most albums of it’s ilk. (Phil Ashcroft)

And listen to “Nerves Of Steel” with a superb slide-guitar !

Personnel:
Rick Armand (guitar, background vocals, piano on 06.)
John Desautels (drums, percussion)
Karen Lawrence (vocals, piano, tubular bells on 04.)
Bill Rhodes (bass, guitar, slide-guitar, clavinet)
+
Jim Alcivar (synthesizer on 05.)
Lanier Greig (synthesizer on 02.)
Jim Horn (saxophone)
Terry Linvill (bass on 01., 03. + 05.)
+
background vocals:
Jay Gruska – Michelle Gruska – Sarah Taylor

Tracklist:
01. Please Stand By… (St John/Lawrence) 3.55
02. Wait For Me (St John/Lawrence/Armand) 4.33
03. Don’t Break Up (Rhodes/St John/Lawrence) 3.55
04. Our Time Will Come (St John/Lawrence) 4.38
05. Wild In The Streets (Jeffreys) 3.34
06. Stop This Heartache (St John/Lawrence/Armand/Linvill) 3.28
07. So Bad (Leonetti/Desautels/Lawrence/Armand) 4.02
08. Nerves Of Steel (Rhodes/Leonetti/Douglas/Desautels/Lawrence) 4.18
09. Keep Ravin’ On (St John/Lawrence/Armand) 4.05

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The Dutch Swing College Band – Digital Dixie (1981)

The Dutch Swing College Band “DSCB” is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.

Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) – among many others.

The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort’s death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead the band again officially on 1 January 1960. (by wikipedia)

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands’ top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort’s death in 1990. The fourth leader in the group’s history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late ’40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.

The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. (by Craig Harris)

The labels from the vinyl edition

And here´s a pretty good digital recording (recorded live at the Northsee Jazz Festival, July 12, 1981; featuring Rod Mason and Huub Janssen)

Enjoy this beautful romantic trip in the early days of Jazz …  transmitted in the digital era.

 

Personnel:
Henk Bosch van Drakestein (bass)
Huub Janssen (drums)
Dick Kaart (trombone, euphonium on  04. + 10.)
Bob Kaper (saxophone, clarinet)
Rod Mason (trumpet, sousaphone on 04.)
Fred Murray (piano)
Peter Schilperoort (saxophone, clarinet)

Tracklist:
01. Way Down Yonder In New Orleans (Creamer/Layton) 1.40
02. Knee Drops (Hardin) 4.48
03. West End Blues (Williams/Oliver) 4:.20
04. At A Georiga Camp Meeting (Mills) 4.42
05. I Want A Little Girl (Mall/Mencher) 5.25
06. China Boy (Winfree/Boutelje) 4.04
07. Creole Belles (Traditional) 4.48
08. Sugar (Alexander/Pinkard/Mitchell) 3.28
09. The Kazoos (Kaper) 5.57
10. Down Home Rag (Brown/Sweatman) 3.30
11. On Green Dolphin Street (Bronislau/Kaper/Washington) 5.11
12. Everybody Loves My Baby (Palmer/Williams) 3.49

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Alannah Myles – Rocking Horse (1992)

Alannah Myles (born December 25, 1958) is a Canadian Juno and Grammy Award-winning singer-songwriter who had the chart-topping hit “Black Velvet” in 1990.

Alannah Myles was born on 25 December 1958 in Toronto, Ontario. She is the daughter of William Douglas Byles, who was a pioneer in the Canadian broadcasting industry and was inducted into the Canadian Association of Broadcasters’ Hall of Fame in 1997. Raised by her parents in Ontario, Myles spent her childhood composing and learning music. Myles began writing songs around age nine, performing in a songwriting group for the Kiwanis Music Festival in Toronto at age 12. At 18 she began performing solo gigs in southern Ontario, eventually meeting Christopher Ward, a WMG recording artist and songwriter. With Ward’s help, she formed her own band and performed cover versions of rock and blues songs, while polishing her own material. In her mid-20s, she and Ward would later collaborate with David Tyson to produce the eponymously titled debut album, Alannah Myles. She appeared in a 1984 episode of the television series The Kids of Degrassi Street, in which she played the role of an aspiring singer and single mother and was featured in several TV and film productions as a guest host and actor prior to becoming a recording artist.

Myles changed her surname from Byles at the age of 19 after deciding to pursue a career in entertainment. Appearances in TV commercials paid for music demos that led to countless rejections in Canada, until she recorded masters for three songs; “Who Loves You” and a video demo for “Just One Kiss” directed by photographer Deborah Samuel. With matched financing from her songwriting collaborator, Much Music (City TV) VJ and program director Christopher Ward and FACTOR, she signed her first record contract with Atlantic Records in 1987.

In fall of 1987, Warner Music Canada’s director of artists and repertoire (A&R), Bob Roper, sent Myles’s three-song video package to all of Warner Music Group’s U.S. affiliates, which garnered a contract for seven or eight years from Atlantic Records (WMG), given by head of A&R Tunc Erim and Atlantic label founder Ahmet Ertegun. Myles left her acting career, co-wrote and recorded the remainder of her first album with Christopher Ward and producer David Tyson. In 1989, Atlantic Records released her eponymous debut album and Myles toured internationally for 18 months. Her first album was awarded the Diamond Award for sales of over one million units; she is the only Canadian debut artist to attain that award. Her first album was reported to have sold upwards of 6 million copies internationally and remains a classic-selling album.

In May 1989, Warner Music in Canada released Alannah Myles which produced four Top 40 hits, including “Love Is”, “Lover Of Mine”, “Still Got This Thing” and her number-one classic rock hit, “Black Velvet”. Atlantic Records’ 1989 debut album release was ineligible for Grammy nominations until the early 1990 U.S. single release “Black Velvet” became a number-one hit, claiming ASCAP’s most played song on radio for 1989 and 1990. By 2000, it had received ASCAP Millionaire Award for over five million radio airplays.[citation needed] “Black Velvet” won Myles the Grammy Award for Best Female Rock Performance in 1991 and three Juno Awards.

In 1992, Myles was nominated for a second Grammy award for Best Female Rock Vocal Performance for the track “Rockinghorse”, the B-side of “Song Instead of a Kiss”, the lead-off single from her second CD Rockinghorse. “Song Instead Of a Kiss”, written and composed by Myles, Nancy Simmonds, and Canadian poet Robert Priest,[7] was a 60-piece orchestrated ballad that reached number one on several radio stations around the globe but was met with little response in America, whose audiences were accustomed to “that slow southern style” of “Black Velvet”.[citation needed] The album, released that year, included the other hit singles “Our World, Our Times”, and “Sonny, Say You Will”. Myles received a Grammy nomination for Rockinghorse and several global awards, including a Juno and Much Music’s People’s Choice Award for “Our World, Our Times” (by wikipedia)

Her first album was a very rocking debut – a fine album to start with. The second didn’t abandon those rock roots but showed much refined way to make music. “Lover of Mine” was already showing her sophisticated way – a dangerous word to use but I am talking the same way The Beatles updated their sound with “Rubber Soul” in the mid-60’s. “Rocking Horse” is even a better album than her first one.

“Song Instead of a Kiss” is one of my favorite songs of the 1990’s. It is emotional atmosphere can make you cry easily if you actually listen to the words and her voice. The slow tempo with classical music elements and the final scream complete this as a perfect song. The opener “Our World Our Times” sounds nothing like I’ve heard before – a fascinating song which has interesting vocals, melody, drumming, great guitar sounds. “Sonny Say You Will” sounds amazing – it is a great power ballad.

The rest of the songs are really good too. “Tumbleweed”, “Make Me Happy”, “Love in the Big Town”, “Life And Rumours”, “Living on a Memory” are good rock songs. “The Last Time I Saw William” is a beautiful song too. The title song was something I didn’t like at first but now it has started to sound very interesting, actually a fun song.

These are very good 50 minutes to spend and I have went through it many times, so I know. (Reijo Piippula)

Personnel:
Denny Fongheiser (drums, percussion)
Will Lee (bass)
Alanah Myles (vocals)
Kurt Schefter (guitar)
David Tyson (keyboards, bass, background vocals)
David Wipper (guitar, mandolin)
+
background vocals:
Christopher Ward – John Elefante – Mark Free – Rose Stone – Tommy Funderburk
+
Buzzy Feiten (guitar on 05.)
Gary Grant (trumpet)
Greg Smith (saxophone)
Larry Williams (saxophone)

Tracklist:
01, Our World Our Times (Tyson/Ward) 6.24
02. Make Me Happy (Tyson/Ward) 5.49
03. Sonny Say You Will (Ward) 5.08
04. Tumbleweed (Ward) 4.38
05. Livin’ On A Memory (Tyson/Ward) 5.53
06. Song Instead Of A Kiss (Myles/Simmonds/Priest) 5.04
07. Love In The Big Town (Tyson/Ward) 4.48
08. The Last Time I Saw William (Tyson/Ward) 4.15
09. Lies And Rumours (Tyson/Ward) 5.06
10. Rockinghorse (Myles/Simmonds) 3.00

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Al Kooper & Shuggie Otis – Kooper Session (1969)

Kooper Session is the second-in-line of the Super Session albums featuring singer-songwriter Al Kooper. Joining Kooper in the guitar slot is 15-year-old phenomenon Shuggie Otis, son of legendary rhythm and blues pioneer Johnny Otis.

Divided into two halves, “The Songs” (a quartet of arranged gospel and rhythm and blues tracks) and “The Blues” (a trio of improvised blues tracks), the album, like Super Session before it, was quickly recorded and featured short, succinct tracks (“Double or Nothing”, “One Room Country Shack”) and fluid, drawn out jams highlighting the talents of the artists (“12:15 Slow Goonbash Blues”, “Bury My Body”). (by wikipedia)

In 1969, producer, multi-instrumentalist, and vocalist Al Kooper added “talent scout” to his already lengthy résumé on the follow-up to the highly successful Super Session disc, which had been issued the previous year. One major difference between the two, however, is the relatively unknown cast featured on Kooper Session. Both albums again converge with the presentation of top-shelf musicianship and inspired performances. At only 15 years of age, guitarist Shuggie Otis is equally potent a performer as the seasoned keyboardist/guitarist Kooper. The duo is able to manifest an aggregate of material whose success leans as much on Kooper’s experience as it does on Otis’ sheer inspired youthful energy. The LP is divided between a side of shorter works (aka “songs”) and a few extended instrumentals (aka “blues”).

Kooper and Otis steer their house band, which includes Stu Woods (bass), Wells Kelly (drums), and Mark Klingman (piano). The tight arrangements aptly reveal Kooper’s uncanny ability as a musical conduit. “Bury My Body” — a variation on “In My Time of Dyin'” — has been reworked into a gospel rave-up and features Kooper on one of the album’s only vocals. Conversely, “Double or Nothing” is a spot-on re-creation of a Booker T. & the MG’s track, which not only retains every Memphis-inspired intonation, but also shows off Otis’ ability to cop Steve Cropper’s guitar solo note for note. The blues instrumental jams are documented live and presented on this album the way that they originally went down at the recording sessions. The descriptively titled “Shuggie’s Old Time Dee-Di-Lee-Di-Leet-Deet Slide Boogie” is endowed with a nostalgic piano/bottleneck slide duet and even features the added production value of manufactured surface noise. Both “12:15 Slow Goonbash Blues” and “Shuggie’s Shuffle” are certainly no less traditional, allowing both Otis and Kooper the chance to stretch out and interact in real time. (by Lindsay Planer)

Personnel:
Wells Kelly (drums)
Mark Klingman (piano)
Al Kooper (keyboards, vocals)
Shuggie Otis (guitar)
Stu Woods (bass)
+
The Hilda Harris-Albertine Robinson Singers (background vocals)

Tracklist:
01. Bury My Body (Kooper) 8.56
02. Double Or Nothing (Jones/Jackson, Jr./Cropper/Dunn) 2.27
03. One Room Country Shack (Walton) 3.36
04. Lookin’ For A Home (Forehand) 5.48
05. 12:15 Slow Goonbash Blues (Kooper/Otis) 9.29
06. Shuggie’s Old-Time (dee-di-lee-di-leet-deet) Slide Boogie (Kooper/Otis) 4.04
07. Shuggie’s Shuffle (Kooper/Otis) 6.25

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Thunder – Behind Closed Doors (1995)

Behind Closed Doors is the third studio album by English hard rock band Thunder. Recorded between May and August 1994 at various studios, primarily Southern Tracks in Atlanta, Georgia, it was produced the band’s lead guitarist Luke Morley and Mike Fraser, the latter of whom also mixed the album at the Record Plant in Los Angeles, California. The album was released on 23 January 1995 by EMI Records in Europe and Japan, and was not released in the United States.

Following the departure of the band’s original bassist Mark “Snake” Luckhurst in December 1992, Behind Closed Doors is the first (and only) Thunder album to feature his replacement Mikael “Micke” Höglund, who joined in February 1993. All five band members, as well as former producer Andy Taylor, contributed to the writing of the material on the album, which also featured a wide range of additional guest musicians. Behind Closed Doors peaked at number 5 on the UK Albums Chart.

Behind Closed Doors was promoted on the Behind Closed Doors Tour beginning in April 1995, which included shows in the UK, Europe and Japan, as well as a number of festival dates. Three singles were released from the album, all of which reached the top 40 of the UK Singles Chart – “Stand Up” peaked at number 23, “River of Pain” peaked at number 31 and “Castles in the Sand” peaked at number 30. All three singles also reached the UK Rock & Metal Singles Chart top five.

After recording some initial demos of new material in London,[1] Thunder began pre-production on their third studio album on 6 May 1994 at Stanbridge Studios in Haywards Heath, West Sussex.[2] Mike Fraser, who had previously mixed the band’s debut album Backstreet Symphony in 1990, returned as the main producer for Behind Closed Doors alongside the band’s lead guitarist and primary songwriter Luke Morley (Fraser also engineered and mixed the record). On 23 May, the band flew out to Atlanta, Georgia to begin recording of the new album at Southern Tracks. Speaking about the decision to record the album in the United States, Morley explained that it was “a last-ditch attempt to motivate Geffen”, the band’s American record label, who he claimed had failed to support previous release Laughing on Judgement Day. However, the band’s A&R representative John Kalodner later left Geffen for Sony Music Entertainment, and the album was ultimately not released in the US.

Most of the recording for Behind Closed Doors was completed at Southern Tracks in Atlanta, although additional recording continued at Rumbo Recorders in Los Angeles, California throughout June and July. Bassist Mikael “Micke” Höglund, who had joined the band the previous year, recalls that “The drums and bass were supposed to be recorded at Southern Track Studios in Atlanta, but our guitar tech was a big dope smoker and completely useless. When I asked him to set up my bass to make it as easy to play as possible … he loosened the bolts that hold the neck to the body so that the strings and the fretboard were closer together”, which resulted in his instrument being out of tune for the sessions.[3] Guitarist and keyboardist Ben Matthews praised Höglund’s contributions to the album, suggesting that “His love of Geezer Butler and all things Black Sabbath was reflected in his playing and his songwriting contributions to Behind Closed Doors, giving it a darker and heavier feel.”

Recording of Behind Closed Doors was completed with additional sessions at Jacobs Studios in Farnham, Surrey, Armoury Studios in Vancouver, British Columbia, and the Record Plant in Los Angeles. The album was later mixed by Fraser at the Record Plant in July 1994, and mastered by George Marino at Sterling Sound in New York City, New York. Recording of Behind Closed Doors was completed by 12 August 1994, according to the album’s liner notes.

“Stand Up” was released as the first single from Behind Closed Doors on 28 December 1994, accompanied by a music video filmed during a show at the Shepherd’s Bush Empire in London three weeks earlier. The single debuted at number 23 on the UK Singles Chart and number 2 on the UK Rock & Metal Singles Chart, behind Van Halen’s “Don’t Tell Me (What Love Can Do)”. “River of Pain” was issued as the album’s second single on 13 February 1995, debuting at number 31 on the UK Singles Chart and number 5 on the UK Rock & Metal Singles Chart, and “Castles in the Sand” was released as the third and final single from the record on 24 April 1995, reaching number 30 on the UK Singles Chart and number 2 on the UK Rock & Metal Singles Chart.

Behind Closed Doors was released on 23 January 1995 in Europe by EMI Records, and two days later in Japan by Toshiba EMI Prior to the album’s release, Thunder completed the short Stand Up and Be Counted Tour, which visited a number of UK cities in December 1994. The opening European leg of the Behind Closed Doors Tour began on 5 April 1995 in Hamburg, Germany and wrapped up on 12 May at London’s Hammersmith Apollo. The band supported Bon Jovi alongside acts including Van Halen and Slash’s Snakepit in June and July, and later toured Japan in late-August.

Upon its release, Behind Closed Doors debuted at number 5 on the UK Albums Chart, its peak position, and topped the UK Rock & Metal Albums Chart. It remained in the UK top 40 for three weeks and the top 100 for a total of six weeks, and later returned to the chart for two weeks in May. The album also reached the top 20 of the Scottish Albums Chart, peaking at number 18. Outside of the UK, Behind Closed Doors reached number 56 on the German Albums Chart, number 22 on the Swedish Albums Chart,[14] and number 44 on the Swiss Albums Chart. (by wikipedia)

Like soldiers marching towards certain doom, British hard rockers Thunder stared down the indomitable forces of grunge as they unsheathed their third studio long-player, Behind Closed Doors, in January 1995, never losing faith in the rightness of their musical cause. What choice did they have, anyway? Well, they could have just thrown on the flannel and attempted to infiltrate the enemy lines like so many cowardly, fluffy-haired colleagues and make even bigger fools of themselves in the process, so give the quintet credit for sticking to their guns and facing down their fate like men. Needless to say, Thunder got themselves “killed” regardless, poor saps (everywhere but in their homeland the U.K., where this album reached a highly respectable number five), but at least they went down fighting behind every punchy, accessible, yet commendably earthy melodic rock nuggets like “River of Pain,” “Stand Up,” and “Ball and Chain.” Thunder also embraced slightly darker vibes with memorable results on portentous opener “Moth to the Flame” and “Preaching from a Chair”; got the funk out successfully (“Fly on the Wall”), and not so much (“Too Scared to Live”); and noticeably toned down over all pomp rock thresholds, particularly on the bluesy “I’ll Be Waiting” (boasting shades of ‘70s Whitesnake) and the folksy ballad “Til the River Runs Dry” (another weeper, “Castles in the Sand,” sounds like a virtual memorial to this dying breed of ‘80s rock). But what Thunder couldn’t do was carry on operating with confidence in their talents, as the alternative rock era continued to make mincemeat of their peers while swallowing up most of the media and any touring opportunities that had once been at their disposal. By the time Thunder got around to recording their fourth album, 1996’s sardonically named The Thrill of it All, both their hopes and inspiration had pretty much run themselves dry. (by Eduardo Rivadavia)

Personnel:
Danny Bowes (vocals)
Mikael Höglund (bass)
Gary “Harry” James (drums)
Ben Matthews (guitar, keyboards)
Luke Morley (guitar)
+
Paul Baron (trumpet)
Derry Byrne (trumpet)
Denyse Nadeau Buffum (viola)
Bruce Dukov (violin)
Hazza Ling Hoi (percussion)
Suzie Katayama (cello)
Tom Keenlyside (saxophone)
Peter Lockett (percussion)
Bill Runge (saxophone)
Sheldon Sanov (violin)
+
The Rattling Monk (percussion)
+
background vocals:
The Suntan Sisters
Katie Kissoon (on 10.)
Tessa Niles (on 10.)

Tracklist:
01. Moth To The Flame (Morley/Taylor/Höglund) 5.27
02. Fly On The Wall (Morley) 4.22
03. I’ll Be Waiting (Morley) 4.22
04. River Of Pain (Morley) 3.41
05. Future Train (Morley/James/Matthews/Höglund) 5.26
06. ‘Til The River Runs Dry (Morley/James) 4.20
07. Stand Up (Morley/James) 4.00
08. Preaching From A Chair (Morley) 6.17
09. Castles In The Sand (Morley) 4.44
10. Too Scared To Live (Morley) 4.24
11. Ball And Chain (Morley/Bowes/James/Matthews) 4.48
12. It Happened In This Town (Morley/James) 5.55

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