I would like to thank all readers of this blog for your loyalty … and I´m grateful for your support !
Okay … let´s rock in 2020 !
I would like to thank all readers of this blog for your loyalty … and I´m grateful for your support !
Okay … let´s rock in 2020 !
This is my last entry in this year, in this decade … including a New Year´s Eve concert:
During the final week of 1971, The Band played four legendary concerts at New York City’s Academy Of Music, ushering in the New Year with electrifying performances, including new horn arrangements by Allen Toussaint and a surprise guest appearance by Bob Dylan for a New Year’s Eve encore. Select highlights from the concerts were compiled for The Band’s classic 1972 double LP, Rock Of Ages, which peaked at No. 6 on the Billboard 200 and remains a core album in the trailblazing group’s storied Capitol Records catalog.
For the first time, all four of the concerts’ multi-track recordings have been revisited for ‘Live At The Academy Of Music 1971,’ a new 4CD+DVD collection. The expansive new collection features new stereo and 5.1 Surround mixes, including 19 previously unreleased performances and newly discovered footage of two songs filmed by Howard Alk and Murray Lerner. ‘Live At The Academy Of Music 1971’ takes a deep dive into The Band’s historic shows for a definitive document of the pioneering group’s stage prowess at the apex of their career.
Live At The Academy Of Music 1971 is presented in a deluxe, 48-page hardbound book (not included) with previously unseen photos, a reproduction of Rolling Stone’s original Rock Of Ages review by magazine co-founder Ralph J. Gleason, an essay by The Band’s Robbie Robertson, and appreciations of The Band and the set’s recordings by Mumford & Sons and Jim James of My Morning Jacket. The collection’s first two discs feature performances of every song played over the course of the four concerts, and the New Year’s Eve soundboard mix on discs 3 and 4 puts the listener in the room for that entire legendary night: Uncut, unedited, taken straight from the master recordings and presented in full for the first time. The set’s DVD (not included) presents the tracks from discs 1 and 2 in 5.1 Surround, plus Alk and Lerner’s filmed performances of ‘King Harvest (Has Surely Come)’ and ‘The W.S. Walcott Medicine Show.’
The Band’s historic performances at New York City’s Academy of Music on Dec. 28-31, 1971 have been collected before, on one of the ’70s’ best live albums, ‘Rock of Ages.’ But the five-disc ‘Live at the Academy of Music 1971’ (which includes a DVD) paints a more complete picture of the shows. The set gathers songs from their four-concert, three-night stand, just as 1971 turned into 1972. The first two CDs compile highlights from the shows, including 29 songs from ‘Up on Cripple Creek’ and ‘I Shall Be Released’ to ‘The Night They Drove Old Dixie Down’ and ‘The Weight’ as well as four from the New Year’s Eve concert where Bob Dylan joined them onstage. The third and fourth discs collect the complete New Year’s Eve concert 27 songs, including the same four with Dylan. Eleven songs in all are repeated from the first two CDs here, which can be both jarring and repetitive as you listen to the exact same performances within different contexts.
It might all be too much for casual fans, even if 19 of the tracks are previously unreleased. The thrill of Garth Hudson’s massive organ moving from ‘The Genetic Method’ into ‘Auld Lang Syne’ loses some of its power on the New Year’s Eve set when you know it’s coming. Same goes for Dylan’s surprise appearance. Still, the concert-closing version of ‘Like a Rolling Stone’ is almost as ferocious as the one Dylan and the Band played during their 1966 tour of the U.K. The DVD simply adds a visual element to some of the cuts from the album. But the Band find the various shadings in the songs without them. Listen to the way they swing through “Get Up Jake’ and pile their instrumental prowess onto the monumental ‘Chest Fever.’ Or even the way they spin the urbane Motown track ‘Loving You Is Sweeter Than Ever’ toward their dusty-road Americana, all spiked by horn arrangements from New Orleans legend Allen Toussaint. That’s the sound of a band at the top of its game. (Promo text)
Not so much an expansion of 1972’s classic double-live album Rock of Ages, but an exhaustive tribute to its source material, the four-CD/one-DVD 2013 box set Live at the Academy of Music 1971 digs deep into the Band’s year-end four-night stint at New York City’s Academy of Music. The original 18-track sequence for the 1972 LP has been abandoned in favor of a double-concert construct, where the first two discs present one version of each of the 29 songs the Band played over the course of these four nights, while the final two discs present the entirety of the New Years Eve concert that capped off this residency; this CD is remixed from the soundboard tapes, and the DVD replicates this New Years Eve concert (note that there is no footage of the NYE concert, so the music is presented with a selection of stills; nevertheless, there are full clips of the Band performing “King Harvest (Has Surely Come)” and “The W.S. Walcott Medicine Show” on December 30, which are welcome). This structure is an appealing one but invites perhaps more duplications than are necessary.
The 29 songs on the first two disc contain 11 songs from the New Years Eve show — including the four-song encore with Bob Dylan — but the trade-off is the NYE concert is loaded with unheard versions of familiar songs: 16 of the 27 songs are previously unreleased (in contrast, the only unearthed song on the first two discs is a killer version of “Strawberry Wine”). Perhaps some of these performances are ever so slightly rougher than the accompanying ones on the first two discs, but that liveliness is part of the appeal (besides, this is hardly ragged; as enthusiastic as the Band is, they’re also supplemented by Allen Toussaint’s horn section, so they do need to hit their marks to ensure all the elements fit together). Rock of Ages and, in turn, Live at the Academy of Music 1971 do close out the early years of the Band. They’d tour again, supporting Bob Dylan in 1974, and they turned out a few more records before disbanding in 1976, but they never seemed as triumphant as they did at the end of 1971. Although this box is not perfect — it’s hard not to wish there were no duplications on the first two discs, or the last two — it is nevertheless a mighty testament to the Band at the peak of their powers. (by Stephen Thomas Erlewine)
Rick Danko (bass, violin, vocals)
Levon Helm (drums, mandolin, vocals)
Garth Hudson (keyboards, accordion, saxophone)
Richard Manuel (keyboards, drums, vocals)
Robbie Robertson (guitar, vocals)
Joe Farrell (saxophone, english horn)
Howard Johnson (saxophone, tuba, euphonium)
Earl McIntyre (trombone)
J.D. Parron (saxophone, clarinet)
Snooky Young (trumpet, flugelhorn)
Bob Dylan (vocals, guitar on CD 2: 13 – 16.; CD 4: 13. – 16.)
CD 1: Live At The Academy Of Music (Part 1):
01. The W.S. Walcott Medicine Show (Friday, December 31) (Robertson) 3.50
02. The Shape I’m In (Friday, December 31) (Robertson) 3.49
03. Caledonia Mission (Thursday, December 30) (Robertson) 3.20
04. Don’t Do It (Wednesday, December 29) (Holland/Dozier/Holland) 4.28
05. Stage Fright (Friday, December 31) (Robertson) 4.22
06. I Shall Be Released (Thursday, December 30) (Dylan) 4.01
07. Up On Cripple Creek (Thursday, December 30) (Robertson) 4.40
08. This Wheel’s On Fire (Wednesday, December 29) (Danko/Dylan) 3.48
09. Strawberry Wine (Tuesday, December 28) (Previously Unissued Performance) (Helm/ Robertson) 3.31
10. King Harvest (Has Surely Come) (Friday, December 31) (Robertson) 3.58
11. Time To Kill (Tuesday, December 28) (Robertson) 4.09
12. The Night They Drove Old Dixie Down (Wednesday, December 29) (Robertson) 4.41
13. Across The Great Divide (Thursday, December 30) (Robertson) 3.28
CD 2: Live At The Academy Of Music (Part 2):
01. Life Is A Carnival (Thursday, December 30) (Danko/Helm/Robertson) 4.04
02. Get Up Jake (Thursday, December 30) (Robertson) 3.17
03. Rag Mama Rag (Friday, December 31) (Robertson) 4.04
04. Unfaithful Servant (Friday, December 31) (Robertson) 4.30
05. The Weight (Thursday, December 30) (Robertson) 5.16
06. Rockin’ Chair (Wednesday, December 29) (Robertson) 4.04
07. Smoke Signal (Tuesday, December 28) (Robertson) 5.20
08. The Rumor (Thursday, December 30) (Robertson) 5.04
09. The Genetic Method (Friday, December 31) (Hudson) 7.31
10. Chest Fever (Tuesday, December 28) (Robertson) 5.08
11. (I Don’t Want To) Hang Up My Rock And Roll Shoes (Wednesday, December 29) (Willis) 4.36
12. Loving You Is Sweeter Than Ever (Wednesday, December 29) (Hunter/Wonder) 3.31
13. Down In The Flood (with Bob Dylan) (Friday, December 31) (Dylan) 5.11
14. When I Paint My Masterpiece (with Bob Dylan) (Friday, December 31) (Dylan) 4.57
15. Don’t Ya Tell Henry (with Bob Dylan) (Friday, December 31) (Dylan) 3.55
16. Like A Rolling Stone (with Bob Dylan) (Friday, December 31) (Dylan) 5.26
CD 3: New Year´s Eve At The Academy Od Music 1971 (Soundboard Mix) (Part 1):
01. Up On Cripple Creek (Previously Unissued Performance) (Robertson) 5.11
02. The Shape I’m In (Robertson) 4.10
03. The Rumor (Previously Unissued Performance) (Robertson) 5.06
04. Time To Kill (Previously Unissued Performance) (Robertson) 4.23
05. Rockin’ Chair (Previously Unissued Performance) (Robertson) 4.10
06. This Wheel’s On Fire (Previously Unissued Performance) (Dank/Dylan) 4.03
07. Get Up Jake (Previously Unissued Performance) (Robertson) 3.41
08. Smoke Signal (Previously Unissued Performance) (Robertson) 5.31
09. I Shall Be Released (Previously Unissued Performance) (Dylan) 4.01
10. The Weight (Previously Unissued Performance) 5.15
11. Stage Fright (Robertson) 4.32
CD 4: New Year´s Eve At The Academy Od Music 1971 (Soundboard Mix) (Part 2):
01. Life Is A Carnival (Previously Unissued Performance) (Danko/Helm/Robertson) 5.12
02. King Harvest (Has Surely Come) (Robertson) 4.00
03. Caledonia Mission (Previously Unissued Performance) (Robertson) 3.29
04. The W.S. Walcott Medicine Show (Robertson) 4.01
05. The Night They Drove Old Dixie Down (Previously Unissued Performance) (Robertson) 4.48
06. Across The Great Divide (Previously Unissued Performance) (Robertson) 3.52
07. Unfaithful Servant (Robertson) 4.37
08. Don’t Do It (Previously Unissued Performance) (Holland/Dozier/Holland) 4.45
09. The Genetic Method (Hudson) 7.52
10. Chest Fever (Previously Unissued Performance) (Robertson) 6.29
11. Rag Mama Rag (Holland/Dozier/Holland) 4.15
12. (I Don’t Want To) Hang Up My Rock And Roll Shoes (Previously Unissued Performance) (Willis) 4.40
13. Down In The Flood (with Bob Dylan) (Dylan) 5.43
14. When I Paint My Masterpiece (with Bob Dylan) (Dylan) 4.15
15. Don’t Ya Tell Henry (with Bob Dylan) (Dylan) 4.11
16. Like A Rolling Stone (with Bob Dylan) (Dylan) 5.41
(December 29, 1943 – December 10, 1999)
(May 26, 1940 – April 19, 2012)
(April 3, 1943 – March 4, 1986)
Black Coffee is the third cover album recorded by American singer Beth Hart and blues rock guitarist Joe Bonamassa, released on January 26, 2018 on J&R Adventures and Mascot Label Group. It follows their 2013 cover album together titled Seesaw. (ny wikipedia)
Beth Hart first teamed up with guitarist Joe Bonamassa in 2011 and the partnership proved to be mutually beneficial. Hart gave the rock-edged Bonamassa some blues bona fides while the guitarist brought the vocalist to a wider audience. Plus, it was evident from their two studio albums and live set that the two had an easy chemistry: They shared a similar vernacular in Chicago blues and classic soul. The pair rely on that effortless interplay on Black Coffee, their third studio collaboration. Working with producer Kevin Shirley — a veteran of Black Crowes records who has been in the Bonamassa orbit since 2006 — the pair eschew straight traditionalism for a clean, colorful, retro vibe. Sometimes, the duo make choices that are perhaps a little too obvious — the covers of LaVern Baker’s “Saved” and Howlin’ Wolf’s “Sittin’ on Top of the World” are a bit on the nose — but they also know how to kick up the intensity on these chestnuts while avoiding sounding like they’re on steroids.
Still, the highlights of Black Coffee are the originals and lesser-known songs, as they reveal that there is plenty of common ground between Hart’s testifying and Bonamassa’s shredding. Interestingly, that common ground feels formal in a way their individual solo albums don’t — respectively, Hart will delve into the personal spins on roots music while Bonamassa will indulge in blues myths — but that’s the appeal: They’re working on keeping the flame burning, and Black Coffee may be their most effective testament in that effort to date. (by Stephen Thomas Erlewine)
Beth Hart and Joe Bonamassa’s third studio album of mostly soul and blues sticks to the formula of “if it’s not broken, don’t fix it,” and it serves them well.
Hart, a powerful singer also capable of nuance, is a good fit with Bonamassa, a guitar whiz with a wide range of sounds. They are bonded by their shared intensity, and the well-chosen repertoire, including many lesser-known tunes, gives them 10 opportunities to realize their potential.
Etta James songs are a staple of the duo and here they take on “Damn Your Eyes,” from 1989’s “Seven Year Itch,” one of James’ multiple “comeback” albums across the years. R&B diva Lavern Baker gets two nods, “Soul on Fire” and “Saved,” while “Lullaby of the Leaves,” a ballad with a scorching Bonamassa solo a la Gary Moore, dates back to the early 1930s.
Other songs include “Joy” from Lucinda Williams, Kansas Joe McCoy’s “Why Don’t You Do Right,” and the title track, Ike & Tina Turner via Steve Marriott.
Horn arrangements from Lee Thornburg, tasteful backing vocals and excellent keyboard parts from Reese Wynans, who used to play with Stevie Ray Vaughan, all help “Black Coffee” percolate into a tasty brew.
Album closer “Addicted” is a real gem, originally released in 2007 by Austria’s Waldeck. It has elements of a James Bond theme, shades of the tango and, unsuprisingly, a certain European vibe. Hart imbues it with passion, as do the Bonamassa and Wynans solos.
The world is full of little underappreciated treasures. If Hart & Bonamassa and producer Kevin Shirley can keep finding them, there’s a bright future in the grooves for more albums like this truly fine effort. (vy Pablo Gorondi)
Joe Bonamassa (guitar)
Paulie Cerra (saxophone)
Ron Dzuibla (saxophone)
Anton Fig (drums, percussion)
Beth Hart (vocals)
Rob McNelley (guitar)
Michael Rhodes (bass)
Lee Thornburg (trumpet, trombone)
Reese Wynans (keyboards)
Jade Macreae – Juanita Tippins – Mahalia Barnes
01. Give It Everything You Got (Winter/LaCroix) 4.37
02. Damn Your Eyes (Wyrick/Bogard) 4.33
03. Black Coffee (I.Turner/T.Turner) 4.16
04. Lullaby Of The Leaves (Petkere/Young) 5.43
05. Why Don’t You Do Right (McCoy) 4.35
06. Saved (Leiber/Stoller) 3.50
07. Sitting On Top Of The World (Vinson/Chatmon) 3.58
08. Joy (Williams) 4.23
09. Soul On Fire (Ertegun/Wexler) 5.02
10. Addicted (Engel/Waldeck) 3.40
11. Come Rain Or Come Shine (Arlen/Mercer) 4.35
I guess, every serious fan ofRock & Jazz music should know this names:
Pete York – Brian Auger – Colin Hodgkinson:
Everyone has a great career and everyone is a real important part in the history of Rock & Jazz music …use wikipedia to discover them …
A digital live recording of the trio in Freiburg, Germany, in April 1985. After their fine work the previous year with Spencer Davis, the tightness of York and Hodgkinson’s interplay on this release comes as little surprise. Auger makes for a fine third, though, with his electric piano lines wafting effortlessly over the rhythm section of “For No One.” Despite a long and loping cover of Donovan’s “Season of the Witch,” and a Hammond romp through a Jimmy McGriff number, the emphasis brought by Auger’s presence is on electric jazz-rock. The band even gamely covers a couple Billy Strayhorn chestnuts mid-show. Like the York/Hodgkinson concerts with Spencer Davis, though, it’s Hodgkinson’s solo bits that steal the spotlight. His sinewy “Catcote Rag” bass solo features some lovely glissando playing, and the “San Francisco Bay Blues” hearkens back to his string-shredding bass blues with Back Door. (by by Paul Collins)
In other words:
What more can I say? Listen to this exciting and rare Jazz-Rock album …
Brian Auger (keyboards, vocals)
Colin Hodgkinson (bass, vocals)
Pete York (drums)
01. No One (Brunell) 4.40
02. Freedom Jazz Dance (Harris) 6.15
03. Catcote Rag (Hodgkinson) 3.04
04. San Francisco Bay Blues (Fuller) 3.23
05. Take the “A” Train (Strayhorn) 2.42
06. Prelude To A Kiss (Ellington/Gordon/Mills) 3.23
07. The Hawk Talk (Bellson) 3.27
08. Season Of The Witch (Leitch) 11.46
09. All About My Girl (McGriff) 6.12
10. Going Down Slow (Burnett) 5.06
11. Compared to What (McDaniels) 10.07
More rarities from Inak Records:
The 1970s were a magical time for Charlie Rich and producer Billy Sherrill. Sherrill was the first producer who not only understood how gifted Rich was musically — he knew virtually no bounds when it came to popular music styles — but could comprehend and deliver Rich’s vision to record buyers. On the title track, restrained bass notes and minimal, jazzy pianism coast into a space where strings glide into Rich’s verse. Shimmering trills in the piano’s mid-range accent the end of each line, as do the female vocalists of the Nashville Edition. It’s dreamy and ethereal and the listener encounters quite literally what the song’s protagonist is describing. And “All Over Me” is a country tune with Rich’s honky tonk accents caressed by Sherrill’s strings and Pete Drake’s pedal steel in a broken paean to love gone awry. This is the album that pointed to all the various directions Rich wanted to explore musically. Like Ray Charles’ Modern Sounds in Country and Western Music, Rich extended it to include new textures and sounds in pop and country. A stunning example is “Since I Fell for You,” where Rich treats the melody like a rhythm & blues crooner and takes it to the breaking point of its country root.
Side two holds a surprise in the dark, film noir-ish beauty of Margaret Ann Rich’s “Pass on By.” Again, the deep R&B strains meet doo wop, soul, and early rock in a setting provided by Sherrill that could have been in a 1950s thriller sung in a smoky lounge. And while the rest of the side is terrific as well, Rich’s own “Midnight Blues” walks the edge of rock and soul à la the Memphis sound. Shimmering strings in glissandi, stinging lead guitar, a trio of female verses echoing Rich’s lines, and Hargus “Pig” Robins’ honky tonk piano make the track swagger and shimmy, carrying the listener out on a rough and rowdy, darkly tinted note. Whew! (by Thom Jurek)
Tommy Allsup (guitar)
Larry Butler (keyboards)
Jimmy Capps (guitar)
Jerry Carrigan (drums)
Pete Drake (steel-guitar)
Ray Edenton (guitar)
Mary Alice Hoepfinger (harp)
Glenn Keener (guitar)
Sheldon Kurland (violin)
Charlie McCoy (harmonica)
Bob Moore (bass)
Hargus “Pigg” Robbins (keyboards)
Billy Sanford (guitar, mandolin)
Henry Strzelecki (bass)
Pete Wade (guitar),
The Nashville Edition (background vocals)
01. Every Time You Touch Me (I Get High) (C.Rich/Sherrill) 3.03
02. All Over Me (Peters) 2.53
03. A Little Bit Here (A Little Bit There) (M.Rich) 2.31
04. A Mellow Melody (Sherrill) 2.25
05. Since I Fell for You (Johnson) 3.05
06. Pass On By (M.Rich) 2.35
07. Rendezvous (Sherrill/Wilson) 2.53
08. She (C.Rich) 2.49
09. You and I (Strzelecki) 3.24
10. Midnight Blues (Bowman/C.Rich) 3.07
The Eagles are an American rock band formed in Los Angeles in 1971. The founding members were Glenn Frey (guitars, vocals), Don Henley (drums, vocals), Bernie Leadon (guitars, vocals) and Randy Meisner (bass guitar, vocals). With five number-one singles, six number-one albums, six Grammy Awards, and five American Music Awards, the Eagles were one of the most successful musical acts of the 1970s. Their albums Their Greatest Hits (1971–1975) and Hotel California rank first and third, respectively, among the best-selling albums in the United States, with 38 million and 26 million album units in sales. The Eagles are one of the world’s best-selling bands, having sold more than 200 million records, including 100 million albums sold in U.S alone. They were ranked number 75 on Rolling Stone’s 2004 list of the 100 Greatest Artists of All Time.
Learn to be Still is a song written by Don Henley and Stan Lynch and recorded by the Eagles. The song is one of four studio tracks on the live album Hell Freezes Over, which was the first album to be released after the band had reunited following a fourteen-year-long break up.
“Learn to Be Still” was played live during their Hell Freezes Over tour in 1994 and came out as a single in 1995. It peaked at No. 61 on the Billboard Hot 100 Airplay chart in the same year.
And this is a pretty good bootleg (soundboard quality) …. recorded live in the USA, Summer 1994. Limited Edition Picture CD.
Don Felder (guitar, background vocals)
Glenn Frey (vocals, guitar, keyboards)
Don Henley (vocals, drums, percussion)
Timothy B. Schmidt (vocals, bass)
Joe Walsh (vocals, guitar)
01. Desperado (Henley/Frey) 3.41
02. Hotel California (Felder/Henley/Frey) 7.01
03. The Heart Of The Matter (Campbell/Souther/Henley) 5.41
04. New York Minute (Henley/Kortchmar/Winding) 6.16
05. Tell Me Why (Henley/Frey) 4.18
06. Tequila Sunrise (Henley/Frey) 3.00
07. Live In The Fast Lane (Walsh/Henley/Frey) 5.10
08. Take It Easy (Browne/Frey) 4.25
09. Wasted Time (Henley/Frey) 5.05
10. Help Me Through The Night (Walsh) 3.55
11. Get Over It (Henley/Frey) 3.28
12. The Last Resort (Henley/Frey) 7.02
13. Love Will Keep Us Alive (Vale/Capaldi/Carrack) 4.98
14. The Girl From Yesterday (Frey/Tempchin) 3.28
15. I Can’t Tell You Why (Schmidt/Henley/Frey) 4.52
16. In The City (Walsh/De Vorzon) 3.55
17. Learn To Be Still (Henley(Lynch) 4.21
More from The Eagles:
It was the idea of Peter Bursch, the guitar teacher of the nation and bandleader of the Krautrock legend Bröselmaschine, 20 years after the death of Jimi Hendrix, to assemble an illustrious crowd of hip musicians and organize a Rockpalast Tribute concert in 1991. Rockpalast mastermind Peter Rüchel and director Christian Wagner were quick to get enthusiastic about this idea. Through his personal contacts Peter was able to find some really competent musicians who were willing to deal with this idea. So an All Star Band was formed from very different exceptional musicians like Uli Jon Roth (Scorpions), who also took over the musical direction of this project, Jack Bruce (Cream, West, Bruce and Laing), John Wetton (King Crimson, Roxy Music, Uriah Heep, UK, Asia etc.), Simon Phillips (The Who, Toto, Asia etc.) and many others.
The idea to present the Hendrix songs with very different singers was especially appealing. Unfortunately Peter Rüchel’s favourite candidate Gianna Nannini had to cancel at short notice. Nevertheless, with Jule Neigel, Michael Flexig, Jack Bruce, John Wetton, as well as the background singers Nadja Ollig and Jane Palmer, a number of extraordinary singers were available. Finally Peter Rüchel was able to convince the hottest Jimi Hendix cover band around Randy Hansen to participate. This concert is the Rockpalast recording that has been most repeated on German television in recent years. (Promo text)
What a night, what powr, such ar great All Star Band … dedicated to one of the most important musician in the history of muic: Jimi Hendrix.
Probably the best tribute concert ever !
Randy Hansen Band:
Francoise Garmy (bass)
Randy Hansen (guitar, vocals)
Herbie Quick (rums)
All Star Band:
Jack Bruce (bass, vocals)
Peter Bursch (guitar)
Michael Flexig (vocals)
Oliver Hennlich (keyboards)
Jule Neigel (vocals)
Manni Neumann (violin)
Nadjy Ollig (vocals)
Jane Palmer (vocals)
Simon Phillips (drums)
Uli Jon Roth (guitar)
Zeno Roth (guitar)
Tobias Stachelhaus (vocals)
John Wetton (bass, vocals)
Randy Hansen Band:
01. Hey Joe 5.52
02. Stone Free 3.45
03. I Don’t Live Today 2.26
04. Steppin’ Stone 4.22
All Star Band:
05. Gypsy Eyes 4.44
06. If Six Was Nine 2.51
07. Spanish Castles Magic 4.25
08. One Rainy Wish 5.09
09. The Wind Cries Mary 4.10
10. Burning Of The Midnight Lamp 4.34
11. All Along The Watchtower 2.27
12. House Burning Down 5.09
13. Electric Ladyland 1.36
14. Castles Made Of Sand 3.13
15. Little Wing 3.25
16. AxisBold As Love 5.16
All Star Band:
01. Voodoo Child 5.46
02. Third Stone From The Sun 6.18
03. Crosstown Traffic 3.10
04. In From The Storm 3.40
05. Who Knows 8.19
06. Message Of Love 5.55
07. Hey Baby 5.49
08. Angel 7.00
09. Purple Haze 4.21
10. Atlantis 3.43
All songs written by Jimi Hendrix,
except “Hey Joe” which was written by Billy Roberts
and “All Along The Watchtower” which was written by Bob Dylan
GoodThunder was a psychedelic/progressive rock/hard rock band that formed in 1972 as James Cahoon Lindsay (vocals and percussion), John Desautels (drums), David Hanson (guitars and vocals), Bill Rhodes (bass), and Wayne Cook (keyboard). Other members include Fritz Richmond (engineering), Rick Rodrigues (cover art), Lorrie Sullivan (photography), and Robert Heimall (art direction). Not much is known about this band except the information you find on the back cover of their first and only album. If you don’t listen to it, the only thing that stands out on this album is the fact that famous producer Paul A. Rothchild (who produced albums by The Doors, Janis Joplin, and Rush just to name a few) produced this album. Most of the core band went on to join AOR band L.A. Jets, then most of L.A. Jets went on to record under the name 1994. Both L.A. Jets and 1994 included GoodThunder members John Desautels, Bill Rhodes, Terry Linvill, and included singer/songwriter Karen Lawrence. Wayne Cook went on to play keyboards with Steppenwolf and co-wrote the instrumental “Lip Service” from the Skullduggery album. Wayne Cook also played keyboards with Player on their first two albums, he filled in as keyboardist for Alice Cooper for a few shows, but was never a permanent member.
The song “Sentries” is notable for beginning with a few notes from a caliope.
GoodThunder is the 1972 self-titled album by GoodThunder. This was their only album after they broke up after this album was released. The original vinyl included a lyric sheet. (by wikipedia)
GoodThunder is practically unkown, which is really a shame considering they released one of the best albums of 1972!
I Can’t Get Thru to You – Is a short, but powerful, number loaded with heavy guitars and beautiful organ and piano use.
For a Breath – Starts with some wind-sounding effects, then the main guitar riff fades in. Great guitar solos follows not to long after the vocal parts. Other than the powerful guitars, you also get some nice keyboard work. Then the song changes to a nice and slower melodic piece, which only lasts less than 30 seconds before going back to the main riff and a short bass solo. Then the song picks up right where it started.
Moonship – is another short song, but one of my favorites. Opening up with organ and guitar. This song has haunting vocals and lyrics, the keyboards are the key piece to this haunting puzzle. Moonship pretty much describes GoodThunder in a nutshell.
Home Again – is about a man who is misses his home, family, and friends. This song starts out tame, but don’t let that mislead you! For you will be treated with a nice lengthy guitar solo!
Sentries – The shortest song from this album. It opens with an oddly placed circus sounding intro…trust me this band wasn’t without a great sense of humor! Sentries is a nice hard rock song that sounds like it was made to be the leading single from this album….which it was! As with the rest of the album, this song is full of great guitaring and keyboarding!
P.O.W. – is, in my opinion, their masterpiece (along with Barking at the Ants). Expert guitaring and keyboarding. Starts with a piano and acoustic intro which then opens to a nice guitar part. James Cahoon Lindsay gives his best vocals to this song. As I said before, this is simply a masterpiece. Not much else I can say. You definitely have to hear this.
Rollin’ Up My Mind – possibly their heaviest song. Beautiful guitaring and lyrics, also one of my favorites from this amazing album.
Barking at the Ants – don’t know what the song title means or is about, but it starts with a great guitar riff. As said above in parenthesis, this is their other masterpiece. The guys give the best vocal harmonies and instrumentation on Barking at the Ants. Lyrics are just suberb!
For a bands that’s unknown, there sure as hell made on of the best heavy prog albums of the early 70s that effortlessly stands the test of time.
Oh and did I mention the best vocal harmonies of Heavy Prog? I did? Shame on me for being so redundant.
5 Stars to an that really deserves it! (AmericanProgster)
Wayne Cook (keyboards)
John Desautels (drums)
David Hanson (guitar, vocals)
James Cahoon Lindsay (vocals, percussion)
Bill Rhodes (bass)
01. I Can’t Get Thru To You (Cook/Lindsay) 3.26
02. For A Breath (Foster/Desautels) 5.24
03. Moonship (Cook/Phifer/Lindsay) 2.45
04. Home Again (Hanson/Lindsay) 6.44
05. Sentries (Hanson/Lindsay/Linvill) 2.35
06. P.O.W. (Hanson/Desautels) 6.44
07. Rollin Up My Mind (Cook) 4.09
ß8. Barking At The Ants (Hanson) 6-35
Most of the band’s members later went to form the AOR group L.A. Jets, while Cook found himself in the Steppenwolf line-up for a couple of years, while he also served as a keyboardist for Alice Cooper in some of his live shows.
Kevin Roosevelt Moore (born October 3, 1951), known as Keb’ Mo’, is an American blues musician and four-time Grammy Award winner. He is a singer, guitarist, and songwriter, living in Nashville, Tennessee. He has been described as “a living link to the seminal Delta blues that travelled up the Mississippi River and across the expanse of America”. His post-modern blues style is influenced by many eras and genres, including folk, rock, jazz, pop and country. The moniker “Keb Mo” was coined by his original drummer, Quentin Dennard, and picked up by his record label as a “street talk” abbreviation of his given name.
From early on, his parents, who were from Louisiana and Texas, instilled him with a great appreciation for the blues and gospel music. By adolescence, he was an accomplished guitarist.
Keb’ Mo’ started his musical career playing the steel drums and upright bass in a calypso band. He moved on to play in a variety of blues and backup bands throughout the 1970s and 1980s. He first started recording in the early 1970s with Jefferson Airplane violinist Papa John Creach through an R&B group. Creach hired him when Moore was 21 years old; Moore appeared on four of Creach’s albums: Filthy!, Playing My Fiddle for You, I’m the Fiddle Man and Rock Father. Keb’ Mo’s first gold record was received for a song, “Git Fiddler”, which he co-wrote with Papa John on Jefferson Starship’s Red Octopus. Red Octopus hit number one on the Billboard 200 in 1975.
Moore was also a staff writer for A&M Records, and arranged demos for Almo – Irving music. Keb’ Mo’s debut, Rainmaker, was released on Chocolate City Records, a subsidiary of Casablanca Records, in 1980. He was further immersed in the blues with his long stint in the Whodunit Band, headed by Bobby “Blue” Bland producer Monk Higgins. Moore jammed with Albert Collins and Big Joe Turner and emerged as an inheritor of a guarded tradition and as a genuine original.
Keb’ Mo’ has appeared on stage (1990-1993) in several versions of the musical Spunk, a play by Zora Neale Hurston, an African American playwright from the Harlem Renaissance. His character, Guitar Man, learned while he was an understudy to “Chick Streetman”, played all the actual music in the play while performing. The character of Guitar Man is the foundation for his stage persona.
In 1994, Keb’ Mo’ released his self-titled album, Keb’ Mo’, which featured two Robert Johnson covers, “Come On In My Kitchen” and “Kind Hearted Woman Blues”. In the Martin Scorsese miniseries The Blues, Keb’ Mo’ states that he was greatly influenced by Johnson. Keb’ was the runner-up for Best New Blues Artist at The Long Beach Blues Festival when he was spotted by Steve LaVere who owns the publishing for the entire Robert Johnson song catalogue (1992–93).
Keb’ Mo’s self-titled album was released on Okeh Records, a vintage revival division of Sony Music.
In 1996, he released Just Like You, his second album, which featured twelve songs full of Delta rhythms. He won his first Grammy Award for this album, which featured guest appearances from Jackson Browne and Bonnie Raitt.
On June 10, 1997, Moore performed on the television program Sessions at West 54th. He joined musicians Laval Belle on drums, Reggie McBride playing bass, and Joellen Friedkin on keyboards to perform fourteen songs, some from each of his albums. Blues pianist Dr. John also made a guest appearance. This session (known as Sessions at West 54th: Recorded Live in New York) was shown on television, but was not released as a DVD until late 2000.
In 1998, Moore was involved in the multi-artist project “Begegnungen (Encounter)” by German rock musician Peter Maffay. They performed together a new version of Mo’s “Am I Wrong” on the album and some more songs in the 30 concerts at the arena tour later the same year, documented on the live album Begenungen Live, released in early 1999. A further guest of Maffay at the Begegnungen album and tour was Sonny Landreth and many more artists from around the world.
Slow Down, his next album, was released in 1998 and featured twelve songs. It earned him a second Grammy Award. The album begins with the song “Muddy Water”, a tribute to Muddy Waters. It also features a song entitled “Rainmaker”, which had been released previously on his first album, eighteen years prior.
His fourth album, The Door, was released in 2000. The same year, Keb’ Mo’ released Big Wide Grin, a children’s album featuring many songs from Moore’s own childhood, along with some newer children’s songs and some by Moore himself. In 2001, he appeared on Sesame Street with Kermit the Frog, Grover, Elmo, and other muppets performing the song “Everybody Be Yo’self”. The album includes an original arrangement of “America the Beautiful”, which he performed years later on the 2006 series finale of The West Wing, “Tomorrow”, in which he appears as himself to perform the song at the inauguration of (fictional) President Matt Santos.
In 2003, Martin Scorsese collaborated with many blues musicians including Keb’ Mo’ to put together a series of films entitled The Blues. Following its release, several albums were released in accordance, some were compilations, some new collaborations, and Keb’ Mo’ released an album in the series featuring a handful of existing recordings from Keb’ Mo’ to The Door.
On February 10, 2004, he released Keep It Simple which earned him a third Grammy Award, again in the contemporary blues genre. Later that year, he released his sixth studio album, Peace… Back by Popular Demand.
Moore released Suitcase, on June 13, 2006. His touring band following the release included Reggie McBride on bass, Les Falconer III on drums, Jeff Paris on keyboards, and Clayton Gibb on guitar.
On October 20, 2009, Keb’ Mo’ released the live album, Live and Mo’.
Keb’ Mo’ performing with Dan Aykroyd at the 2013 Crossroads Guitar Festival, April 12, 2013
At the 2010 Crossroads Guitar Festival, Keb’ Mo’ performed an acoustic set with Stefan Grossman and an electric set with Vince Gill, Albert Lee, James Burton, Earl Klugh and Sheryl Crow. He joined the finale with most of the day’s performers.
On August 2, 2011, Keb’ Mo’ released The Reflection.
Keb’ Mo’ performed at a White House event titled “In Performance at the White House: Red, White and Blues” on February 21, 2012. On February 24, 2012, many of the same performers, including Keb’ Mo, Gary Clark, Jr., Buddy Guy, Warren Haynes, Susan Tedeschi and Derek Trucks, paid tribute to Hubert Sumlin at the “Howlin’ For Hubert” memorial concert at the Apollo Theater in New York, New York.
On the first night of the 2013 Crossroads Guitar Festival, Keb’ Mo’ performed a set with Booker T. Jones, Steve Cropper, Blake Mills and Matt “Guitar” Murphy. Keb’ Mo’ later performed two songs with emcee Dan Aykroyd. On the second night of the festival, Keb’ Mo’ performed with Taj Mahal.
In early 2014, he was nominated for three Grammy Awards for Best Americana Album (BLUESAmericana), Best American Roots Performance (“The Old Me Better”) and Best Engineered Album Non-Classical (BLUESAmericana). In May, he appeared alongside Metallica at MusicCare’ 10th Annual MAP Fund Benefit Concert at Nokia honoring Ozzy Osbourne and Jeff Greenberg. In October 2014 he honored the Everly Brothers, at the Rock and Roll Hall of Fame’s 19th annual Music Masters Series, and in November he honored Mavis Staples alongside Bonnie Raitt, Gregg Allman, Taj Mahal and Grace Potter, at Chicago’s Auditorium Theatre for celebration of Staples’ life and career in honor of her 75th birthday. Also in late 2014 he was featured on a Jackson Browne tribute album, Looking Into You: A Tribute to Jackson Browne.
In 2015 his album, BLUESAmericana, won the ‘Contemporary Blues Album’ category at the Blues Music Awards.
He has been supportive of charity Playing For Change since its inception and recently appeared in a video with Keith Richards’ singing Bob Marley’s “Get Up, Stand Up”. He appeared on two tracks from the Playing For Change: Songs Around The World that was released on June 17. The album had over 180 musicians from 31 countries, including Keith Richards, Sara Bareilles, David Hidalgo, Cesar Rosas, and Taj Mahal. He donates 5% of BLUESAmericana to the charity.
In late 2015 he performed at a special concert hosted by Barack Obama called ‘A Celebration of American Creativity: In Performance at the White House”. It was shot and filmed in the East Room of the White House. Other performers included Smokey Robinson, James Taylor, Buddy Guy, Queen Latifah, Usher, Trombone Shorty, MC Lyte, Audra McDonald, Esperanza Spalding, Brian Stokes Mitchell and Carol Burnett. It commemorated the 50th anniversary of Lyndon B. Johnson’s National Foundation on the Arts the Humanities Act.
Keb’ Mo’ released a live album, Keb’ Mo’ Live – That Hot Pink Blues Album on April 15, on Kind of Blue Music/RED Distribution.
Keb’ Mo’ partnered up with Taj Mahal to release a joint album TajMo on May 5, 2017. The album has some guest appearances by Bonnie Raitt, Joe Walsh, Sheila E., and Lizz Wright, and has six original compositions and five covers, from artists and bands like John Mayer and The Who. The album won the 2018 Grammy for Best Contemporary Blues Album.
In June 2019 Keb’ Mo’ released a studio album “Oklahoma” with guest contributions from Rosanne Cash. Jaci Velasquez, Robert Randolph, Taj Mahal and a duet with Robbie Brooks Moore (his wife).
Keb’ Mo’ is scheduled to play the Glastonbury Festival in June 2019 followed by UK and European dates in July 2019.
Keb’ Mo’ performed at the 2019 Musicians Hall of Fame and Museum Concert and Induction Ceremony.
In 1998, he portrayed Robert Johnson in a documentary film, Can’t You Hear the Wind Howl?
In 1997, Keb’ Mo’ portrayed the character Isaac, the Angel of Music, in the episode “Inherit the Wind” and again in 1999 in “Then Sings My Soul” of the television series Touched by an Angel. He performed “Hand It Over” from his 1996 release Just Like You in the 1997 episode and again in the 2002 episode “Remembering Me: Part 2”. He also appeared as J. D. Winslow in the 2001 episode “Shallow Water”, where he performed his song “God Trying to Get Your Attention” from his album Slow Down.
In January 2007, he performed at the Sundance Film Festival.
He played the role of the mischievous spirit Possum in the 2007 John Sayles movie Honeydripper.
Keb’ Mo’ provided additional music for Mike and Molly.
In 2004, he participated in the politically motivated Vote for Change tour alongside Bonnie Raitt and Jackson Browne, with whom he originally recorded the title track from the album Just Like You.
Keb’ Mo’ is part of the No Nukes group which was against the expansion of nuclear power. In 2007, the group recorded a music video of a new version of the Buffalo Springfield song “For What It’s Worth” (by wikipedia)
Keb’ Mo’s self-titled debut is an edgy, ambitious collection of gritty country blues. Keb’ Mo’ pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren’t always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb’ Mo’ a debut to cherish. (by Thom Owens)
Laval Belle (drums)
Tommy Eyre (keyboards)
James “Hutch” Hutchinson (bass)
Keb’ Mo’ (vocals, guitar, harmonica, banjo)
Tony Braunagel (percussion on 09.)
Quentin Dennard (drums on 05.)
01. Every Morning (Moore) 2.57
02. Tell Everybody I Know (Moore) 3.21
03. Love Blues (Powell/Moore) 3.03
04. Victims Of Comfort (Moore/Kimber) 3.19
05. Angelina (Graper/Moore) 3.47
06. Anybody Seen My Girl (Moore) 2.55
07. She Just Wants To Dance (Graper/Moore) 3.26
08. Am I Wrong (Moore) 2.20
09. Come On In My Kitchen (Johnson) 4.07
10. Dirty Low Down And Bad (Moore) 3.09
11. Don’t Try To Explain (Moore) 3.58
12 Kindhearted Woman Blues (Johnson) 3.29
13. City Boy (Moore) 4.02
Hello, Dolly! is a 1964 musical with lyrics and music by Jerry Herman, directed and choreographed by Gower Champion, and a book by Michael Stewart, based on Thornton Wilder’s 1938 farce The Merchant of Yonkers, which Wilder revised and retitled The Matchmaker in 1955. The musical follows the story of Dolly Gallagher Levi, a strong-willed matchmaker, as she travels to Yonkers, New York to find a match for the miserly “well-known unmarried half-a-millionaire” Horace Vandergelder.
Hello, Dolly! first debuted at the Fisher Theater in Detroit on November 18, 1963, then moved to Broadway, produced by David Merrick, in 1964, winning 10 Tony Awards, including Best Musical. This set a record which the play held for 37 years. The show album Hello, Dolly! An Original Cast Recording was inducted into the Grammy Hall of Fame in 2002. The album reached number one on the Billboard album chart on June 6, 1964, and was replaced the next week by Louis Armstrong’s album Hello, Dolly! Louis Armstrong also was featured in the film version of the show, performing a small part of the song “Hello, Dolly!”.
The show has become one of the most enduring musical theater hits, with four Broadway revivals and international success. It was also made into the 1969 film Hello Dolly! which won three Academy Awards, and was nominated in four other categories. (by wikipedia)
Gerald Sheldon Herman (July 10, 1931 – December 26, 2019) was an American composer and lyricist, known for his work in Broadway musical theater. He composed the scores for the hit Broadway musicals Hello, Dolly!, Mame, and La Cage aux Folles. He was nominated for the Tony Award five times, and won twice, for Hello, Dolly! and La Cage aux Folles. In 2009, Herman received the Tony Award for Lifetime Achievement in the Theatre. He was a recipient of the 2010 Kennedy Center Honors.
Herman is the only composer/lyricist to have had 3 original productions open on Broadway at the same time from February to May 1969: Hello, Dolly!, Mame , and Dear World. He was the first (of two) composers/lyricists to have three musicals run more than 1500 consecutive performances on Broadway (the other being: Stephen Schwartz): Hello, Dolly! (2,844), Mame (1,508), and La Cage aux Folles (1,761). Herman is honored by a star on the Hollywood Walk of Fame, at the 7000 block of Hollywood Boulevard.
Other honors include the Jerry Herman Ring Theatre, named after him by the University of Miami. He was inducted into the Songwriters Hall of Fame in 1982.
Herman’s work has been the subject of two popular musical revues, Jerry’s Girls conceived by Larry Alford, and Showtune (2003) conceived by Paul Gilger.
A 90-minute documentary about his life and career, Words and Music by Jerry Herman by filmmaker Amber Edwards, was screened in 2007 and then broadcast on PBS.  In the 2008 animated film WALL-E, Herman’s music from Hello, Dolly! is a theme for the character WALL-E.
In 1989, American-playwright Natalie Gaupp wrote a short play titled “The Jerry Herman Center.” The play is a comedy which portrays the lives of several patients in “The Jerry Herman Center for Musical Theatre Addiction.” In 2012, Jason Graae and Faith Prince collaborated on The Prince and the Showboy, a show which pays tribute to Herman; Graae worked extensively with Herman and described him as “a survivor of the highest degree [who] lives his life as an eternal optimist.”
Herman was openly gay and at the time of his death was partnered with Terry Marler, a real estate broker.
Herman was diagnosed HIV-positive in 1985. As noted in the “Words and Music” PBS documentary, “He is one of the fortunate ones who survived to see experimental drug therapies take hold and was still, as one of his lyrics proclaims, ‘alive and well and thriving’ over quarter of a century later.”
Herman’s memoir, Showtune, was published in 1996.
Herman died at a hospital in Miami on December 26, 2019, at age 88 (by wikipedia)
Okay … enjoy the music of one of the great musicals of the Sixties.
Eileen Brennan (Irene Molloy)
David Burns (Horace Vandergelder)
Carol Channing (Dolly Levi)
Jerry Dodge (Barnaby Tucker)
Igors Gavon (Ambrose Kemper)
Sondra Lee (Minnie Fay)
Charles Nelson Reilly (Cornelius Hackl)
Orchestra directed by Jerry Herman, Gower Champion & Philip J. Lang
01. Orchestra: Prologue 1.14
02. Carol Channing & Company: I Put My Hand In 3.09
03. David Burns & Company: It Takes A Woman 2.35
04. Charles Nelson Reilly, Jerry Dodge, Igors Gavon, Carol Channing: Put On Your Sunday Clothes 4.17
05. Eileen Brennan: Ribbons Down My Back 2.43
06. Carol Channing, Eileen Brennan, Sondra Lee: Motherhood 1.49
07. Carol Channing, Charles Nelson Reilly, Jerry Dodge, Sondra Lee, Eileen Brennan: Dancing 4.28
08. Carol Channing & Company: Before The Parade Passes By 3.19
09. Eileen Brennan, Charles Nelson Reilly, Sondra Lee, Jerry Dodge: Elegance 2.27
10. Carol Channing & Company: Hello, Dolly! 5.43
11. Charles Nelson Reilly, Eileen Brennan & Company: It Only Takes A Moment 3.43
12. Carol Channing: So Long Dearie 3.01
13. David Burns, Carol Channing & Company: Finale 4.14
Music & lyrics by Jerry Herman
die Welt von Kaphoon dem Namenlosen...
Fotografien & Alltag
Allerlei buntes aus deutschen Landen
Notizen zwischen Himmel und Erde
Der Kopf ist rund, damit das Denken die Richtung ändern kann.
oder: Alles, was ich meinem Friseur nicht erzählen kann
Jede Woche eine neue Liedtextinterpretation
A blog mainly about odd German 45 rpm records. New records every Thursday.