Screaming Lord Sutch – Rock And Horror (1982)

FrontCover1David Edward Sutch (10 November 1940 – 16 June 1999), also known as 3rd Earl of Harrow, or Screaming Lord Sutch, was an English musician and serial parliamentary candidate. He was the founder of the Official Monster Raving Loony Party and served as its leader from 1983 to 1999, during which time he stood in numerous parliamentary elections. He holds the record for losing more than 40 elections in which he stood from 1963 to 1997. As a singer he variously worked with Keith Moon, Jeff Beck, Jimmy Page, Ritchie Blackmore, Charlie Watts and Nicky Hopkins.

Sutch was born at New End Hospital, Hampstead, London. In the 1960s, inspired by Screamin’ Jay Hawkins, he changed his stage name to “Screaming Lord Sutch, 3rd Earl of Harrow”, despite having no connection with the peerage. His legal name remained David Edward Sutch.

After his career as an early 1960s rock and roll attraction, it became customary for the UK press to refer to him as “Screaming Lord Sutch”, or simply “Lord Sutch”. Early works included recordings produced by audio pioneer Joe Meek.

During the 1960s Screaming Lord Sutch was known for his horror-themed stage show, dressing as Jack the Ripper, pre-dating the shock rock antics of Alice Cooper. Accompanied by his band, the Savages, he started by coming out of a black coffin (once being trapped inside of it, an incident parodied in the film Slade in Flame). Other props included knives and daggers, skulls and “bodies”. Sutch booked themed tours, such as ‘Sutch and the Roman Empire’, where Sutch and the band members would be dressed up as Roman soldiers.


Despite a self-confessed lack of vocal talent, he released horror-themed singles during the early to mid 1960s, the most popular “Jack the Ripper”, covered live and on record by garage rock bands including the White Stripes, the Gruesomes, the Black Lips and the Horrors, the latter for their debut album.

In 1963 Sutch and his manager, Reginald Calvert, took over Shivering Sands Army Fort, a Maunsell Fort off Southend, and in 1964 started Radio Sutch, intending to compete with other pirate radio stations such as Radio Caroline. Broadcasts consisted of music and Mandy Rice-Davies reading Lady Chatterley’s Lover. Sutch tired of the station, and sold it to Calvert, after which it was renamed Radio City, and lasted until 1967. In 1966 Calvert was shot dead by Oliver Smedley over a financial dispute. Smedley was acquitted on grounds of self-defence. About this time Ritchie Blackmore left the band. Roger Warwick left to set up an R&B big band for Freddie Mack.


Sutch’s album Lord Sutch and Heavy Friends was named in a 1998 BBC poll as the worst album of all time, a status it also held in Colin Larkin’s book The Top 1000 Albums of All Time,[citation needed] despite the fact that Jimmy Page, John Bonham, Jeff Beck, Noel Redding and Nicky Hopkins performed on it and helped write it. On the other hand, for fans of the musicians involved, their work is considered well-worth listening to the album, and especially for the recently formed New Yardbirds/Led Zeppelin, offers a first take of the rolling funk-blues riffs and grooves that would define the classic Led Zeppelin sound.

For his follow-up, Hands of Jack the Ripper, Sutch assembled British rock celebrities for a concert at the Carshalton Park Rock ‘n’ Roll Festival. The show was recorded (though only Sutch knew), and it was released to the surprise of the musicians. Musicians on the record included Ritchie Blackmore (guitar); Matthew Fisher (keyboard); Carlo Little (drums); Keith Moon (drums); Noel Redding (bass) and Nick Simper (bass).


In 2017 his song “Flashing Lights” was featured in Logan Lucky, directed by Steven Soderbergh.

In the 1960s Sutch stood in parliamentary elections, often as representative of the National Teenage Party. His first was in 1963, when he contested the by-election in Stratford-upon-Avon caused by the resignation of John Profumo. He gained 208 votes. His next was at the 1966 general election when he stood in Harold Wilson’s Huyton constituency. Here he received 585 votes.

He founded the Official Monster Raving Loony Party in 1983 and fought the Bermondsey by-election. In his career he contested over 40 elections. He was recognisable at election counts by his flamboyant clothes and top hat. In 1968 he officially added “lord” to his name by deed poll.[4] In the mid 1980s, the deposit paid by candidates was raised from £150 to £500. This did little to deter Sutch, who increased the number of concerts he performed to pay for campaigns. He achieved his highest poll and vote share at Rotherham in 1994 with 1,114 votes and a 4.2 per cent vote share.


At the Bootle by-election in May 1990, he secured more votes than the candidate of the Continuing Social Democratic Party (SDP), led by former Foreign Secretary David Owen. Within days the SDP dissolved itself. In 1993, when the British National Party gained its first local councillor, Derek Beackon, Sutch pointed out that the Official Monster Raving Loony Party already had six. He holds the record for losing more than 40 elections in which he stood.

He appeared as himself in the first episode of ITV comedy The New Statesman, coming second ahead of the Labour and SDP, in the 1987 election which saw Alan B’Stard elected to Parliament.

Adverts in the 1990s for Heineken Pilsener boasted that “Only Heineken can do this”. One had Sutch at 10 Downing Street after becoming Prime Minister.

In 1999 Sutch starred in a Coco Pops advert as a returning officer announcing the results of its renaming competition.

Sutch was friends with, and at one time lived at the house of, Cynthia Payne.

Screaming Lord Sutch,Cynthia Payne & Jayne County.The Plough Kenton UK. 20/10/89:

He had a history of depression, and killed himself by hanging on 16 June 1999, at his mother’s house. At the inquest, his fiancée Yvonne Elwood said he had “manic depression”.

Sutch is buried beside his mother, who died on 30 April 1997, in the cemetery in Pinner, Middlesex. He was survived by a son, Tristan Lord Gwynne Sutch, born in 1975 to American model Thann Rendessy.

In 1991 his autobiography, Life as Sutch: The Official Autobiography of a Raving Loony (written with Peter Chippindale), was published. In 2005 Graham Sharpe, who had known him since the late 1960s, wrote the first biography, The Man Who Was Screaming Lord Sutch. (by wikipedia)


Taking a break from electioneering, his Screaming Lordship, or Dave to his friends, let loose on these early 80s recordings in his own genteel style. A who’s who of the UK rockin’ scene from the 60s back up Sutch on this ghoulish goulash of hair raising monster rockers, like ‘Screem, Screem’, ‘Murder In The Graveyard’, ‘Loonabilly’ and the inevitable ‘Jack The Ripper’. The leopardskin-clad Sutch recorded with the legendary cult producer of the 60s, Joe Meek and is the UK’s most eccentric rocker, king of bad taste and horror. He regrettably never realised his ambition to be prime minister with his Monster Raving Loony Party as he took his own life in 1999 – a great eccentric that will be gravely missed. (Promo text)


I’m not sure if this is the definitive Sutch CD, but it will certainly tell you what he was all about ! I gave it four stars because it really is a lot of fun to listen to–although I’m not sure if all the laughs are intentional !
First, the problem–sorry, but as a vocalist, Sutch was pretty bad–studio tricks and good musicians can’t hide the fact that this guy was no singer.
On the other hand, his energy and enthusiasm won me over. I bet if you had a party–and waited until everyone was “feeling no pain”–playing this disc at full volume would be a blast !
There are twelve tracks–the first six have a horror theme with “Jack the Ripper” and “Murder in the Graveyard” delivering the goods–the remaining songs are more conventional rockers, taken at a frantic pace. Warning–if you like deep, meaningful lyrics, forget about it ! This is not Bob Dylan !
Lord Sutch is no longer with us. Apparently, he was a great showman, and many big UK musicians got their start as one of his “Savages”. People who saw him in concert say that the world became a duller place when he left.
Dear Reader–I don’t know if you will like this CD, or hate it, but one thing for sure–like Sutch himself, it is not dull ! ! (by peterfromkanata)


Anji Antanori (guitar on 07., 10.)
Rod de’Ath (drums on 02., 03.
Bob Burgos (drums on 01., 04. – 06., 08., 09.,11., 12.)
Terry Clempson (guitar on 02., 03.
Tony Dangerfield (bass on 07., 10.)
Keith Evans (bass on 02., 03.)
Matthew Fisher (piano on 12.)
Tony Hall (saxophone on 02., 03., 07., 10.
Richard Hogan (piano on 08., 09., 11.
Brian Juniper (saxophone on 02., 03.
Darnell Kellerman (saxophone on 08., 09., 11.
Freddie “Fingers” Lee (piano on 01., 04.. 06.
Lou Martin (piano on 02., 03.
Rob Murly (bass on 01., 04., 05., 08., 09., 11., 12.)
Ray Neale (guitar on 01., 04. – 06., 08., 09., 11., 12.)
Sid Phillips (saxophone on 02., 03., 07.
Mac Poole (drums on 07., 10.)
Screaming Lord Sutch (vocals)
Ian Terry (leadguitar on 01., 04. – 06., 12.
Pete Thomas (saxophone on 01., 04. – 06.



Horror Side:
01. Screem & Screem (Sutch) 1.54
02. All Black & Hairy (Sutch) 2.32
03. Jack The Ripper (Stacey/Simmonds/Haggin) 3.11
04. Monster Rock (Sutch) 2.24
05. Rock & Shock (Sutch) 2.01
06. Murder In The Graveyard (Surtch) 3.01

Rock Side:
07. London Rocker (Sutch) 2.16
08. Penny Penny (Sutch) 3.04
09. Rockabilly Madman (Sutch) 3.32
10. Oh Well (Sutch) 1.55
11. Loonabilly (Burgos/Neal/Sutch) 1.51
12. Go-Berry-Go (Sutch) 2.32




David Edward Sutch (10 November 1940 – 16 June 1999)

Jimi Hendrix Experience – Fillmore West (February 1968)

FrontCover1There is no Bill Graham Presents poster more iconic than the infamous “Flying Eyeball” image for the series of February 1968 concerts headlined by Jimi Hendrix. Topping a sold-out eight show/four night run that began and ended at the Fillmore Auditorium and which featured two nights at the larger Winterland sandwiched in between, this legendary run also included openers of a very high caliber, including bluesman Albert King, John Mayall’s Bluesbreakers, and local favorites, Big Brother & The Holding Company featuring Janis Joplin.

In terms of recordings, not much survives from this legendary stand with the notable exception of the recording presented here. This nearly complete direct recording of Hendrix’s late show on February 4, 1968, captures Jimi’s final performance from this monumental run. Fresh off the sessions for his second album and kicking off the US tour to support it, Hendrix’s 1968 performances were rarely less than incendiary, and this particular performance is unique compared to others of this era.

Likely inspired by having the likes of Albert King and Mayall’s Bluesbreakers performing on the same bill that weekend, Hendrix places a larger emphasis on pure blues, and his playing is inspired throughout. In fact, the first half of this recording concentrates entirely on blues, beginning with the Experience tearing through Howlin’ Wolf’s “Killing Floor.” Unlike the frantic tempo employed at their groundbreaking Monterey Pop Festival performance the previous year, here the Experience establishes a slower, deeper groove, more akin to Howlin’ Wolf’s original, which brings out the best in Hendrix.


Hendrix’s own “Red House” follows, a song now considered to be a landmark of the blues, but then virtually unknown to American audiences, as it was not issued on Reprise’s US edition of his debut album. Although more concise and focused than later, more expansive renditions, this features some of Hendrix’s most emotionally rich playing of the evening.

The traditional, “Catfish Blues,” an early staple of the Experience’s stage repertoire follows before drummer Mitch Mitchell invites Electric Flag drummer, Buddy Miles, to the stage. Nearly two years before Hendrix and Miles would team up in the Band of Gypsys, what follows is a highly improvisational instrumental reading of Traffic’s “Dear Mr. Fantasy.” Despite the loose unrehearsed nature of this collaboration, these musicians display an innate chemistry, and the performance, essentially a psychedelic jam, is overflowing with creativity from Hendrix and certainly pleases the San Francisco audience.

Jimi Hendrix02

Mitchell returns to the drum kit afterwards, and after Hendrix apologizes for being unable to play as long as they would have liked (it was a Sunday night with a curfew on the length of performance), the Experience wraps things up with an incendiary “Purple Haze,” a song title that had particular resonance to the psychedelic contingency in San Francisco. Unfortunately incomplete due to tape stock running out, what was captured caps off a performance that remains as potent and compelling today as it was nearly half a century ago. (by Alan Bershaw)

Jimi Hendrix (guitar, vocals)
Mitch Mitchell (drums)
Noel Redding (bass, vocals)
Buddy Miles (drums on 05.)

Jimi Hendrix03

01. Killing Floor (incomplete) (Burnett) 4.01
02. Red House (Hendrix) 5.40
03. Catfish Blues (Traditional) 11.42
04. Mitch intros Buddy Miles 1.29
05. Dear Mr. Fantasy (Winwood/Capaldi/Wood) 9.53
06. Purple Haze (incomplete) (Hendrix) 5.00

Jimi Hendrix 68033-4a


More from Jimi Hendrix:

Paul Brett – Interlife (1978)

FrontCover1Paul Brett began his career appearing (while still a teenager) as an uncredited backing guitarist on ROY HARPER’s 1966 debut ‘Sophisticated Beggar’ which is generally acknowledged as contemporary British folk classic although not especially progressive when compared to some of Harper’s later work into the mid-seventies and beyond.

The same can be said of AL STEWART’s ‘Zero She Flies’, recorded in 1969 with Brett again appearing as a nameless studio musician while other studio players such as Trevor Lucas and Gerry Conway of FOTHERINGAY do appear in the liner notes.

Brett appeared (with credits) on the STRAWBS’ ‘Dragonfly’ studio album which was also recorded in 1969, and cut a couple of singles with ARTHUR BROWN. That same year he played guitar on most of ELMER GANTRY’S VELVET OPERA second and final release ‘Ride a Hustler’s Dream’, and closed out the decade as a member of the short-lived psych band FIRE, largely leading the studio effort for the now ultra-rare ‘The Magic Shoemaker’ LP.

After his work with the STRAWBS Brett formed his own band (PAUL BRETT SAGE) and released three studio albums between 1970-1972. That group consisted at various times of Nicky Higginbottom (flute, saxophone), Mike Piggot (later of the PENTANGLE), bassist Dick Dufall (STRAWBS, FIRE), Stuart Cowell (guitars) and percussionist Bob Voice (FIRE), among others. The band’s sound ranged from contemporary to progressive folk and mildly heavy rock with occasional blues-rock and even a bit of jazz.

Brett would go on to a lengthy solo career as a mostly 12-string guitarist, recording contemporary rock albums, along with a few progressive works including the complex guitar instrumentals ‘Earth Birth’ and ‘Interlife’. In later years he would release a number of modern folk, instructional and mainstream albums including several K-Tel records. (by Bob Moore)

Paul Brett01

An innovative blend of folk and jazz rock, “Interlife” was an all instrumental album like “Earth Birth”, only this time Brett chose the ensemble approach rather than playing solo acoustic guitar. While he wields his considerable talent on all manner of axe, a weighty supporting cast helps bring forth a more celebratory vision. Among the well known talent are featured the ever present Mel Collins on saxes and a post Strawbs Rod Coombes on drums.

The title cut took up a whole side of the original vinyl, and is a tour de force of eclectic instrumental progressive rock. The main theme is noteworthy enough, but that which occupies most of the central minutes of the opus is simply brilliant, and lends itself, at turns, to light experimentation on guitars, saxes, synthesizers, even bass. This is like a less brocaded Mike Oldfield and better for it, especially relative to what Oldfield was doing around the same time. It’s hard to believe this is produced by assembled hired hands, so in sync are the participants.

Paul Brett02

Side 2 consists of 4 shorter tracks in a similar vein. “Celebration” begins in a more folkie style with just Brett on acoustic guitar but gradually everyone joins in and Brett delivers a searing lead solo. Some of the time shifts are of a more jazzy nature, but the track eventually ends in a near jig, reminding us of Brett’s sturdiest roots. “Segregation” has a similar structure but the lead solo is just as impressive for its bass work by Delisle Harper. While the shift from the relative shelter of the interlife into real life is no doubt a stormy one in practice, and the finale “Into Life” conveys this, it’s heavy rock is out of place on the disk, and really the only disappointment.

It’s a shame that “Interlife” did not appear a few years earlier. Not that it wasn’t innovative even in its time, but in 1974 it might have had a chance to achieve for Paul Brett some merited recognition. Unfortunately, this release remains unavailable on CD, even though it begs for another life. (by Keneth Levine)


Derek Austin (keyboards)
Paul Brett (guitar)
Mel Collins (brass)
Rod Coombes (drums)
Steve Gregory (brass)
David Griffiths (bass)
Delisle Harper (bass)

Alternate US frontcover:

01. Interlife 16.23
02. Celebration 5.36
03. Segregation 5.32
04. Isolation 3.16
05. Into Life 6.56

Music composed by Paul Brett



More from Paul  Brett:

Slim Boyd And The Rangehands – Country And Western Hits (1963)

FrontCover1And here´ a rare Country & Western album from 1963 … Slim Boyd And The Rangehands …

Slim Boyd And The Rangehands ?

Slim Boyd is one of many aliasse of Curley Williams:

Curley Williams (b. Dock Williams, June 3, 1914 – d. September 5, 1970) was an American country and western musician and songwriter from Georgia. His best-known song is “Half As Much”. He was admitted to the Atlanta Country Music Hall of Fame in 1999.

Williams was born near Cairo, Georgia and was raised on the family farm in Grady County, Georgia. His father and grandfather were fiddle players, which was the instrument Williams himself took up. Williams was given the name “Dock” because he was a seventh son and a tradition held that seventh sons became doctors.

Around 1940 Williams debuted with a band named The Santa Fe Trail Riders on WPAX in Thomasville, Georgia. In December 1942 the band was invited to join the cast of the Grand Ole Opry. Because Andrew Smik was already well-known performing as “Doc Williams” with his band The Border Riders, George D. Hay suggested that Williams change his first-name from Dock to Curley, for his curly hair.

Curley Williams01

Hay also suggested that the band become the Georgia Peach Pickers as most of its members were from Georgia (including Williams’ brothers Joseph and Sanford on rhythm guitar, and on bass and comedy respectively). The Georgia Peach Pickers brought the first Steel Guitar to the Opry stage. The Georgia Peach Pickers agreed a recording contract with Columbia Records in 1943 and remained associated with Columbia into the 1950s. Some of their best known songs, such as “Jealous Lady”, “Georgia Steel Guitar”, “Southern Belle (from Nashville Tennessee)”, and “Georgia Boogie” of which there is a video of on YouTube. They also provided backing for other Columbia artists such as Zeke Clements and Johnny Bond. During a tour of California they appeared in the 1947 film “Riders of the Lone Star” starring Charles Starrett.

Williams’ best-known song, “Half As Much” was written in 1950 while he and his band were working with the WHMA radio station, which broadcast to the Alabama cities of Anniston, Birmingham, Montgomery and Dothan. Reputedly, Williams wrote and recorded a demo of “Half as Much” very quickly, in about an hour, at WHMA in Dothan. Curley Williams02But it was a big hit for Hank Williams, to whom it is sometimes credited because the writing credit to “C. Williams” on Hank Williams’ record was often taken to be a typo. It was also a hit for Rosemary Clooney, and has been recorded by many artists, including Connie Francis, Patsy Cline, Emmylou Harris, and Van Morrison. George Bush also loved this song and appreciated this song very much.

Williams moved to WSFA in Montgomery in 1953. He stayed in Montgomery until he died in 1970. For a couple of years he also had a show on WCOV-TV, and he ran a country night club called “The Spur”. (by wikipedia)

Although this is not my style of music, it´s an intersting album, because we can hear old, very old C & W tunes (Hank Williams and other musicians) … from the very early days of this music. So, enjoy this sentimental trip in the past.


Curley “Slim Boyd” Williams  (vocals, fiddle)
a bunch of unknown studio musicians

Alternate frontcover from Germany:

01. Hey Good Lookin’ (Williams) 3.01
02. Prisoner’s Song (Dalhart) 3.05
03. I Can’t Help It (Williams)  2.31
04. I Won’t Be Home No More (Williams) 2.55
05. Down In The Valley (Traditional) 2.12
06. Ridin’ Down The Canyon (Burnette) 2.44
07. Cowpoke (Jones) 3.04
08. Bad Brahma Bull (Fletcher) 3.10
09. Sweet Betsy From Pike (Traditional/Rush) 2.44
10. Red River Valley (Traditional) 1.43



Curley Williams & The Georgia Peach Pickers:
Curley Williams & The Georgia Peach Pickers

The Band – Islands (1977)

FrontCover1Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group’s original lineup.

Primarily composed of previously unreleased songs from the Band’s career (including their 1976 cover of “Georgia on My Mind”, which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group’s contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. In the CD liner notes, Robbie Robertson compares the album to the Who’s Odds & Sods. (wikipedia)

Ever since I first heard the magnificent ‘Acadian Driftwood’ and marvelled in particular at Garth Hudson’s tasteful use of synthesiser, it has always been a mystery to me why The Band’s last album, Northern Lights, Southern Cross, wasn’t universally hailed as an all-time classic.

I reckon it vies pretty closely with their second one as being the best Band album of them all, and if you missed it or were dissuaded from listening to it by some bird brained ‘critic’, then you are well and truly advised to make amends.

Meanwhile, the boys from Woodstock, who you may remember ceased operations earlier in the year – and held a million dollar bash in San Francisco to convince everybody of the fact – have gone and made another album! A good job too, because while almost every other ‘established’ band in America has become hopelessly erratic, or splintered off into and thousand and one nebulous side-trips, The Band remain constant, as reassuring an outfit as there’s ever been in rock music.


I can’t for one minute believe that there are any of you out there who are not 100% convinced of the outstanding contribution The Band have made to contemporary American music, so I will not waste my limited supply of superlatives on preaching to the converted. I will employ then instead to transmit the pleasure I’ve gained from repeatedly listening to this new album.

At first I must admit that I was disappointed with it, and Richard Williams’ unfavourable review in MM seemed less of a hatchet job than it does now. However, I continued to play it day and night, and sure enough, its intricacies, subtle melodies and lyrical strength began to permeate my bleary senses.

It’s true it hasn’t got an epic on the scale of ‘Acadian Driftwood’, or a ballad with the power and beauty of ‘It Makes No Difference’ (we can really only expect to hear a handful of songs like that every year), but Islands does have many oustanding moments. Robbie Robertson, as usual, dominates the songwriting credits, and of the eight cuts which he wrote or co-wrote, ‘Right As Rain’ (also the new single), ‘Let The Night Fall’, a superb song called ‘Christmas Must Be Tonight’, and the somewhat ethereal instrumental title track are all well up to accepted Band standards, while the other songs, substantial thought they are, do not (for my ears) distinguish themselves individually yet.

Two standards, ‘Georgia On My Mind’ and ‘Ain’t That A Lot Of Love’, complete the album, and are treated with the same degree of sensitivity and enthusiastic reappraisal that made their ‘oldies’ album, Moondog Matinee, such a success.


The quality of the arrangements, musicianship and production are, naturally, faultless; and if there is much less evidence of Robbie Robertson’s precise and imaginative playing than I would have liked, the splendidly authoritative work of Garth Hudson and Richard Manuel, in particular, compensate to some extent.

Although (God help me) I can’t for the life of me find ANY of my Band albums except the last one, I’ve never yet heard a record of theirs that I didn’t like a great deal, and the same goes for this one. I’ve already spent more time listening to it than all but three or four other albums released this year, and its several memorable passages stand up to the most exacting comparisons.

Even if they carry out their intention of staying off the road, I sincerely hope they keep making records for a very long time, especially if they are as good as this. (by Andy Childs. from ZigZag magazine, May 1977.)


Rick Danko (bass, vocals)
Levon Helm (drums, vocals)
Garth Hudson (keyboards, piccolo, saxophone)
Richard Manuel (keyboards, vocals)
Robbie Robertson (guitars, vocal on 09.)
Jim Gordon (flute on 06.)
Tom Malone (trombone on 06.)
Larry Packer (violin on 06.)
John Simon (saxophone on 06.)

01. Right As Rain (Robertson) 3.52
02. Street Walker (Robertson/Danko) 3.16
03. Let The Night Fall (Robertson) 3.11
04. Ain’t That A Lot Of Love (Banks/Parker) 3.08
05. Christmas Must Be Tonight (Robertson) 3.37
06. Islands (Robertson/Hudson/Danko) 3.54
07. The Saga Of Pepote Rouge /Robertson) 4.15
08. Georgia On My Mind (Carmichael/Gorrell) 3.09
09. Knockin’ Lost John (Robertson) 3.52
10. Livin’ In A Dream (Robertson) 2.51



More from The Band:

Rick Danko
(December 29, 1943 – December 10, 1999)

Levon Helm
(May 26, 1940 – April 19, 2012)

Richard Manuel
(April 3, 1943 – March 4, 1986)

Pavle Aksentijevic – Anthology of Serbian Church (Sacred) Music (2002)

FrontCover1Byzantine as well as the old Serbian sacred music is characterized, as far as its inner essence is concerned, by simplicity or. freedom from undue complexity, by purity or freedom from everything sensual, ostentatious, insincere, and by unsurpassed power and spirituality. As regards its outer form or technical aspect, it is characterized bu the fact that it is entirely vocal, not making use of any instruments, and monophonic, that is, employing melodies in one vocal part only. In order to enrich and augment the melody, this music employs, , instead of polyphony and the accompaniment of the organ or some other I instrument, a finer, more spiritual means: the isocratima or holding-note. The work of the isocrats consists of holding a drone on the basic tone of the mode in which the melody is being sung. The isocratima not only enhances the melody, but also emphasizes the mode in which the psalm, humn or ode is being sung, and adds, solemnness and power to the psalmody. Its use goes back to the early Christian period.

Pavle Aksentijevic

In order to provide the chanters worth needed period,of rest, and to keep the congregation in a state of inner wakefulness antiphony is employed. That is, not one but two choirs are employed, so the congregation are not subjected. to the sleep-conductive monotony of hearing continuously the same voice or voices, coming from the same part of the church.


This music has its own system of musical scales, its own laws and canons, its own modes of composition, its own notation. The symbOlS above the words are interval signs. They do not give the pitch of every tone in the melody, bud indicate how many tones a certain note lies above or below the preceding one, orwhether it is a repetition of it. The aim of this music is not to display the fine voices of the chanters, or to entertain the congregation, or to evoke aesthetic experience. In the firct place it is a means of worship and veneration; and in the second plase, a means of self-perfection, of eliciting and cultivating man\’s higher thoughts and feelings and of oposing and eliminating his lower, undesirable ones. (by Constantine Cavarnos)

And I´m very impressed by the depth, intensity and ardency. And I include an english written booklet (20 pages).


Pavle Aksentijevic (vocals)
Byzantine chanters:
Miomir Ristić – Bratislav Ristić – Darko Manić – Nikola Popmihajlov – Damnjan Aksentijević.


01. Alleluia (6th Mode) 1.08
02. Psalomnik (Praise Verses) (1st Mode) 6.22
03. Now The Celestial Powers (6th Mode) 6.46
04. Cherubic Hymn (2nd Mode) 5.59
05. Have Mercy On Me O Lord (6th Mode) 4.33
06. We Worship Your Cross (2nd Mode) 1.06
07. God The Lord (4th Mode) 3.19
08. Alleluia (5th Mode) 1.17
09. O What A Wonderful Miracle (1st Mode) 6.30
10. You Are The Prophets Announcement (1st Mode) 2.59
11. Servikon (After The Birth) (8th Mode) 3.08
12. Sing To The Lord All the Earth (Psalm 95-1) (4th Mode) 1.21
13. Everything That Breath (Psalm 150-6) (5th Mode) 3.07
14. He Looked On The Earth (Psalm 103 and 104-32) (8th Mode) 2.50
15. Alleluia (1st Mode) 1.51

Music: Psalms of Byzantine and Serbian authors from 13th to 15th century




Bo Hansson – Music Inspired by Watership Down (1977)

FrontCover1Bo Hansson (10 April 1943 – 23 April 2010) was a Swedish musician best known for his four instrumental albums released in the 1970s.

Music Inspired by Watership Down is a progressive rock album by Swedish musician Bo Hansson. The album is Hansson’s fourth solo album and is, as its name suggests, built around musical ideas inspired by Richard Adams’ heroic fantasy novel Watership Down. It was the second album of Hansson’s to have been based on a novel; his first solo album, Music Inspired by Lord of the Rings, had likewise been based on J. R. R. Tolkien’s The Lord of the Rings. Hansson had already composed and released a musical suite inspired by Watership Down on his previous album Attic Thoughts. However, beyond its title, the Music Inspired by Watership Down album contains few overt references to the novel and instead features excerpts from the works of various poets, such as John Keats and Alexander Pope.

Music Inspired by Watership Down was originally released in Sweden as El-Ahrairah by YTF Records in 1977. This title was taken directly from the pages of Watership Down, with El-Ahrairah being the name of a trickster, folk hero-deity rabbit, known as “The Prince with a Thousand Enemies”. The album was subsequently released with its English title by Charisma Records in the United Kingdom and Sire Records in the United States, but it failed to chart on either side of the Atlantic. Music Inspired by Watership Down was reissued on CD in 2004 by Virgin Records. (by wikipedia)

Bo Hansson02

Bo Hansson’s fourth, & sadly his last, major album was inspired by the Richard Adams novel about the world seen through the eyes of rabbits. But even if you couldn’t care less about rabbits & you’ve never read the book & never will, this is still thoroughly enjoyable musical imagery. This is music that sounds like the theme it depicts. At times the listener can just picture the wind rippling grass in the fields or the sunset over the meadows. And yet at the same time it is still essentially rock music.
I agree with reviewers who have praised “Born of the Gentle South”, the lenghty opening track, & a miniture masterpiece in itself. But also, I have always enjoyed this album for it’s continuity. It has a near continuous flow of music following a single theme, and some segments are linked by delightful piano interludes.
By the time of this release (1977) many advances had been made in synthesizer design, & so organ was becoming obselete. Bo plays a variety of synthesizer/keyboards on this album, as well as piano & some guitar & some bass, and there are six other Swedish artists providing basses,drumming,concert flute,& wooden flute.
Guitarist Kenny Hakansson who appeared on “Attic Thoughts” & “Magicians Hat” makes some fine contributions of his unusual electric guitar style, but he also played a considerable role in the composition of parts of this music.

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There is a well composed air to this record & it has a realism about it. If other Hansson albums tend to carry you into a fantasy in some way, this one is a more feet on the ground affair.
Those familiar with the original vinyl version may feel at first that the addition of the “Migration Suite” seems out of place, but I have lived with both the vinyl & the CD for some time & I now consider this bonus piece an essential part of the music. Hakansson’s guitar playing alone on this extra track, & the fact that it was recorded live in the studio, make it worthwhile listening.
For me “Watership Down” represents the closing of an era when for a time rock music was often fused with other styles to produce some very sophisticed instrumental works. But a new young generation soon emerged who favoured a return to a strong rock back beat. At the time of this release [which was largely ignored by critics] terms such as “progressive rock” & “new age” didn’t exist. But whatever we call it nowadays this type of music has stood the test of time, & I am glad the works of Bo Hansson & similar artists are being remastered into CD format for all to enjoy, now & in the future. (by Stephen Keen)


Sten Bergman (flute)
Torbjörn Ekman (wooden flute)
Kenny Håkansson (guitar, bass)
Bo Hansson (keyboards, guitar, bass, tambourine)
Göran Lagerberg (bass)
Tomas Netzler (bass)
Fredrik Norén (drums)
Pontus Olsson (piano)
Bo Skoglund (drums, percussion)

01. Born In The Gentle South (Hansson/Håkansson) 16.34
02. Allegro For A Rescue (Hansson) 1.23
03. Legend And Light (Hansson/Håkansson) 3.39
04. Trial And Adversity (Hansson) 4.10
05. The Twice – Victory (Hansson) 8.14
06. The Kingdom Brightly Smiles (Hansson) 1.24
07. Migration Suite (live studio recording) (Hansson/Håkansson) 11.39



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Howlin’ Wolf – Moanin´ In The Moonlight (1959)

FrontCover1Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin’ Wolf, was a Chicago blues singer, guitarist, and harmonica player. Originally from Mississippi, he moved to Chicago in adulthood and became successful, forming a rivalry with fellow bluesman Muddy Waters. With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists.

The musician and critic Cub Koda noted, “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.” Producer Sam Phillips recalled, “When I heard Howlin’ Wolf, I said, ‘This is for me. This is where the soul of man never dies.'”[2] Several of his songs, including “Smokestack Lightnin'”, “Killing Floor” and “Spoonful”, have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the “100 Greatest Artists of All Time”.

Moanin’ in the Moonlight was the debut album by American blues singer Howlin’ Wolf. The album was a compilation of previously issued singles by Chess Records.[4] It was originally released by Chess Records as a mono-format LP record in 1959 (see 1959 in music). The album has been reissued several times, including a vinyl reissue in 1969, with the playing order changed, titled Evil.


The two earliest songs on Moanin’ in the Moonlight were “Moanin’ at Midnight” and “How Many More Years”. These two songs and ‘All Night Boogie’, were recorded in Memphis, the first two at Sam Phillips’ Memphis Recording Service in Memphis, Tennessee in July 1951, and, ‘All Night Boogie’, the last track on side one, in Memphis in 1953. These songs were sold to the Chess brothers, Leonard and Phil, who released them on two singles (Chess 1479 and Chess 1557), the first two titles being released on August 15, 1951. The rest of the songs on the album were recorded in Chicago, Illinois and were produced by either the Chess brothers and/or Willie Dixon.

The original version of Moanin’ in the Moonlight featured cover artwork by Don S. Bronstein and sleeve notes by Billboard editor Paul Ackerman. The label pressings from the original series have different colors on it because several pressing plants were used.

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The album was featured on an advertisement in Billboard magazine on August 10, 1959, which misprinted the album’s title as Howlin’ at Midnite.

In 1987 Moanin’ in the Moonlight was given a W.C. Handy Award under the category of “Vintage/Reissue Album (US)”. Rolling Stone magazine ranked the album as #153 on their list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list.[10] Robert Palmer has cited “How Many More Years” (recorded May 1951, unissued at the time, but later issued by Bear Family on CD BCD15460) as the first record to feature a distorted power chord, played by Willie Johnson on the electric guitar. (by wikipedia)

Moanin’ in the Moonlight was Howlin’ Wolf’s first collection of sides for the Chess label, packed with great tunes and untouchable performances by the man himself. The last word in electric Chicago blues, Wolf was possessed of fine guitar and harp skills, a voice that could separate skin from bone, and a sheer magnetism and charisma that knew (and has known) no equal. This disc is outstanding throughout, and features some of his best sides, including “How Many More Years,” “Smokestack Lightnin’,” “Evil,” and “I Asked for Water (She Gave Me Gasoline).” Highly recommended for the uninitiated and a must for collectors. (by Rovi Staff)


“Moaning’ in the Moonlight” is the debut LP by Howlin’ Wolf, released in 1959 and made up of various singles he had recorded and released over the course of the 1950s. These were almost indisputably some of his finest performances. In particular, the first three tracks are very strong. All songs on the album feature vocals and harmonica from the Wolf. His harmonica playing is not among the best in the blues but is still quite competent. It is his vocals, however, that are especially engrossing. In addition, he performs with other fine blues musicians of the day including Willie Dixon and Hubert Sumlin, the former of whom also penned one of the songs, “Evil,” which is among the best that the listener hears. It finally should be noted that Howlin’ Wolf had a much more modern Chicago blues sound than his rival Muddy Waters did in the fifties. (by Lucas Del Rio)


Willie Dixon (bass)
Willie Johnson (guitar)
Hosea Lee Kennard (piano)
Earl Phillips (drums)
Otis Spann (piano)
Willie Steele (drums)
Hubert Sumlin (guitar)
Jody Williams (guitar)
Howlin’ Wolf (vocals, harmonica)
Fred Below (drums on 06.)
Lee Cooper (guitar on 05.)
Adolph “Billy” Dockins (saxophone on 09.)
S. P. Leary (drums on 08.)
Otis “Smokey” Smothers (guitar on 10.)
Ike Turner (piano on 01. + 02.)

Alternate frontcover:

01.  Moanin’ At Midnight (Burnett) 3.00
02. How Many More Years (Burnett) 2.46
03. Smokestack Lightnin’ (Burnett) 3.11
04. Baby How Long (Burnett) 2.58
05. No Place To Go (Burnett) 3.01
06. All Night Boogie (Burnett) 2.19
07. Evil (Dixon) 2.56
08. I’m Leavin’ You (Burnett) 3.03
09. Moanin’ For My Baby (Burnett) 2.54
10. I Asked For Water (She Gave Me Gasoline) (Burnett) 2.55
11. Forty-Four (Sykes) 2.52
12. Somebody In My Home (Burnett) 2.28



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Chester Arthur Burnett (June 10, 1910 – January 10, 1976)


Gabor Szabo – Macho (1975)

FrontCover1Macho is an album by Hungarian guitarist Gábor Szabó featuring performances recorded in 1975 and released on the Salvation label.

Macho is right. This 1975 album is one of the headiest in the Hungarian-born guitarist Gabor Szabo’s entire catalog. Produced by Bob James, the album is deep in fretless Fender basslines courtesy of Louis Johnson, funky Rhodes pianos and synthesizers from James and former Mother of Invention Ian Underwood, guitar savvy from Szabo with Eric Gale on rhythm, and a horn section that features no less than George Bohanon, Jon Faddis, and Tom Scott, with the venerable Harvey Mason Sr. on drums. This is a tough, in-your-face, funky soul-jazz band. Szabo’s sense of camp was eternal as he covers, disco-style, Franz Liszt’s “Hungarian Rhapsody #2,” but slips into the souled-out groove-jazz of his own “Time,” without a seam. Szabo’s playing, with its mysterious, liquid runs and razor sharp melodic sensibilities, is centered here by James, who attempts to make Szabo’s six strings be at the absolute dead-center of the mix. Tracks like James’ own “Transylvania Boogie,” (the long title track), and Phoebe Snow’s “Poetry Man,” offer a glimpse of Szabo as the consummate melodist: with teeth. Harmonically, this band was as disciplined as the charts would allow, giving nothing away in the ensemble sections. This is a tough, streetwise, commercial jazz album that has plenty to offer to anyone with an open mind. In the pocket, groove-soaked, and flawlessly executed. (by Thom Jurek)


Although this didn’t knock me out quite as much as his classic “The Sorcerer” album, this CD is still a great listen. There is also less emphasis on Szabo’s stellar guitar playing and more of a cooperative band approach to the compositions on this album. And that’s not a bad thing, especially considering the talent on offer here: Eric Gale on rhythm guitar, Bob James (who also produced this album for CTI) on piano, Louis Johnson (yes, one of the Brothers Johnson) on bass, Harvey Mason on drums, Tom Scott on sax, Jon Faddis on trumpet, and a percussion duo of Ralph MacDonald and Idris Muhammad. Can you say: Jamming! Yes, this album works the rhythms and grooves, but Gabor and crew also handle the downtempo stuff with grace and precision. I love, for example, their take on Phoebe Snow’s “Poetry Man.” Marvelous stuff. (Donald E. Gilliland)

Recorded at Kendun Recorders in Burbank, California on April 3, 4, 5, 7 & 8, 1975


George Bohanon (trombone)
Scott Edwards (bass)
John Faddis (trumpet)
Eric Gale (guitar)
Bobbye Hall (percussion)
Bob James (keyboards)
Louis Johnson (bass)
Ralph MacDonald (percussion)
Harvey Mason (drums)
Idris Muhammad (percussion)
Tom Scott (saxophone, lyricon)
Gábor Szabó (guitar)
Ian Underwood (synthesizer)


01. Hungarian Rhapsody No. 2 (Liszt) 6.46
02. Time (Szabó) 5.31
03. Transylvania Boogie (James) 5.27
04. Ziggidy Zog (Mason) 5.57
05. Macho (Szabó) 9-09
06. Poetry Man (Snow) 4.25



Gábor István Szabó (March 8, 1936 – February 26, 1982)

More from Gábor Szabó:

The Ray Charles Singers – Summertime (1957)

FrontCover1In June 1954, the Ray Charles Singers, a name bestowed on them by Perry Como, began recording a series of albums. Due to advances in recording technology, they were able to create a softer sound than had been heard before and this was the birth of what has been called “easy listening”. Record producer Jack Hansen used some of the singers to provide backing vocals for Buddy Holly’s last songs, which Holly had composed and recorded shortly before his death in February 1959. The singers’ close harmonies behind Holly’s lead vocals simulated the sound of Holly’s hit records with the Crickets. Six songs resulted from the Hansen sessions, led by the 45-rpm single “Peggy Sue Got Married”/”Crying, Waiting, Hoping”.

On a cruise in 1964, Charles heard a Mexican song called “Cuando Calienta el Sol”. He liked it, recorded it, under the English title “Love Me with All Your Heart”, and his recording became a hit, riding to #3 on Billboard Magazine, #2 on Cashbox Magazine. This was followed by “Al Di La”, also a very popular recording. The Ray Charles Singers were not one group of vocalists. They were different combinations of singers on records, tours and TV shows. What made them the Ray Charles Singers was the conducting and arranging of Ray Charles. He generally recorded with 20 singers (12 men and 8 women) and these vocalists appeared on Perry Como’s television show. The Ray Charles Singers also were the voices behind many commercial jingles.

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Charles decided to produce a “live” performing group to send on the road with Perry Como. The group of 12 singers opened in Las Vegas at the International Hotel and also opened the show for Como at Harrah’s in South Lake Tahoe.

Charles wrote the music and lyrics for an album produced by the Continental Insurance Company for the New York World’s Fair in 1964, titled Cinema ’76. It was a companion piece to a 30-minute show about unsung heroes of the American Revolution.

On June 25, 2019, The New York Times Magazine listed the Ray Charles singers among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. (by wikipedia)

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And here is one of their nice Easy Listening album, it was their 7th album by The Ray Charles Singers and it´s of course a “summer” album … Ih weish all readers of this blog a very good summertime !

And don´t forget:

Although they were led by a man named Ray Charles, this group had no connection whatsoever to Ray Charles the famous soul singer, and certainly no connection whatsoever to soul music. The coincidence of two such different artists sharing the same name led the Ray Charles of the Ray Charles Singers, in fact, to bill himself as “The Other Ray Charles” when he was given a TV credit. (by allmusic)


The Ray Charles Singers:
Audrey Marsh – Charles Magruder – Ray Charles – Rose Marie Jun
a bunch of unknown studio musicians

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01. Summertime (Gershwin/Heyward) 2.54
02. Mountain Greenery (Rodgers/Hart) 2.34
03. Summer Night (Warren/Dubin) 3.03
04. Breezin’ Along With The Breeze (Simons/Whiting/Gillespie) 2.34
05. Lazy Afternoon (Moross/Latouche) 2.56
06. In The Good Old Summertime (Evans/Shields) 2.45
07. Cruisin’ Down The River (Tollerton/Beadell) 3.11
08. Lullaby Of The Leaves (Petkere/Young) 3.02
09. Swingin’ In A Hammock (O`Flynn/Wendling/Seymour) 2.57
10. Picnic (Allen/Dunning) 2.44
11. Me And Marie (Porter) 2.20
12. Lazy River (Carmichael/Arodin) 2.50