Stephane Grappelli – Live At Carnegie Hall (1978)

FrontCover1Stéphane Grappelli (26 January 1908 – 1 December 1997), born Stefano Grappelli, was a French-Italian jazz violinist who founded the Quintette du Hot Club de France with guitarist Django Reinhardt in 1934. It was one of the first all-string jazz bands. He has been called “the grandfather of jazz violinists” and continued playing concerts around the world well into his 80s.

For the first three decades of his career, he was billed using a gallicised spelling of his last name, Grappelly, reverting to Grappelli in 1969. The latter, Italian spelling is now used almost universally when referring to the violinist, including reissues of his early work.

Grappelli was born at Hôpital Lariboisière in Paris, France, and christened with the name Stéfano. His father, Italian marchese[citation needed] Ernesto Grappelli, was born in Alatri, Lazio, while his French mother, Anna Emilie Hanoque, was from St-Omer. Ernesto was a scholar who taught Italian, sold translations, and wrote articles for local journals.[2] Grappelli’s mother died when he was five, leaving his father to care for him.[3] Although he was residing in France when World War I began, Ernesto was still an Italian citizen, and was consequently drafted into the Italian Army in 1914.

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Having written about American dancer Isadora Duncan, who was living in Paris, Ernesto appealed to her to care for his son. Stéphane was enrolled in Duncan’s dance school at the age of six, and he learned to love French Impressionist music. With the war encroaching, Duncan as an American citizen fled the country; she turned over her château to be used as a military hospital. Ernesto subsequently entrusted his son to a Catholic orphanage. Grappelli said of this time:

I look back at it as an abominable memory… The Place was supposed to be under the eye of the government, but the government looked elsewhere. We slept on the floor, and often were without food. There were many times when I had to fight for a crust of bread.

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Grappelli compared his early life to a Dickens novel, and said that he once tried to eat flies to ease his hunger.[4] He stayed at the orphanage until his father returned from the war in 1918, settling them in an apartment in Barbès. Having been sickened by his experiences with the Italian military, Ernesto took Stéphane to city hall, pulled two witnesses off the street, and had his son naturalized as a French citizen on 28 July 1919. His first name, “Stéfano”, was Gallicized to “Stéphane”. Grappelli began playing the violin at the age of 12 on a three-quarter-sized violin his father purchased by pawning a suit. Although Stéphane received violin lessons, he preferred to learn the instrument on his own:

My first lessons were in the streets, watching how other violinists played…The first violinist that I saw play was at the Barbès métro station, sheltered under the overhead metro tracks. When I asked how one should play, he exploded in laughter. I left, completely humiliated with my violin under my arm.

After a brief period of independent learning, Grappelli was enrolled at the Conservatoire de Paris on December 31, 1920, which his father hoped would give him a chance to learn music theory, ear-training, and solfeggio. In 1923, Grappelli graduated with a second-tier medal.[4] Around this time, his father married a woman named Anna Fuchs and moved to Strasbourg. Grappelli remained in Paris because he disliked Fuchs.

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At the age of 15, Grappelli began busking full-time to support himself. His playing caught the attention of an elderly violinist, who invited him to accompany silent films in the pit orchestra at the Théâtre Gaumont. He played there for six hours daily over a two-year period.[5] During orchestra breaks, he visited Le Boudon, a brasserie, where he would listen to songs from an American proto-jukebox. Here he was introduced to jazz. In 1928, Grappelli was a member of the orchestra at the Ambassador Hotel while bandleader Paul Whiteman and jazz violinist Joe Venuti were performing there. Jazz violinists were rare, and though Venuti played mainly commercial jazz themes and seldom improvised, Grappelli was struck by his bowing when he played “Dinah”. As a result, Grappelli began developing a jazz-influenced style of violin music.

Grappelli lived with Michel Warlop, a classically trained violinist. Warlop admired Grappelli’s jazz-inspired playing, while Grappelli envied Warlop’s income.[5] After experimenting with the piano, Grappelli stopped playing the violin, choosing simplicity, a new sound, and paid performances over familiarity.[5] He began playing piano in a big band led by a musician called Grégor. In 1929, after a night of drinking, Grégor learned that Grappelli used to play the violin. Grégor borrowed a violin and asked Grappelli to improvise over “Dinah”. Delighted by what he heard, Grégor urged Grappelli to return to playing the violin.

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In 1930, Grégor ran into financial trouble. He was involved in an automobile accident that resulted in several deaths, and fled to South America to avoid arrest.[6] Grégor’s band reunited as a jazz ensemble under the leadership of pianist Alain Romans and saxophonist André Ekyan. While playing with this band, Grappelli met gypsy jazz guitarist Django Reinhardt in 1931. Looking for a violinist interested in jazz, he invited Grappelli to play with him in his caravan. Although the two played for hours that afternoon,[7] their commitments to their respective bands prevented them from pursuing a career together.Grappelli05

In 1934 they met again at Claridge’s in London, England, and began a musical partnership. Pierre Nourry, the secretary of the Hot Club de France, invited Reinhardt and Grappelli to form the Quintette du Hot Club de France, with Louis Vola on bass and Joseph Reinhardt and Roger Chaput on guitar.

Also located in the Montmartre district was the artistic salon of R-26, at which Grappelli and Reinhardt performed regularly.

For the first three decades of his musical career, Grappelli was billed as “Stéphane Grappelly”, a Gallicized form of his name. He took back the Italian spelling of his last name, he said, to keep people from pronouncing his surname “Grappell-eye”.

The Quintette du Hot Club de France disbanded in 1939 upon the outbreak of World War II; Grappelli was in London at the time, and stayed there for the duration of the war. In 1940, jazz pianist George Shearing made his debut as a sideman in Grappelli’s band.

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When the war was over, Reinhardt came to England for a reunion with Grappelli. They recorded some titles in London with the “English Quintette” during January and February 1946 for EMI and Decca, using a rhythm section consisting of English guitarists Jack Llewelyn and Alan Hodgkiss together with the Jamaican jazz bassist Coleridge Goode. Grapelli chose to remain in England, while Reinhardt returned to Paris before undertaking an only moderately successful visit to America, where he performed in a new style using an amplified archtop guitar with Duke Ellington’s orchestra. On Reinhardt’s return, he and Grappelli reunited periodically for concerts on occasions when the latter was visiting Paris; however, the pre-war Quintette was never re-formed. The pair also briefly toured Italy, where they were supported by an Italian rhythm section of piano, bass and drums; the tour was documented, with around 50 tracks recorded for an Italian radio station, about half of which can be heard on the album Djangology (released in 2005). This was to be the last set of recordings featuring the pair, with Reinhardt moving into a more bebop/modern jazz idiom and playing with younger French musicians prior to his early death in 1953, aged only 43.

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Throughout the 1950s, Grappelli made occasional visits to the recording studio, but the opportunities for a swing violinist of his generation were becoming limited; despite attempts to modernise his style, Grappelli was never particularly interested in the bebop style which was then fashionable in the jazz world. He made a brief filmed appearance in Paul Paviot’s 1957 film “Django Reinhardt”, in which he plays “Minor Swing” alongside Joseph Reinhardt, Henri Crolla and others. In the 1960s, Grappelli made regular appearances on the BBC Light Programme, French Public Radio, and the pirate station Radio Luxembourg. In 1967, he returned to Paris to take up a regular engagement providing music for diners at the “Le Toit de Paris” restaurant in the Paris Hilton Hotel, a position he kept up until 1972, since it provided regular work plus accommodation at the Hotel. He played in a standard “lounge jazz” format, accompanied by a pianist and drummer. Grappelli was making a living, but by now had very little impact on the jazz world.

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In 1971, British chat-show host Michael Parkinson, a long time jazz fan, came up with the idea of including Grappelli on his show, where he would be joined by the classical violinist Yehudi Menuhin, with the two musicians performing a duet. Although Menuhin had no jazz training and a distinctly classical style of playing, the result went down very well with the British public. The pair went on to record three collaborative albums between 1972 and 1976, with Menuhin playing parts written out by Grappelli while the latter improvised in a classic jazz fashion. During their appearance on Parkinson’s show, Menuhin played his prized Stradivari dating from 1714, while Grappelli revealed his instrument was made by Goffredo Cappa in 1695.

Grappelli09In 1973, British guitarist Diz Disley had the idea of prizing Grappelli away from his “lounge jazz” format with piano players to play once again with the backing of acoustic guitars and double bass, re-creating a version of the “Hot Club” sound, but now with Grappelli as sole leader. Grappelli’s reservations about returning to this format were dissipated following a rapturous reception for the “new” (old) format group at that year’s Cambridge Folk Festival, after which he favoured the guitar-based trio (with double bass) for a series of increasingly successful concert tours around the globe. These tours would virtually occupy the remainder of Grappelli’s life; away from the touring circuit, however, he also favoured numerous other instrumental combinations on record. Other guitarists in the British “Diz Disley Trio” providing his instrumental backing over the years included Denny Wright, Ike Isaacs, the Irish guitarist Louis Stewart, John Etheridge and Martin Taylor, while double bass was often provided by Dutchman Jack Sewing; in his later years, Grappelli also used a Parisian trio which included guitarist Marc Fosset and bassist Patrice Carratini.

In April 1973, Grappelli performed with great success during a week at “Jazz Power” in Milan, accompanied by such notable Italian jazz musicians as guitarist Franco Cerri, bassist/arranger Pino Presti and drummer Tullio De Piscopo.

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Grappelli played on hundreds of recordings, including sessions with Duke Ellington, jazz pianists Oscar Peterson, Michel Petrucciani and Claude Bolling, jazz violinists Svend Asmussen, Jean-Luc Ponty, and Stuff Smith, Indian classical violinist L. Subramaniam, vibraphonist Gary Burton, pop singer Paul Simon, mandolin player David Grisman, classical violinist Yehudi Menuhin, orchestral conductor André Previn, guitar player Bucky Pizzarelli, guitar player Joe Pass, cello player Yo Yo Ma, harmonica and jazz guitar player Toots Thielemans, jazz guitarist Henri Crolla, bassist Jon Burr and fiddler Mark O’Connor.

Grappelli recorded a solo for the title track of Pink Floyd’s 1975 album Wish You Were Here. This was made almost inaudible in the mix, and so the violinist was not credited, according to Roger Waters, as it would be “a bit of an insult”.[citation needed] A remastered version with Grappelli’s contribution fully audible can be found on the 2011 editions of Wish You Were Here.

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Grappelli made a cameo appearance in the 1978 film King of the Gypsies with mandolinist David Grisman. Three years later they performed in concert. In the 1980s he gave several concerts with British cellist Julian Lloyd Webber. In 1997, Grappelli received the Grammy Lifetime Achievement Award. He is an inductee of the Down Beat Jazz Hall of Fame.

Grappelli continued touring with great success up to the last year of his life; in 1997, although his health was by now poor, he toured the United Kingdom in March and then played concerts in Australia and New Zealand, giving his last public performance in Christchurch, New Zealand, before returning to Paris via Hong Kong. He made his final recording, four tracks with the classical violinist Iwao Furusawa, plus guitarist Marc Fosset and bassist Philippe Viret, in Paris in August 1996 (released as “As Time Goes By: Stéphane Grappelli and Iwao Furusawa”).

Grappelli’s final resting place in crypt 417 of Division 87 (Columbarium) at Pere Lachaise Cemetery

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In May 1935 Grappelli had a brief affair with Sylvia Caro that resulted in a daughter named Evelyne. Sylvia remained in Paris with her daughter for the duration of World War II. Father and daughter were reunited in 1946 when Evelyne travelled to London from France to stay with Grappelli for about a year. From 1952 to 1980 he shared much of his life with a female friend, Jean Barclay, for whom he felt a deep brotherly affection. However Grappelli never married and it is widely accepted that he was gay; in 1981 he met Joseph Oldenhove, who would be his companion until his deat

Grappelli died in Paris on 1 December 1997, suffering heart failure after a series of minor cerebral attacks. His funeral, on 5 December, took place at the Église Saint-Vincent-de-Paul, Paris, within sight of the entrance to the Lariboisière Hospital where he had been born 89 years earlier. His body was cremated and his ashes entombed in the city’s Père Lachaise Cemetery.

He is the subject of the documentary Stephane Grappelli – A Life in the Jazz Century.(wikipedia)

Alternate front + backcover:
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Stephane Grappelli teams up once again with the Diz Disley Trio (which in 1978 was comprised of Disley and John Ethridge on guitars, along with bassist Brian Torff), and the results are often quite exciting. Grappelli is heard at his best on such songs as “I Can’t Give You Anything But Love,” “Crazy Rhythm” and even “Chattanooga Choo Choo.” Few surprises occur, but this swinging music is enjoyable anyway. (by Scott Yanow)

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Personnel:
Diz Disley (guitar)
John Ethridge (guitar)
Stéphane Grappelli (violin)
Brian Torff (bass)

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Tracklist:
01.I Can’t Give You Anything But Love (Fields/McHugh) 4.49
02. As Time Goes By (Hupfeld) 4.12
03. Crazy Rhythm (Kahn/Caesar/Meyer) 5.42
04. Golden Green (Ponty) 3.06
05. Chattanooga Choo Choo (Warren/Gordon) 2.42
06. Blues In G For B.T. (Grappelli) 7.42
07. Nuages D. Reinhardt (Grappelli)  6.34

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Grappelli07Stéphane Grappelli (26 January 1908 – 1 December 1997)

Chicken Shack – Live In Italy (2003)

FrontCover1David ‘Rowdy’ Yeats and Andy Silvester had formed Sounds of Blue in 1964 as a Stourbridge-based rhythm and blues band. They invited Stan Webb, who was leaving local band The Shades 5, to join them. The band also included Christine Perfect and Chris Wood (later to join Traffic) amongst others in their line up. With a new line-up Chicken Shack was formed as a trio in 1965, naming themselves after Jimmy Smith’s Back at the Chicken Shack album. ‘Chicken shacks’ (open-air roadside chicken stands) had also been frequently mentioned in blues and R&B songs, as in Amos Milburn’s hit, “Chicken Shack Boogie”. Over the next few years the band had a residency at the Star-Club, Hamburg with Morley, then Al Sykes, Hughie Flint (who was John Mayall’s drummer when Eric Clapton was in the band) and later Dave Bidwell on drums.

They made their first UK appearance at the 1967 National Jazz and Blues Festival, Windsor and signed to Mike Vernon’s Blue Horizon record label in the same year; releasing Forty Blue Fingers, Freshly Packed and Ready to Serve in early 1968. A mainstay of the British blues boom, and a regular at UK festivals (Stan Webb’s wandering through the crowd with a 200 ft extension to his guitar lead during the band’s set was a regular occurrence[citation needed]), Chicken Shack enjoyed some commercial success, with Christine Perfect voted Best Female Vocalist in the Melody Maker polls two years running. They had two minor hits with “I’d Rather Go Blind” (c/w “Night Life”), and “Tears in the Wind”, after which Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. She was replaced by Paul Raymond from Plastic Penny.

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Chicken ShackAfter being dropped by Blue Horizon, pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown. At this point Webb reformed the band as a trio with John Glascock on bass and Paul Hancox on drums, and they recorded Imagination Lady. The line-up did not last; Glascock left to join Carmen, while Webb was recruited for Savoy Brown in 1974 and recorded the album Boogie Brothers with them.

Since 1977 Webb has revived the Chicken Shack name on a number of occasions, with a rotating membership of British blues musicians including, at various times, Paul Butler (ex-Jellybread, Keef Hartley Band) (guitar), Keef Hartley, ex-Ten Years After drummer Ric Lee and Miller Anderson, some of whom came and went several times. The band has remained popular as a live attraction in Europe throughout. (wikipedia)

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And here´s a pretty good sound board recording of one of these countless gigs Stan Webb played thrpugh more than 40 years.

The original uploader (thanks a lot) wrote:

“Unbelivable show, after all those years Stan’s guitar is still smoking….you’ll love it…..”

Ok, I´m not so euphoric … but it´s a necessary addition to every seroius Chicken Shack colletcor

Recorded live at the Buddah Cafe’, Orzinuovi, Brescia, Italy
November 27th 2003

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Personnel:
Gary Davies (guitar)
Micky Jones (drums)
Jim Rudge (bass)
Stan Webb (vocals, guitar)

Mick JonesTracklist:
01. Intro
02. Tell Me (Traditional) 5.09
03. Announcement 0.28
04. The Thrill Is Gone (Darnell/Hawkins) 10.26.
05. Reconsider Baby (Fulson) 6.06
05. Announcement 0.36
06. I Know You Know Me (Webb) 5.35
07. CS. Opera (Webb) + Spoonful (Dixon) 11.51
08. Announcement 0.58
09. The Loser (Webb) 3.18
10. I’d Rather Go Blind (Foster/Jordan) 4.24

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Stan Webb in 2019:
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More Chicken Shack:
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I Musici – Le Quattro Stagioni (Antonio Vivaldi) (1970)

FrontCover1Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian Baroque composer, virtuoso violinist, teacher, impresario, and Roman Catholic priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other musical instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons.

Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà, a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi’s arrival, and Vivaldi himself died in poverty less than a year later.

The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year. They were written around 1716–1717 and published in 1725 in Amsterdam, together with eight additional concerti, as Il cimento dell’armonia e dell’inventione (The Contest Between Harmony and Invention).

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The Four Seasons is the best known of Vivaldi’s works. Though three of the concerti are wholly original, the first, “Spring”, borrows motifs from a sinfonia in the first act of Vivaldi’s contemporaneous opera Il Giustino. The inspiration for the concertos is not the countryside around Mantua, as initially supposed, where Vivaldi was living at the time, since according to Karl Heller[1] they could have been written as early as 1716–1717, while Vivaldi was engaged with the court of Mantua only in 1718. They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterized), a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties from both the hunters’ and the prey’s point of view, frozen landscapes, and warm winter fires.

Title page of Vivaldi’s Cimento dell’Armonia e dell’Invenzione,
which included The Four Seasons:
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Unusually for the period, Vivaldi published the concerti with accompanying sonnets (possibly written by the composer himself) that elucidated what it was in the spirit of each season that his music was intended to evoke. The concerti therefore stand as one of the earliest and most detailed examples of what would come to be called program music—i.e., music with a narrative element. Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. For example, in the middle section of “Spring”, when the goatherd sleeps, his barking dog can be heard in the viola section. The music is elsewhere similarly evocative of other natural sounds. Vivaldi divided each concerto into three movements (fast–slow–fast), and, likewise, each linked sonnet into three sections. (wikipedia)

And here we can hear this great composition interpreted by I Musici:

In 1951, twelve young and promising italian musicians, mainly roman and mostly graduates of the at the Accademia di Santa Cecilia in Rome, got together “inter pares” to create a unique chamber orchestra comprising six violins, two violas, two cellos, one double bass and one harpsichord.
They chose the simple, yet nice, name I MUSICI and they deliberately decided to shape the ensemble without conductor. They did so in order to create an egalitarian relationship among the twelve colleagues and friends, which would bring to their music-making a unanimity on technical and interpretative questions. It was a very unconventional but unexpectedly suitable procedure. Notably, maestro Arturo Toscanini, on hearing them rehearsing in April 1952 at the Italian Radio studios, enthused over the young orchestra in front of journalists and musical personalities, and dedicated his photograph to the group with the words “bravi, bravissimi …no! la musica non muore”, (bravo, the music will not die).
A few weeks earlier, on the 30th of March 1952, their public debut was an enormous success at the Accademia di Santa Cecilia in Roma; it was the starting point of an astonishing career, which in a short time catapulted them among the ranks of the great international performers.

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In 2020 I Musici celebrated their 69th anniversary since the beginning of their activity, an adventure that began in 1951, when the first members gathered. However, the official debut was on March 30, 1952 with the concert at the Conservatory of Santa Cecilia in Rome.
The goal that these young musicians had prefigured was to make known and spread the immense heritage of eighteenth-century Italian music, at the time still not known at all, as well as performing music of Italian authors of the nineteenth and twentieth centuries. Probably none of them would have imagined that the group they founded would still be around the world to play that repertoire, but that was the case. Discovering, studying, spreading, this is the tireless engine of the long wandering of I Musici di Roma in these 65 years. The beauty of music did the rest. How can we not remember that if today’s Four Seasons of Vivaldi are one of the most famous pieces in the world, we owe it to I Musici.

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And then Corelli, Albinoni, Locatelli, Rossini, Rota, to name some of the most accomplished authors. But not only Italian music, of course, their Mozart was awarded with the Grand Prix du Disque, and then the string symphonies of Mendelssohn, and Brandenburg Concertos of Bach, Haendel’s Concerti grossi. Certainly, this would not have been possible unless a special relationship established with the public, which still lasts today. I Musici concerts are every time a trip to a different place, you just sit in the hall and let yourself be guided and carried in the magic world of sounds. Even today, the members of the group move among the score with the same enthusiasm of their predecessors, and perhaps this is the secret of this incredible longevity: the desire to share and the enthusiasm of those who know they have a beautiful gift to give to others: Music. (taken from their website)

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People about this album:
Wonderful, my favourite version, and apparently the first classical record to get a gold record for selling more than a million copies (in 1972) (Bruce Ainsley)

This is the best version of the Four Seasons. Only the one with Agostini comes close to that. (Micha Weinst)

Indeed: A masterpierce !

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Personnel:
I Musici
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Roberto Michelucci (violin)
Booklet01ATracklist:

Concerto For Violin And Strings In E Major, No.1, RV 269 “La Primavera”: 
01. Allegro 3.35
02. Largo 3.03
03. Allegro (Danza Pastorale) 4.20

Concerto For Violin And Strings In G Minor, No.2, RV 315 “L’Estate”:
04. Allegro Non Molto – Allegro 5.30
05. Adagio – Presto – Adagio 2.06
06. Presto (Tempo Impetuoso D’Estate) 2.56

Concerto For Violin And Strings In F Major, No.3, RV 293 “L’Autunno”:
07. Allegro (Ballo, E Cabto De’ Villanelli) 5.28
08. Adagio Molto (Ubriachi Dormienti) 3.22
09. Allegro (La Caccia) 3.22

Concerto For Violin And Strings In F Minor, No.4, RV 297 “L’Inverno”: 
10. Allegro Non Molto 3.25
11. Largo 2.43
12. Allegro 2.58

Composed by Antonio Vivaldi

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Caricature by P. L. Ghezzi, Rome (1723):
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Barry Goldberg – It’s All My Vault (2011)

FrontCover1Barry Joseph Goldberg (born December 25, 1942) is a blues and rock keyboardist, songwriter, and record producer.

As a teenager in Chicago, Goldberg sat in with Muddy Waters, Otis Rush, and Howlin’ Wolf. He played keyboards with the Paul Butterfield Blues Band backing Bob Dylan during his 1965 newly ‘electrified’ appearance at the Newport Folk Festival. He formed The Electric Flag with Mike Bloomfield in 1967, and later formed the ‘Barry Goldberg Reunion’ in 1968.

In 1965, after moving to Chicago to play the blues, Steve Miller and keyboardist Barry Goldberg founded the Goldberg-Miller Blues Band along with bassist Roy Ruby, rhythm guitarist Craymore Stevens, and drummer Maurice McKinley. The band contracted to Epic Records and recorded a single, “The Mother Song”, which they performed on Hullabaloo, before Miller left the group to go to San Francisco.[5][6]

Goldberg’s songs (some of which co-written with Gerry Goffin) have been recorded by many musicians including Rod Stewart, Gladys Knight, Joe Cocker, Steve Miller, Bobby “Blue” Bland, Gram Parsons and B. J. Thomas.

Goldberg’s first professional recording session was “Devil with the Blue Dress On”/”Good Golly Miss Molly” by Mitch Ryder & the Detroit Wheels. Among the albums he contributed to are Leonard Cohen’s Death of a Ladies’ Man, The Ramones’ End of the Century, The Flying Burrito Brothers’ The Gilded Palace of Sin, and Super Session which featured Michael Bloomfield, Stephen Stills, and Al Kooper.

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Goldberg also has co-produced albums by Percy Sledge including Blue Night (Grammy nominated and WC Handy soul album of the year) as well as Shining Through the Rain, Charlie Musselwhite, James Cotton, The Textones, plus Bob Dylan’s version of Curtis Mayfield’s “People Get Ready”.

In 1992 he played keyboards with the Carla Olson & Mick Taylor band, which resulted in the live CD Too Hot for Snakes, featuring the talents of artists like Ian McLagan, Jesse Sublett and John “Juke” Logan.

In 1994, Goldberg and Saul Davis produced Blue Night by Percy Sledge, which featured Bobby Womack, Steve Cropper, Mick Taylor, Greg Leisz, Bob Glaub, Ed Greene, Mikael Rickfors, The Waters… with songs written by Rickfors, Gregg Sutton, Pat Robinson, Carla Olson, the Bee Gees, Quinton Claunch, Fats Domino, and Otis Redding.

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By 1999, Goldberg both wrote and performed the theme to the Disney Channel original movie Smart House, entitled “The House is Jumpin’,” with Phil Shenale and Sterling Smith, with vocals by Chan André. He wrote the song with Jill Wisoff and Joel Diamond.[2]

In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley – A Tribute!, playing piano on the songs “Pills”, “I’m A Man” and “Before You Accuse Me” (produced by Carla Olson). Carla also produced Barry’s Stoned Again album which featured Denny Freeman, Mick Taylor and Ernie Watts.

In 2004, Shining Through The Rain by Percy also co-produced by Davis and Goldberg, featuring Larry Byrom, Denny Freeman, Clayton Ivey, Ed Greene, Phil Upchurch, Bob Glaub, the Waters, Jakob Dylan… and songs by the Bee Gees, Mikael Rickfors, Carla Olson, Jackie Lomax, Earl Carson, Bobby Moore.

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In 2005-2006, he toured with the ‘Chicago Blues Reunion’ featuring Nick Gravenites, Harvey Mandel, Tracy Nelson and Corky Siegel. Their debut CD reached #2 on the Billboard Blues Chart and received a four star review from Rolling Stone magazine’s David Fricke.

On July 7, 2009 Goldberg’s self-titled 1974 Atco album was reissued with the originally recorded, but never-released tracks and a restored sound. The album was produced by Dylan and Jerry Wexler.

In 2012, Stephen Stills recruited Goldberg in founding a new band dubbed The Rides, culling some of Stills’s best work from the past, adding guitarist Kenny Wayne Shepherd and session drummer Chris Layton. Goldberg co-wrote four songs on their first album titled, Can’t Get Enough, released that year. The feature track is “Word Game”. Much of the album reflects the work Stills did on the Super Session album with Mike Bloomfield in 1968.

Goldberg appears on the Carla Olson album Have Harmony, Will Travel (released April 15, 2013, on Busted Flat Records) playing Hammond B3 organ on Del Shannon’s “Keep Searchin’ ” sung by Carla and Peter Case, and piano and organ on the Little Steven song, “All I Needed Was You”, sung by Scott Kempner (The Del-Lords).

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The long-awaited film Born in Chicago documenting Chicago blues was released in 2013, premiering at the SXSW Film Festival in March. Goldberg had been working on this project for a few years. It includes unique contributions by Bob Dylan, BB King, Buddy Guy, Hubert Sumlin, Eric Burdon, and many others.

Goldberg produced three tracks on the 2013 EP (Drown in the Crimson Tide) by The Voice Season One semi-finalist, Nakia, with longtime friend, Johnny Lee Schell.[4]

Can’t Get Enough, the album by The Rides (Stephen Stills, Kenny Wayne Shepherd and Goldberg) was nominated for a 2014 Blues Music Award for “Best Rock Blues Album.”

In 2016, Neil Young jammed with The Rides at the Pantages Theater in Los Angeles at the “Light Up The Blues” event.

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Goldberg produced and composed additional musical score to the documentary feature film BANG! The Bert Berns Story which premiered at SXSW in 2016 and will be released theatrically in 2017.

His latest CD, In The Groove, was released on June 15 on Sunset Blvd Records. The album consists of new and classic instrumentals and features Goldberg on Hammond B3 organ, piano and Wurlitzer piano. Among the featured musicians and guests are Denny Freeman, Tony Marsico, Don Heffington, Rob Stone, Joe Sublett, Darrell Leonard, James Inveldt, Johnny Lee Schell, Reggie McBride, Craig Fundyga, Victor Bisetti and jazz legend Les McCann. The album was produced by Carla Olson.

Goldberg’s uncle was Supreme Court Justice Arthur Goldberg.[5] Barry’s wife is named Gail and their son is Aram. (wikipedia)

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This album of rarities, titled ‘It’s All My Vault’, featuring performances by Mick Taylor, Carla Olsen and Terry Reid.

As for this album, the story is that Barry took a look around and found that he had all of these tunes just laying around in his “vault” so he turned them over to ItsAboutMusic.com so that all of his fans could now enjoy them. The label hopes it’s only volume one of this series and that he has many more tracks collecting dust that they can release in the future. (Press release)

This is blues from one of its greatest homes and keyboard legends. The slow, working class blues that came north, up the Mississippi River to find its home is presented in its raw intensity. This is a great collection of some of the best music of that era and showcases Barry’s talents well. If you like Chicago blues the way it used to be played you’ll have to have this album in your collection.

“After You’ve Gone (Empty Blues)”, opens with that Doors’, “Cars Hiss By My Window” beat and organ to it. The guitar work is amazing and puts you in that same hazy summer relaxing mood. Nice way to open the album.

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“Holy High” is a slow spiritual song full of great piano and slow guitar. The horn adds the high notes and bright rays to this slow dirge. On this one it’s Barry on piano that is showcased well. The drums keep perfect rhythm with the guitar, as this wonderful procession moves on.

“Special Sauce” opens to a rockin’ beat with Barry gliding smoothly over those organ keys. This is a nice traveling song. That grand organ sounds wonderful, bringing back that familiar sound. The drums are dynamic and full of sparkle. The guitar solos are fantastic on this instrumental.Boogie woogie, rockabilly piano opens “Never Too Late”. Barry does a fantastic job building a great Chuck Berry melody with the keys. The bass and keys support well, with the lead guitar peeling back the years right through the middle.

“Slip and Slide” will bring back memories of the Blues Brothers soundtrack. But of course that was fictional. Barry lived the real thing and you can hear the power coming through in these songs. This one will have you up and dancing.

“Blue Dreams” is a slow groove blues track with Barry and Jack Sherman, on guitar, bringing this song to life. Perfect for relaxing on the front porch or real slow dances.

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“Rollin’ On” is full of great drums and Barry playing the keys to Sherman’s guitar. “Goodbye So Long” is a wonderful boogie woogie full of great guitar from Howie Epstein. “Rock It” is a harmonica filled, fast paced blues number.

Melanie Herrold’s vocals rock “Going to Chicago (Live)”, along with Barry’s keys, Sherman’s guitar and Stan Berhen’s blues harp. Get up and dance!

Melanie is back for “Crazy About You Baby (Live)”. The blues harp, Barry’s piano and Sherman’s guitar work blends well with those exploding drums from David Raven.

Fred McDowell’s “You Gotta Move (Live)” is the closer on this set of music. The slow grinding keys and Berhen’s harmonica build the story with sound here. Terry Reid brings the vocal power along with Gary Malliber’s drums. (Mark Johnson)

And I include a very interesting interview with Barry Goldberg.

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Personnel:
Stan Behrens (harmonica)
Brian Brown (guitar)
Howie Epstein (guitar, bass)
Barry Goldberg (keyboards)
Mark Goldberg (bass)
Rick Hemmert (drums)
Melanie Herrold (vocals on 10.)
Gary Mallaber (drums)
Carla Olson (guitars)
David Raven (drums)
Terry Reid (vocals on 12.)
Jack Sherman (guitar)
Gregg Sutton (bass)
Mick Taylor (guitar on 01., slide-guitar on 06.)

BookletTracklist:
01. After You’ve Gone (Empty Blues) (Goldberg/Taylor/Olson) 4.56
02. Holy High (Goldberg) 4.44
03. Special Sauce (Goldberg) 4.01
04. Never Too Late (Goldberg) 3.38
05. Slip And Slide (Goldberg) 3.32
06. Blue Dreams (Goldberg) 4.25
07. Rollin’ On (Goldberg) 3.13
08. Goodbye, So Long (Goldberg) 3.18
09. Rock It (Goldberg) 3.53
10. Goin’ To Chicago (Goldberg/Herrold) 4.52
11. Crazy ’bout You Baby (Turner(Williamson) 4.51
12. You Gotta Move (McDowell)

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Molly Hatchet – Same (1978)

FrontCover1Named after a legendary Southern prostitute who allegedly beheaded and mutilated her clients, Jacksonville’s Molly Hatchet melded loud hard-rock boogie with guitar jam-oriented Southern rock. Formed in 1975, the group’s original lineup featured three guitarists — Dave Hlubek, Steve Holland, and Duane Roland — plus vocalist Danny Joe Brown, bassist Banner Thomas, and drummer Bruce Crump. They recorded a self-titled debut album in 1978, which quickly went platinum; the follow-up, Flirtin’ with Disaster, was even more successful, selling over two million copies. Brown left the group in 1980 after the constant touring became too tiresome; he was replaced by Jimmy Farrar for Beatin’ the Odds, but Farrar’s voice was less immediately identifiable, and Molly Hatchet’s commercial appeal began a slow decline. The band experimented with horns on Take No Prisoners, but Farrar left for a solo career soon afterward.

Brown rejoined the band in 1982, but the ensuing album, No Guts…No Glory, flopped, and guitarist Hlubek insisted on revamping Molly Hatchet’s sound. After The Deed Is Done, a straightforward pop/rock album, the group took some time off in 1985 while its Double Trouble Live album, a collection of some of its best-known songs, was released. Molly Hatchet returned in 1989 without Hlubek for an album of straight, polished AOR, Lightning Strikes Twice. Not even the group’s fans bought the record, and Molly Hatchet disbanded shortly afterward. They reunited in the mid-’90s as an active touring outfit, releasing Devil’s Canyon, their first record since Lightning Strikes Twice, in 1996.

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Continuing to recapture the style of their glory days, Silent Reign of Heroes followed in 1998, and Kingdom of XII appeared in early 2001, the year after guitarist Bobby Ingram — who had joined the group in 1987 — assumed legal ownership of the “Molly Hatchet” trade name. A slew of live recordings from a group now undergoing significant changes from its original lineup appeared during the next few years, and the studio recording Warriors of the Rainbow Bridge was released in 2005, the same year that guitarist Hlubek rejoined the outfit after nearly two decades. Their 13th album, Justice, appeared in 2010. However, these post-millennial years also saw many of Molly Hatchet’s early members pass away: Danny Joe Brown in 2005, Duane Roland in 2006, Bruce Crump in 2015, and Banner Thomas in 2017, the same year that also saw the passing of band co-founder Dave Hlubek. Steve Holland, the final surviving member of the original lineup, passed on August 2, 2020 at the age of 66. (by Steve Huey)

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Molly Hatchet is the self-titled debut album by American southern rock band Molly Hatchet, released in 1978 (see 1978 in music). The cover is a painting by Frank Frazetta entitled “The Death Dealer”. Starting off both the album itself and the recording career of the band, the first song famously begins with lead singer Danny Joe Brown growling “Hell yeah!”

“Dreams I’ll Never See” is a cover of The Allman Brothers Band’s song “Dreams” from their debut album, via Buddy Miles’s reworking of the song from Them Changes (1970). (wikipedia)

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Molly Hatchet comes out of the chute kicking and screaming on this, the band’s debut effort. With obvious influences including fellow Floridians Lynyrd Skynyrd, as well as the Allman Brothers, Mountain, and any number of other hard rock bands, Hatchet didn’t take long to catch on with what would become legions of fans. Songs like “Bounty Hunter” and the cover of the Allman Brothers Band’s “Dreams I’ll Never See” helped to build a solid base of fans who still hold tight to their Molly Hatchet rock & roll dreams. All in all, a splendid debut album from a band that, in true Southern fashion, has had its share of ups and downs. And Danny Joe Brown proves that he is a singer to be reckoned with. (by Michael B. Smith)

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Personnel:
Danny Joe Brown (vocals)
Bruce Crump (drums)
Dave Hlubek (guitar)
Steve Holland (guitar)
Duane Roland (guitar)
Banner Thomas (bass)
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Tim Lindsey (bass)
Jai Winding (keyboards)
Tom Werman (percussion)

Inlet
Tracklist:
01. Bounty Hunter (Brown/Hlubek/Holland) 2.59
02. Gator Country (Hlubek/Holland/Thomas) 6.17
03. Big Apple (Brown/Hlubek) 3.03
04. The Creeper (Brown/Crump/Holland) 3.20
05. The Price You Pay (Berrier/Brown/Holland/Huckaba) 3.05
06. Dreams I’ll Never See (Allman) 7.08
07. I’ll Be Running (Brown/Hlubek/Thomas) 3.02
08. Cheatin’ Woman (Holland) 3.38
09. Trust Your Old Friend (Crump/Roland) 3.55

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Death Dealer by Frank Frazetta (February 9, 1928 – May 10, 2010):
Death Dealer

Juliette Gréco – Si Tu T’imagines + 2 (1950)

FrontCover1Juliette Gréco (7 February 1927 – 23 September 2020) was a French actress and cabaret singer. She became the iconic figure of the Saint Germain Des Prés music scene in Paris.

Her most famous songs were “Jolie Môme”, “Déshabillez-moi”, and “La Javanaise”. She sang tracks with lyrics written by French poets such as Jacques Prévert and Boris Vian and singers like Jacques Brel and Serge Gainsbourg. Her sixty-year career finished in 2015 when she began her last worlwide tour titled “Merci”.

Juliette Gréco was born in Montpellier to an absent Corsican father, Gérard Gréco, and a mother from Bordeaux, Juliette Lafeychine (1899-1978). Her lineage hails in part from Greece. She did not receive any love from her mother in her childhood and suffered from her harsh comments due to being an unwanted child, such as “You ain’t my daughter. You’re Juliette Gréco06the child of rape”. She was raised by her maternal grandparents in Bordeaux with her older sister Charlotte. After the death of her grandparents, her mother took her two daughters back to come live with her in Paris. In 1938, she became a ballerina at the Opéra Garnier.

When World War II began, the family returned to the southwest of France. Gréco was a student at the Institut Royal d’éducation Sainte Jeanne d’Arc in Montauban. The Gréco family became active in the Résistance and her mother was arrested at their home in 1943. The two sisters decided then to move back to Paris but they were captured and tortured by the Gestapo before being imprisoned at the Fresnes Prison in September 1943. Her mother and sister were deported to a concentration camp in Ravensbrück while Juliette, being only 16 at the time, remained in prison for several months before being released. All alone after her release from prison, she walked the eight miles back to Paris to get her belongings back at the Gestapo headquarters. Her former French teacher and her mother’s friend, Hélène Duc, decided to take care of her.

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In 1945, Gréco’s mother and sister returned from deportation after the liberation of Ravensbrück by the Red Army. Gréco moved to Saint-Germain-des-Prés in 1945 after her mother moved to Indochina, leaving Gréco and her sister behind.

Gréco became a devotee of the bohemian fashion of some intellectuals of post-war France. Duc sent her to attend acting classes given by Solange Sicard. She made her debut in the play Victor ou les Enfants au pouvoir in November 1946 and began to host a radio show dedicated to poetry.

Her friend Jean-Paul Sartre installed her at the Hotel La Louisiane and famously said that she had “millions of poems in her voice”. She was known to many of the writers and artists working in Saint-Germain-des-Prés, such as Albert Camus, Jacques Prévert and Boris Vian, thus gaining the nickname la Muse de l’existentialisme.

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Gréco spent the post-Liberation years frequenting the Saint-Germain-des-Prés cafes, immersing herself in political and philosophical bohemian culture. As a regular figure at music and poetry venues like Le Tabou on Rue Dauphine, she was acquainted with Jean Cocteau, and was given a role in Cocteau’s film Orphée (1950).

In 1949, she began an affair with U.S. jazzman Miles Davis. In 1957, they decided to always be just lovers because of their careers happening in different countries and his fear of tarnishing her reputation by being in an interracial relationship. They remained lovers and friends until his death in 1991.

In 1949, she also made her debut as a cabaret singer in the Parisian cabaret Le Boeuf sur le toit, performing the lyrics of a number of well-known French writers; Raymond Queneau’s “Si tu t’imagines” was one of her earliest songs to become popular.

Gréco was married three times:

to actor Philippe Lemaire (1953–1956)
actor Michel Piccoli (1966–1977)
pianist Gérard Jouannest (1988 till his death in 2018)

With Lemaire, she had a daughter, Laurence-Marie, born in 1954. Laurence-Marie Lemaire died from cancer in 2016 aged 62.

In the year leading up to his death in the late 1940s, Gréco was the lover of married racing driver Jean-Pierre Wimille and she suffered a miscarriage after his death.

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According to Spanish writer Manuel Vicent, Juliette Gréco was Albert Camus’s lover. She also was in relationships with French singer Sacha Distel and Hollywood producer Darryl F. Zanuck.

During her affair with Miles Davis, she was at one point also dating U.S. record producer Quincy Jones. According to Jones’ autobiography, Davis was irritated with him for years when he later found that out.

Gréco had three rhinoplasties; in Paris in 1953 and 1956, and in London in 1960.

In September 1965, Gréco attempted suicide by an overdose of sleeping pills. She was found unconscious in her bathroom and taken to the hospital by Françoise Sagan.

Gréco lived between Paris and Saint-Tropez, in the south of France.

Juliette Gréco03A leftist, she supported François Mitterrand in the 1974 presidential election, and was an initial investor in Minute, when it was mainly non-political and focused on the entertainment world.

Gréco died on 23 September 2020 at the age of 93.[23][24]

The “Juliette Gréco” rose at the Roseraie de Bagatelle

Gréco was portrayed by actress Anna Mouglalis in the film Gainsbourg: A Heroic Life (2010).

Jean-Paul Sartre based the singer in his trilogy The Roads to Freedom (Les chemins de la liberté) on Gréco.

An allusion to Gréco is made by English singer Ray Davies in the song “Art School Babe” from his album Storyteller.

“Michelle” by the Beatles was inspired by Gréco and the Parisian Left Bank culture. Paul McCartney said of the song, “We’d tag along to these parties, and it was at the time of people like Juliette Greco, the French bohemian thing. They’d all wear black turtleneck sweaters, it’s kind of where we got all that from, and we fancied Juliette like mad. Have you ever seen her? Dark hair, real chanteuse, really happening. So I used to pretend to be French, and I had this song that turned out later to be ‘Michelle’.”

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John Lennon wrote in Skywriting by Word of Mouth, “I’d always had a fantasy about a woman who would be a beautiful, intelligent, dark-haired, high-cheek-boned, free-spirited artist à la Juliette Gréco.”

Marianne Faithfull said of Gréco, “When I was a young girl, Juliette Gréco was my absolute idol… She’s my role model for life. If I want to be anybody, I want to be Juliette Gréco”.[28]

In 1999, a rose was named after her by Georges Delbard under the name of “Juliette Gréco”. (wikipedia)

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And here´s her first single from 1950 … what a wonderful start in a brilliant career … full of ups and downs..

She was the muse to the Parisian literary scene of the ’50s, godmother of songwriter-led ’60s French pop, and a self-reinventing torch singer from the ’70s until now, Juliette Gréco is one of the great French recording artists of the 20th century.

I include an obituary from the BBC.

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Personnel:
Juliette Gréco (vocals)
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Pierre Arimi Orchestra

Rare CD-EP: Available commercially exclusively as a bonus disc inside box Juliette Gréco – L’Éternel Féminin, used separately only as promo
CDFront+BackCover

Tracklist:
01. Si Tu T’imagines (Kosma/Queneau) 3.10
02. La Fourmi (Kosma/Desnos) 1.23
03. Rue Des Blancs Manteaux (Sartre/Kosma) 1.53

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The “Juliette Gréco” rose at the Roseraie de Bagatelle:
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Unicorn – Uphill All The Way (1971)

FrontCover1And this is the story of Unicorn:

Fans of rock music from the 1970s may remember Unicorn, a local band, that made some great albums, but unfortunately never had the fame they justly deserved.

Unicorn’s bass player was Pat Martin, who grew up in Send. In 1963 he began making music with Ken Baker, a friend from St Bede’s School, in Send. During the summer holidays Pat would ride his bike from his home to Ken’s house in Ockham with his guitar. They then both plugged into a home-made amplifier that Ken’s uncle had made.

Pat says: “My dad thought that if continued to pursue my love of beat music, it might keep me away from what he termed ‘the yobs’ he said I was mixing with.

“He bought us some better equipment, became our manager and we soon recruited a drummer, Pete Perryer.”

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The band was originally called the Senders. They then became the Pink Bears, later changing their name to the Late. They played many gigs in and around the local area and not long after they had left school aged 17, they were performing as a living. In the early days various members came and went, including, Trevor Mee. He was a gifted guitarist, so Pat switched to playing bass guitar.

Other gigs Pat recalls playing with his band include the Stereo club that was above the Co-op store in Woking. He says: “We got a gig there as a replacement to another band. I don’t think it was a licensed premises, but there was a lot of good beat and rhythm ’n’ blues bands who played there.”

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Not only did Pat and his bandmates play at Woking’s famous Atalanta club, he saw many other bands there – some of whom are now legendary. He says: “I saw the Who, the Turtles, John Mayall’s Bluesbreakers, Graham Bond Organisation, and Cream, who were playing their second-ever gig when I saw them there.”

Atalanta owner Bob Potter managed Pat’s band the Late for three years. Pat recalls: “We did an audition for him and he liked us as we sounded like the Hollies. We were signed to him from 1967 to 1969. He had a studio in Mytchett and when we had some free time we recorded some demo tapes there.

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“Under his management we got gigs from Hampshire down to Cornwall and up to North Wales. We never made much money, but it was great fun.”

The band rehearsed in Pat’s dad’s garage, which he had converted into a studio for them. They called it The Shed. Some recordings they made in it, have now been released on CD.

After a while their bookings for gigs slowed up, but they were lucky in that they became singer Billy J Kramer’s backing band. It was regular money, but they quit after about nine months as the routine of playing a medley of all of Kramer’s hits every day became somewhat tiresome.

By this time band member Ken Baker was writing his own songs and they got a break when Transatlantic Records offered them a deal. Now named Unicorn, the album was titled Uphill All The Way and was released in 1971.

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Their style was soft rock with a country tinge plus lots of vocal harmonies. Gigs took them to countries in Europe such as Sweden and Italy where they were well received.

In 1973, David Gilmour, the guitarist in the world famous rock band Pink Floyd took Unicorn under his wing and the results were the albums Blue Pine Trees (released in 1974), Too Many Crooks and Unicorn2 (both released in 1976) and One More Tomorrow (1977).

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Pat recalls this as an exciting time as they toured the USA, playing support to such bands as Fleetwood Mac, Manfred Man’s Earthband, Billy Joel and Linda Ronstadt. Unfortunately, Unicorn never made it big in their own right and by 1977 the emergence of punk music meant only the biggest country-soft rock bands could survive.

Unicorn played its last gig that year in Canning Town, London, to an audience that was so small the band cut the performance short.

After driving lorries for a living and also driving a mobile library bus for a while, Pat has now retired, but music is in his blood and he still plays. (by David Rose)

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And here´s their debut album:

It’s easy to dismiss Unicorn’s debut LP as little more than a Crosby, Stills & Nash ripoff, but listen closely — what Uphill All the Way lacks in originality it makes up for in craftsmanship, with a beauty and grace that render arguments about innovation moot. Harmonies this natural simply can’t be taught, let alone copied, and Ken Baker’s original compositions — though products of rainswept London — effortlessly evoke the beaches and canyons of a southern California that only exists in dreams anyway. And while the counterculture ethos that inspired CSN resulted in songs that now seem quaint and even a bit silly, Uphill All the Way — for years essentially lost to all but the most avid British folk-rock aficionados — remains fresh and timeless by comparison. Highly recommended.(by Jason Ankeny)

The Unicorn’s first album, Uphill All the Way, sounds like a band simply ecstatic at the possibilities of this new brand of folk-rock; they cover all the greats of the genre: Neil Young, Jimmy Webb, John Stewart, James Taylor, Joe Cocker, and Gerry Rafferty. But the originals by Ken Baker show that he was just as good at evoking the sun drenched canyons of the beaches of Southern California as his influences; which is all the more impressive considering he was writing and singing from the famously overcast and rainy London.

Still Baker’s songwriting wasn’t yet up to snuff, the best song here is their beautiful interpretation of Webb’s P.F. Sloan, a tribute to the American songwriter. The amazing harmonies on this track reveal Unicorn was more than just a CSN rip-off like so many bands of this breed; these guys are the real deal. (by Stephen Belden)

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Personnel:
Ken Baker (guitar, keyboards, vocals)
Pat Martin (bass, vocals)
Trevor Mee (guitar, flute, vocals)
Peter Perrier (drums, percussion, vocals
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Hugh Murphy (tambourine)
Kevin Smith (guitar, mandolin)

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Tracklist:
01. P.F. Sloan (Webb) 4.30
02. 115 Bar Joy (Baker) 3.52
03. I’ve Loved Her So Long (Young) 2.43
04. Don’t Ever Give Up Trying (Ken Baker) – 5:08
05. Country Road (James Taylor) – 4:16
06. Something To Say (Joe Cocker) – 4:43
07. Ain’t Got A Lot Of Future (Ken Baker) – 6:49
08. Never Going Back (John Stewart) – 3:21
09. You, You, Hate Me (Ken Baker) – 5:38
10.Please Sing A Song For Us (Gerry Rafferty) – 3:13
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11.Going Back Home (Ken Baker) – 3:36
12.Cosmic Kid (Ken Baker) – 2:57
13.All We Really Want To Do (Bonnie Bramlett, Delaney Bramlett) – 3:17
14.P.F. Sloan (2006 Remix) (Jimmy Webb) – 4:40

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