Philip Catherine Trio – Moods Vol. 1 (1993)

FrontCover1An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend’s distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others. (by Matt Collar)


The trio of guitarist Philip Catherine, flügelhornist Tom Harrell, and bassist Hein Van DeGeyn mostly performs group originals on this introspective, relaxed, and thoughtful set. Michel Herr’s keyboards add atmosphere to three numbers. The music is subtle post-bop, sometimes quite eerie (such as the closing “A Time for Love”), and generally unpredictable. This set, and the slightly superior Moods, Vol. 2, deserve several listens. (by Scott Yanow)


Philip Catherine (guitar)
Hein van de Geyn (bass)
Tom Harrell (flugelhorn, trumpet)
Michel Herr (keyboards on 01., 05. + 07.)


01. Côté Jardin (Catherine) 12.29
02. The Man I Love (Gershwin) 9.09
03. Moods (Catherine) 2.01
04. December 26th Variation I (Catherine) 7.56
05. Romance (Harrell) 6.35
06. Fridge Blues (de Gey) 7.15
07. Côté Cours (Catherine) 2.45
08. Angel Wings (Catherine) 5.38
09. A Time For Love (Mandel) 3.39



Hein van de Geyn

More Philip Catherine:

Fela Kuti And Afrika 70 – Sorrow Tears and Blood (1977)

FrontCover1Sorrow Tears and Blood is an album by Nigerian Afrobeat composer, bandleader, and multi-instrumentalist Fela Kuti recorded in 1977 and originally released on the Nigerian Kalakuta label. (by wikipedia)

Sorrow Tears and Blood (1977) accurately depicts the trail left in the wake of the February 18, 1977, raid by 1,000 armed Nigerian army men on Fela Kuti and his Kalakuta Republic. In keeping with the format upheld on a majority of Kuti’s long players, this LP contains a pair of extended works, featuring one title per side. In contrast to the hard-edged and aggressive Afro-funk that Kuti and his Africa 70 became synonymous with, both the A-side title track and B-side, “Colonial Mentality,” are seemingly staid, in light — or perhaps because — of the cruel state-sponsored attacks that he and his extended family suffered. “Sorrow Tears and Blood” is neither a full-blown, uptempo funk drone nor a somber FelaKuti01dirge. The even-handed, midtempo groove trots along at a steady pace and features some comparatively sedate sax work from Kuti. Even the instrumental introduction — which has been known to clock in at over five minutes — is reduced to well under three. His lyrics are starkly direct — “Everybody run, run, run/Everybody scatter, scatter/Some people lost some bread/Some people just die” — yet the emotive center is gone. Perhaps this is the result of fear, shellshock, or a combination of the two. Kuti’s words, however, remain as indicting as ever: “Them leave sorrow, tears, and blood/Them regular trademark.” “Colonial Mentality” returns to a more seething and slinky musicality. The dark and brooding bassline undulates beneath a brass-intensive Africa 70. Rarely has Kuti’s musical arrangements so perfectly imaged James Brown’s J.B.’s or Barry White’s Love Unlimited Orchestra. The message is delivered as a fable, demonstrating that it is the individuals who live in a stifling “Colonial Mentality” who are the slaves. His preface, stating that the colonial man had released them yet they refuse to release themselves, sets out to prove that slavery is a continual and concurrent state of mind for Africans. (by Lindsay Planer)


Ayoola Abayomi (percussion)
Shina Abiodun (percussion)
Tony Allen (drums)
Lekan Animashaun (saxophone)
Nweke Atifoh (bass)
Leke Benson (guitar)
Clifford Itoje (guitar)
Nwokoma Jkem (trumpet)
Oladeinde Koffi (percussion)
Oghene Kologbo (guitar)
Fela Kuti (saxophone, piano, vocals)
Addo Nettey (percussion)
Babajide Olaleye (maracas)
Tunde Williams (trumpet)
background vocals:
Alake Anikulapo-Kuti – Emaruagheru Anikulapo-Kuti – Fehintola Anikulapo-Kuti – Kewe Anikulapo-Kuti – Ronke Anikulapo-Kuti – Shade Anikulapo-Kuti – Tejumade Anikulapo-Kuti


01. Sorrow Tears And Blood 10.16
02. Colonial Mentality 13.43

All compositions by Fela Kuti.



FelaKuti02Fela Anikulapo Kuti (15 October 1938 – 2 August 1997)

Mountain – Wilkes Barre (2011)

FrontCover1Mountain is an American hard rock band that formed on Long Island, New York in 1969. Originally comprising vocalist and guitarist Leslie West, bassist and vocalist Felix Pappalardi, keyboardist Steve Knight and drummer N. D. Smart, the band broke up in 1972 and has reunited frequently since 1973. Best known for their cowbell-tinged song “Mississippi Queen”, as well as the heavily sampled song “Long Red” and their performance at the Woodstock Festival in 1969, Mountain is one of many bands to be commonly credited as having influenced the development of heavy metal music in the 1970s. The group’s musical style primarily consisted of hard rock, blues rock and heavy metal. (by wikipedia)

And here´s a pretty good bootleg from one of these countless Mountain gigs after the death of Felix Pappalardi …. but Leslie West plays on and on …

Undisputedly one of the top guitarists around, Leslie West helped Rock 107 WEZX Scranton celebrate the station’s 31st birthday with an electrifying display.

Mountain circa 1969; Leslie West in 2016

Thanks to bcironmaiden who recorded and shared the tracks on the net. bcironmaiden noted: “There were also some tech problems during the show with Leslie’s guitar and the vocal mics on stage. That being said… they still kicked ass!”

What a fucking great show … what a fucking great concert !

Enjoy the power of Leslie West and his guitar … hot and dirty, loud and proud !


Corky Laing (drums)
Richie Scarlet (bass, vocals on 04.)
Leslie West (guitar, vocals)

01. Blood Of The Sun (West/Pappalardi/Collins) 7.56
02. Never In My Life (Laing/Pappalardi/Collins/West) 4.54
03. For Yasgur’s Farm (Collins/Gardos/Laing/Pappalardi/Rea/Ship) 6.06
04. Goin’ Down (Nix) 7.35
05..Theme For An Imaginary Western (Bruce/Brown) 5.48
06. Cell 65 (West) 5.51
07. Crossroads (Johnson) 7.32
08. Nantucket Sleighride (Pappalardi/Collins/Laing) / Pain It Black (Jagger/Richards) 13.44
09. Mississippi Queen (West/Laing/Pappalardi/Rea) 7.04



More Mountain:

Dave Brubeck Quartet featuring Paul Desmond – Buried Treasures (1998)

FrontCover1Buried Treasures is a 1967 live album by Dave Brubeck and his quartet, recorded during their tour of Mexico. It was released in 1998. A second live album recorded on their tour, Bravo! Brubeck!, was released in July 1967.

Doug Ramsey reviewed the album for Jazz Times and wrote that “It catches the quartet in as fine fettle…The empathy, the tightness, the ability to anticipate that this band had developed in nearly a decade together was at its peak. “Mr. Broadway,” at a furious clip, is pure exhiliration. The listener has to wonder at Wright’s and Morello’s cohesiveness, let alone their continued swing, under Brubeck’s fragmentation of meter in his solo. There is a “Koto Song” with Desmond again proving himself a blues master and Brubeck as delicate as a French impressionist. …This was an impressive group. Seven months later, Brubeck disbanded it”.


In 1998, Columbia reissued a bunch of CDs by the Dave Brubeck Quartet, often adding one or two previously unissued selections to the sets. Buried Treasures: Recorded Live in Mexico City, however, is something different, for none of the music had been out before. Recorded live in 1967 during a tour of Mexico that also resulted in the album Bravo! Brubeck!, the set features the classic Brubeck Quartet (with altoist Paul Desmond, bassist Eugene Wright and drummer Joe Morello) performing seven selections they had previously recorded, which was probably why this particular music stayed in the vaults for decades. The quality is certainly quite high, with Brubeck and Desmond really digging into such songs as “Koto Song” (coming up with some inspired ideas over its vamp), “You Go to My Head,” a lengthy “St. Louis Blues,” and a fairly concise version of “Take Five,” one of the few versions by Brubeck of the hit song that does not have a drum solo. Suffice to say, Dave Brubeck fans only need to be notified of two things: they do not already own this music, and the Quartet is heard throughout in prime form. Recommended. (by Scott Yanow)


Paul Desmond (saxophone)
Dave Brubeck (piano)
Joe Morello (drums)
Gene Wright (bass)



01. Introduction 1.30
02. Mr. Broadway Brubeck) 7.19
03. Koto Song (Brubeck) 7.21
04. Sweet Georgia Brown (Bernie/Casey/Pinkard) 7.39
05. Forty Days (Brubeck) 7.22
06. You Go To My Head (Coots/Gillespie) 7.32
07. Take Five (Desmond) 5.10
08. Saint Louis Blues (Handy) 11.20



More Dave Brubeck:


David Warren Brubeck (December 6, 1920 – December 5, 2012)

The New Yardbirds (pre-Led Zeppelin) – London Blues 1968 (1999)

FrontCover1After the Yardbirds released their final album, Jimmy Page (who had only recently joined the band) ended up with rights to the name as it’s sole remaining member after bassist Chris Dreja left. He asked John Paul Jones to take over bass and help put together a new lineup in order to fulfill some contract obligations for a fall tour. They asked an obscure, but talented, British singer Terry Reid to be the lead singer of their “New Yardbirds”. Dubious of joining a retread of The Yardbirds after the likes of Eric Clapton and Jeff Beck had left, Reid declined. However, Reid recommended Robert Plant for the job. After Plant joined he recommended former band mate John Bonham as the drummer.

Plant/Page/Bonham/Jones would change the name to Led Zeppelin after Keith Moon, the infamous drummer for “The Who”, suggested it as a joke. Since Moon felt the band would go over like a lead balloon.

Terry Reid would later go on to turn down an offer to join Deep Purple as well.

The first two tracks are radio broadcast recordings from Tivoli Gardens in Stockholm, 1968, and the rest are audience recordings from the Marquee Club in London that same year. (by ByteMe)


And the original uploader wrote:

Robert Plant was at a crossroads. Should he keep his job at Bill’s petrol,where he was known as one of the best mechanics in England and give up his lucrative pay packet or should he join up with the relativity known Jimmy Page and become the singer in the fledgling new band he was forming. After speaking to the owner of the gas station a Mr. Harvey Wiensteen they had come to a compromise. Robert could take some time off to give the new upstart band a chance. And if they failed he could return to his job.However Mr. Wiensteen wanted something in return. He wanted the young Mr. Plant to promote the gas station at all the shows. Robert knew Jimmy Page would never go for this. So in a moment of inspiration Robert decided to re-name some of the songs he had been working on. Good Times Bad Times now became Good Tires Bad Tires, I Can’t Quit You Baby changed to I Can’t Find My Torque Wrench. Communication Breakdown had been changed to Transmission Breakdown and finally How Many More Times became How Many More Fill-Ups. Well needless to say the band took off and the rest is history (Excerpt from Jobe’s book little known rock facts)


The earliest known recordings of the group that should become Led Zeppelin.

I had this on a cassette for a very long time and I had no idea that this was some kind of rarity until recently, so I let it to the Zeppelin circles. (by Pink Robert)

Thi album is a must for every serious Led Zeppelin collector !!!


John Bonham (drums)
John Paul Jones (bass)
Jimmy Page (guitar)
Robert Plant (vocals)



Tivoli Gardens, Stockholm, September 20, 1968 – Radio broadcast:
01. I Can’t Quit You (Dixon) 5.42
02. I Gotta Move (Rush) 3.17

The Marquee Club, London, October 16, 1968 -Audience recording:
03. Communication Breakdown (Bonham/Jones/Page/Plant) 3.00
04. I Can’t Quit You (Dixon) 6.24
05. Killing Floor (Burnett) 8.47
06. Fought My Way Out Of The Darkness (As Long As I Have You) (Elgin/Ragovoy) – Hush Little Baby (Traditional) 6.22
07. She Wants You – London Blues Unknown) 2.08
08. Dazed And Confused (Holmes/Page) 12.04
09. White Summer – Black Mountain Side (Page) 8.45



Striker – Same (1978)

FrontCover1This versatile hard rock quartet was formed in 1977 by the multi-talented Rick Randle (vocals, keyboards, guitar). Enlisting the services of Scott Roseburg (vocals, bass, guitar), Rick Ramirez (guitar) and Rick Taylor (drums, vocals), Striker signed with Arista Records the following year. Their music incorporated rock, funk, boogie, blues and soul influences, and although this eclecticism avoided press pigeon-holing, it also limited their potential audience. Their album featured impressive guitar and vocal harmonies, but lacked identity because of the varied styles employed. Failing to win an appreciative audience, Randle dissolved the band in 1979. Rick Ramirez went on to join Bruzer. (by AllMusic)

Striker was an American combo from Seattle, Washington, which sole album (self-titled, 1978) largely deserve an official remaster. Until this happens, an obscure bootleg label has released the album on CD, transferred from vinly, yes, but really well done.


Originally known as Randle-Rosburg, the group became Striker in the mid-seventies and was amongst Seattle’s leading hard rock bands of the era. The group was soon signed by a major label (Arista) and recorded & released their debut in 1978.
Their style was pretty ahead of its time, blending classic hard rock with some melodic rock twist that would become popular on FM radio two years after.
Think Legs Diamond, The Babys (John Waite), some of New England, and why not, a bit of Angel (Giuffria).


‘Think About It’ is an extremely contagious opener with a catchy guitar work, smooth vocals and some synth flourishes. ‘Midnight Flyer’ is more midtempo, melodic and with lovely harmony vocals.

Striker add acoustic guitars on the dynamic ‘Wish’, while ‘More Than Enough’ rocks with a fine swaggering riff. Then ‘Hard On Me’ is an edgy blues tinged rocker in the mould of early Legs Diamond. All very ‘American’.


Check carefully the main riff of ‘On My Way’… holy cow, this is exactly the same used later by Def Leppard for their hit ‘Photograph’!
‘Hard On Me’ has some Aerosmith on it, then the style changes completely in the Californian AOR of ‘By Your Side’, a smooth melodic piece that should have been ranked high on FM radio.

‘Running In The Wrong Lane’ returns to rock ‘n roll plenty of swagger complete with a bar-room piano and a hooky chorus, then the album ends ‘We Got The Power’ a rocker bringing to mind the very first Foreigner.

“Striker” is a lost little gem from the late Seventies US scene, and rocks with an energy and melody sure to appeal classic rock fans. Unfortunately, the group disbanded in 1980 with all members joining renowned acts, like vocalist and keyboard / guitar player Rick Randle being involved with the excellent band Bighorn.

Highly Recommended. (

And “More Than Enough” could be a perfect song for Rod Stewart & The Faces …


Rick Ramirez (lead guitar)
Rick Randle (vocals, keyboards, guitar)
Scott Rosburg (vocals, bass, guitar)
Rick Taylor (drums)


01. Think About It (Randle) 3.24
02. Midnight Flyer (Randle) 3.34
03. Wish (Randle) 3.47
04. More Than Enough (Rosburg) 4.33
05. On My Way (Randle) 3.52
06. Hard On Me (Randle/Ramirez) 3.08
07. Somebody Help Me (Rosburg/Ramirez) 3.28
08. By Your Side (Randle) 3.39
09. Running In The Wrong Lane (Rosburg/Ramirez) 3.33
10. We Got The Power (Randle) 4.39




Todd Rundgren – Initiation (A Treatise On Cosmic Fire) (1975)

FrontCover1Todd Harry Rundgren (born June 22, 1948) is an American multi-instrumentalist, singer, songwriter, and record producer who has performed a diverse range of styles as a solo artist and as a member of the band Utopia. He is known for his sophisticated and often-unorthodox music, his occasionally lavish stage shows, and his later experiments with interactive entertainment. He also produced music videos and was an early adopter and promoter of various computer technologies, such as using the Internet as a means of music distribution in the late 1990s.

A native of Philadelphia, Rundgren began his professional career in the mid 1960s, forming the psychedelic band Nazz in 1967. Two years later, he left Nazz to pursue a solo career and immediately scored his first US top 40 hit with “We Gotta Get You a Woman” (1970). His best-known songs include “Hello It’s Me” and “I Saw the Light” from Something/Anything? (1972), which get frequent air time on classic rock radio stations, and the 1983 single “Bang the Drum All Day”, which is featured in many sports arenas, commercials, and movie trailers. Although lesser known, “Couldn’t I Just Tell You” (1972) was influential to many artists in the power pop genre. His 1973 album A Wizard, a True Star remains an influence on later generations of bedroom musicians.


Rundgren is considered a pioneer in the fields of electronic music, progressive rock, music videos, computer software, and Internet music delivery. He organized the first interactive television concert in 1978, designed the first color graphics tablet in 1980, and created the first interactive album, No World Order, in 1994. Additionally, he was one of the first acts to be prominent as both an artist and producer. His notable production credits include Badfinger’s Straight Up (1971), Grand Funk Railroad’s We’re an American Band (1973), the New York Dolls’ New York Dolls (1973), Meat Loaf’s Bat Out of Hell (1977) and XTC’s Skylarking (1986).


Initiation is the sixth album by American musician Todd Rundgren, released May 23, 1975 on Bearsville Records. With this album, Rundgren fully embraced the synthesized prog sound he had begun exploring in more depth in his work with his band Utopia. However, unlike Utopia, in which Rundgren had limited himself to playing guitar, most of the synthesizers on Initiation were played and programmed by Rundgren himself.[not verified in body]

The album’s original inner sleeve included a technical note that stated: “Due to the amount of music on this disc (over one hour), two points must be emphasized. Firstly, if your needle is worn or damaged, it will ruin the disc immediately. Secondly, if the sound does seem not loud enough on your system, try re-recording the music onto tape. By the way, thanks for buying the album.”(by wikipedia)


Returning to solo recording almost immediately after forming Utopia, Todd Rundgren continued with the synth-heavy prog rock he pioneered with Todd Rundgren’s Utopia on Initiation. The differences immediately resonate with “Real Man,” a terrific song that encapsulates not only his newfound fondness for electronics, but also his burgeoning spirituality and his knack for pop craft. “Real Man” is so good, it’s tempting to believe that the remainder of Initiation will follow in the same direction, resulting in an inspired, truly progressive fusion of classic Rundgren and synthesizers. As soon as the second track, an a cappella vocoder opus called “Born to Synthesize,” it’s clear that Rundgren has no intention of following that path, choosing to push the limits of synth technology and recorded music instead of constructing an album. Initiation suffers accordingly. At times, particularly on the first, song-oriented side, it is pretty intriguing, but too often, the results are simply frustrating because it doesn’t go anywhere. That’s particularly true with “A Treatise on Cosmic Fire,” a half-hour “suite” that comprises all of side two and doesn’t really go anywhere, despite hitting many stops along the way. It’s enough to erase the memory of “Real Man,” “Eastern Intrigue” and “Initiation,” the moments where it all comes together on the first half of the record, but another spin of the first side reveals that Rundgren could have made Initiation something special if he had the discipline. (by Stephen Thomas Erlewine)

For fuck sake, this is music I can really dive into.

Side one is just what you expect from an art rock act:
an acapella track, a hard rock number, blue eyed soul,
pop, progressive rock…all covered in layers of synths and sound-effects.

But on side two things gets radical.

From this point on the musician loses control over the synthesizer, reversing their roles (poor Todd) and what’s left are 35 minutes of pure electronic dementia!

First, it’s pretty melodic, sometimes even mellow,
as if the machine was just testing its new toy.
As the track progresses, things only gets weirder and weirder until you think your sound system is damaged.

Towards the end, the opening tune repeats, symbolizing the artist’s triumph.
An overturn has occurred and now peace is restored.

Todd will never give his synth such freedom again. (by Eric_Iozzi)

In other words: A real weird album !


Barbara Burton (percussion)
Rick Derringer (guitar, bass)
Kevin Ellman (drums)
Dan Hartman (bass)
Barry Lazarowitz (drums)
Moogy Klingman (RMI keyboard computer, organ)
Roy Markowitz (drums)
Rick Marotta (drums)
John Miller (bass)
Chris Parker (drums)
Lee Pastora (percussion)
Roger Powell (synthesizer treatments, nose flute)
Bernard Purdie (drums)
Bob Rose (guitar)
David Sanborn (saxophone)
Ralph Schuckett (clavinet)
John Siegler (bass)
Todd Rundgren (vocals, guitar, keyboards, synthesizer, percussion)
John Wilcox (drums)
Edgar Winter (saxophone)


01. Real Man 4.28
02. Born To Synthesize 3.46
03. The Death Of Rock And Roll 3.51
04. Eastern Intrigue 5.07
05. Initiation 7.07
06. Fair Warning 8.03

A Treatise on Cosmic Fire (Instrumental) 35.22
07. Intro – Prana 4.24
08. The Fire Of Mind – Or: Solar Fire 3.53
09. The Fire Of Spirit – Or: Electric Fire 7.35
10. The Internal Fire – or: Fire by Friction 19.37
10.1. Mûlâdhâra: The Dance of Kundalini
10.2. Svâdhishthâna: Bam, Bham, Mam, Yam, Ram, Lam, Thank You, Mahm
10.3. Manipûra: Seat of Fire
10.4. Anâhata: The Halls of Air
10.5. Vishudda: Sounds Beyond Ears
10.6. Ajnâ: Sights Beyond Eyes
10.7. Brahmarandhra: Nirvana Shakri
10.8. Outro – Prana

All songs are written by Todd Rundgren



ZZ Top – Tejas (1977)

FrontCover1Tejas is the fifth studio album by the American rock band ZZ Top. It was released in late November 1976. The title is a Caddo language word meaning ‘friends’, which is the origin of the name of the band’s home state, Texas.

Frontman Billy Gibbons said about the album:

It’s fair to say that this is a transitional record, although I’m not really sure what we were transitioning from and what we were becoming. (laughs) It may be representative of how rapidly things were changing in the studio.

The equipment was becoming more modernized, and the way that music was being recorded was different – things were moving faster. It was still pre-digital, but there was better gear that was more readily available. We made use of it all.

This period was the wrinkle that kind of suggested what was to come, and change would become a necessary part of the ZZ Top fabric.


Tejas was produced by Bill Ham and recorded and mixed by Terry Manning. In 1987, a digitally remixed version of the recording was released on CD and the original 1976 mix version was discontinued. The remix version created controversy among fans because it significantly changed the instrument balance and the sound of the instruments, especially the drums. (by wikipedia)


1977s Tejas is a transition album for Texas rockers ZZ Top. It is the beginning of their step away from the Blues Rock that had brought them fame and a lot of record sales and towards the 1980s Electronic Blues that would eventually make them a worldwide phenomenon. There is more of the former Blues Rock than the latter Electronica here though. Tejas is almost as good a ZZ Top’s masterpiece Deguello, but is held back by some weaker tracks, something Deguello didn’t suffer from. Still there are some amazing songs here, notable the blazing, yet tongue in cheek Arrested for Driving While Blind, the countrified and rollicking She’s a Heartbreaker, and the achingly beautiful Asleep in the Desert. Overall Tejas is an important part of ZZ Top’s discography, and a very good album.(by Karl)


On Tejas, ZZ Top countrified the bluesy posture of their previous albums, resulting in a slight detour between the madcap spirit of Fandango and the psychedelic strut of Deguello. While the album lacks any singles as strong as “Tush” or “La Grange,” “Arrested for Driving While Blind” is one of ZZ’s classic anthems, capturing the group’s wacky humor and jaunty good-time boogie. Other highlights include the driving “Enjoy and Get It On,” “Avalon Hideaway,” and the fine instrumental “Asleep in the Desert.” (by Jim Smith)


Frank Beard (drums, percussion)
Billy Gibbons (guitar, vocals, harmonica, fiddle)
Dusty Hill (bass guitar, keyboards, vocals on 01., 06., 07., 08., background vocals)


01. It’s Only Love 4.24
02. Arrested For Driving While Blind 3.09
03. El Diablo 4.22
04. Snappy Kakkie 2.59
05. Enjoy And Get It On 3.26
06. Ten Dollar Man 3.41
07. Pan Am Highway Blues 3.15
08. Avalon Hideaway 3.08
09. She’s A Heartbreaker 3.02
10. Asleep In The Desert 3.25

All songs are written by Billy Gibbons, Dusty Hill and Frank Beard,
except 10 (written by Billy Gibbons)



More ZZ Top:


Karl Jenkins – Imagined Oceans (1998)

FrontCover1Sir Karl William Pamp Jenkins CBE (born 17 February 1944) is a Welsh multi-instrumentalist and composer. His best known works include the song “Adiemus” and the Adiemus album series; Palladio; The Armed Man; and his Requiem.

Jenkins was educated in music at Cardiff University and the Royal Academy of Music: of the latter, he is a fellow and an Associate. He was a member of the jazz-rock band Soft Machine. Jenkins has composed music for advertisement campaigns and has won the industry prize twice. (by wikipedia)

This work by Welsh composer Karl Jenkins (now Sir Karl Jenkins) was inspired by thirteen lunar mare for which the tracks are titled. The musical style is similar to Jenkins’s Adiemus compositions and each track explores the meaning of its Latin name through various musical techniques. Unlike most of the Adiemus pieces, the lyrics for Imagined Oceans consist of syllables from the tracks’ titles rather than invented text. (IC B. (icberry))

Soft Machine

Karl Jenkins’ successful combination of new age, jazz, and classical influences continues with Imagined Oceans, a musical interpretation of 13 of the Latin-named areas of the moon which were once believed to be vast stretches of water. The recorder of Pamela Thorby features heavily throughout, as does the imaginative use of voices; three female singers with a collected range of over three and a half octaves furthers the ethereal feel. There are as many highlights in this dense and complex collection as there are impenetrable sections that will require several listens.

Karl Jenkins02

The pizzicati “Mare Vaporum (Sea of Vapours),” distinguished by the use of steam-like cymbals and a mesmeric flute part; “Mare Australis (Southern Sea),” a Mozart-influenced piece featuring Australian didgeridoo; and “Lacus Pereverantiae (Lake of Perseverance),” driven by a relentlessly repetitive (syncopated) rhythm, are among the best tracks. The musical metaphors are strewn throughout and ably continued with “Mare Imbrium (Sea of Showers),” punctuated by pizzicato string raindrops. Jenkins goal, “To create a world of aquatic fantasy,” is ably achieved with this intricate and involved collection. (by Brendan Swift)

In other words: Another masterpiece of the one and only Karl Jenkins.


Karl Jenkins Ensemble conducted by Nic Pendlebury
Heather Cairncross (Alto)
Sarah Eyden (Soprano)
Micaela Haslam (Mezzo-Soprano)
Pamela Thorby –(recorder)


01. Mare Crisium Introitus (Sea Of Crises) 2.53
02. Lacus Serenitatis (Lake Of Serenity) 4.54
03. Mare Vaporum (Sea Of Vapours) 4.28
04. Mare Australis (Southern Sea) 6.44
05. Lacus Somniorum (Lake Of Dreams) 2.40
06. Lacus Pereverantiae (Lake Of Perseverance) 8.45
07. Lacus Doloris (Lake Of Sorrow) 4.55
08. Mare Undarum (Sea of Waves) 4.58
09. Palus Nebularum (Marsh Of Mists) 3.11
10. Sinus Iridium (Bay Of Rainbows) 2.15
11. Mare Imbrium (Sea Of Showers) 4.48
12. Lacus Temporis (Lake Of Time) 5.14
13. Lacus Lenitatis (Lake Of Tenderness) 3.26
14. Mare Crisium (Sea Of Crises) 5.40




Karl Jenkins01

Simone Kopmajer – Good Old Times (2017)

FrontCover1A cool-toned Austrian jazz vocalist, Simone Kopmajer sings in flawless English. She had classical piano lessons starting at the age of eight and at 12 began playing saxophone. She performed in a youth big band and sang regularly in her father’s band as a teenager. At 17 she studied with Sheila Jordan, who encouraged her. Kopmajer also studied with Mark Murphy, Jay Clayton, and Michele Hendricks. Since earning a Masters from the University of Music and Dramatic Arts in Graz, Austria, Kopmajer has toured the Netherlands twice with the Euro Big Band, appeared at European jazz festivals, and recorded three CDs: Moonlight Serenade (for the Japanese Venus label), her best-known set Romance (for Zoho), and her privately released Taking a Chance on Love. Each CD emphasizes her own fresh versions of standards. (by Scott Yanow)

Jazz singer and pianist Simone Kopmajer performs songs composed by the likes of Mick Jagger & Keith Richards, the Brothers Gibb (The Bee Gees), Van Morrison, John Fogerty, Neil Young, and more. She brings a sensuous femininity to songs originally performed by Simone Kopmajer01iconic male musicians.

Born in Schladming, Austria, Simone Kopmajer already achieved at a young age what many musicians, bands and ensembles dream of – the launch of a successful international career. In the United States, Japan and Southeast Asia, the singer is a household name for lovers of demanding and refined jazz music. She fills large concert halls, performs as the headliner of major international festivals and has sold thousands of CDs worldwide. Her enthusiasm and love for music kindled at a very early age. She began to sing at eight, at twelve she sang in the band of her father, who was a music school director and a big jazz fan, and at sixteen she was accepted at the University of Music and Dramatic Arts in Graz, where she was immediately admitted due to her rare talent. In the year 2000 she debuted in the U.S. and left a lasting impression among quite a few experts and connoisseurs of contemporary jazz music. Simone Kopmajer’s role models were the great voices of jazz and American show business, such as Ella Fitzgerald, Frank Sinatra, and Jon Hendricks, although over time she detached herself more and more from these influences to find her own musical language.

Simone Kopmajer03

With her charisma and unbelievable talent, Simone Kopmajer manages to give her songs a very specific emotional, charming and in-depth note, which simply touches the people. Her sound is located somewhere between jazz, swing and tasteful pop. Although her music is very relaxed, flowing and elegant, it is also very playful and varied – these multilayered facets distinguished her early off from similar formats and made her music all the more interesting.

“Simone Kopmajer possesses a voice of incredible depth. Her approach to a song is understated sincerity.” – Jazz Review

“Simone is a real beauty inside and out – she sings and swings with remarkable clarity and she’s gonna be heard from.” – Mark Murphy

“She’s dynamite.” – Florida Today


Jean-Paul Bourelly (guitar)
Margarethe Deppe (cello)
Simone Kopmajer (vocals)
Jamaaladeen Tacuma (bass)
Paul Urbanek (keyboards)
Reinhardt Winkler (drums)


01. Till There Was You (Willson) 3.56
02. Lost In Love (Russell) 4.20
03. Reality (Jordan/Cosma) 4.38
04. Heart Of Gold (Young) 3.06
05. That’s Why You Go Away (Richter) 3.22
06. First Of May (R.Gibb/B.Gibb/M.Gibb) 4.25
07. You’re My Everything (Whitfield/Grant/Penzabene) 5.08
08. Have I Told You Lately (Morrison) 5.39
09. Have You Ever Seen The Rain (Fogerty) 3.35
10. Lost Stars (Alexander/Lashley/Brisebois/Southwood) 4.20
11. The Morning Sun (Kopmajer/Urvanek) 4:23
12. All You Need Is Love (Lennon/McCartney) 3.50
13. What´s Going On (Gaye) 4.46
14. Angie (Jagger/Richards) 4.26


Simone Kopmajer02