If – Live In Germany (1972)

If was a British progressive rock and jazz rock band formed in 1969.[1] In the period spanning 1970–75, they released eight studio-recorded albums and undertook 17 tours of Europe, the US and Canada.

The band was formed in 1969 by Dave Quincy, Dick Morrissey, and Terry Smith. They were managed by Lew Futterman, who was also the band’s album producer. Signed by Chris Blackwell to Island Records in the UK and to Capitol Records in the US, their debut album, If (1970), entered the charts in both the States (Billboard) and the UK.

The second album, If 2, was released the same year. They toured in Europe and the United States during the early 1970s, with two US tours during their first year, performing at Newport Jazz Festival, Reading Festival, and the Fillmore East (10 November 1970). They also shared billing with acts such as Rory Gallagher, Rush, Kiss, The Eagles, Bo Diddley, Strawbs, REO Speedwagon, Electric Light Orchestra, Lynyrd Skynyrd, Frank Zappa and the Mothers of Invention, Uriah Heep, Grand Funk Railroad, Rod Stewart, The Faces, Black Sabbath, Taste, Brinsley Schwarz, Atomic Rooster, Traffic, Mott the Hoople and many more.

The albums If 3 (1971), and If 4 (titled Waterfall in US with one different track) (1972) were accompanied by heavy touring schedules in the States and Europe, especially in Britain and Germany, where the band appeared on TV (BBC’s Top of the Pops/Old Grey Whistle Test in the UK and one of their tracks was used as a signature tune for the news in Germany, as well as performing live (September 1971) on Bremen TV’s Beat-Club. In the summer of 1972, the band cancelled the remainder of a US tour when Dick Morrissey was admitted to hospital for surgery. During this period, the band members worked on other projects.

Consisting of essentially two clearly defined line-ups, as well as an intermediate, transitional one, the original band had a heavier leaning towards jazz, and was formed by Dick Morrissey, on tenor sax and flute, and Terry Smith on guitars, both Melody Maker award-winning British jazz musicians who had played together in US soul singer J.J. Jackson’s band with Dave Quincy on alto and tenor saxes, together with Spike Wells on drums, Lionel Grigson on keyboards and Daryl Runswick on bass, although these last three musicians did not record with the band, with Wells going off to join Tubby Hayes.

The definitive seven-piece line-up for the first incarnation of the band, with a more jazz-rock-oriented style, and which appears on the first four studio albums, as well as a live recording, was J. W. Hodkinson on lead vocals, John Mealing on keyboards, Jim Richardson on electric bass, Dennis Eliott on drums, with Dave Quincy on alto and tenor saxes, Terry Smith on guitars, and Dick Morrissey on tenor and soprano saxes and flute.

The above line-up is possibly the band’s best known, but the band was subject to other personnel changes. With If coming off the road when Dick Morrissey was admitted to hospital, J. W. Hodkinson joined Darryl Way’s Wolf, Terry Smith and Dave Quincy went off to form ZZebra, John Mealing joined Klaus Doldinger’s Passport before going on to Strawbs, Jim Richardson went on to do studio session work, and Dennis Elliott joined the hugely successful group Foreigner.

A new line-up had Fi Trench and Dave Greenslade (ex-Colosseum) on keyboards, and Dave Wintour replacing Richardson on bass. Wintour left shortly afterwards to join Roger Daltrey, appearing on his first two solo albums.

A sixth studio album, Double Diamond (1973), with only Dick Morrissey left from the original line-up, featured Fi Trench (keyboards) and Pete Arnesen (keyboards), Steve Rosenthal (guitar/lead vocals), Kurt Palomacki (bass) and Cliff Davies (drums). It was recorded at The Manor recording studios shortly after Mike Oldfield’s Tubular Bells.

The last two If albums, Not Just Another Bunch of Pretty Faces (1974) and Tea Break Over, Back on Your ‘Eads (1974), saw the band back on Capitol Records, and decidedly more rock-oriented. They featured Geoff Whitehorn on guitars and vocals, Gabriel Magno on keyboards and Walt Monaghan on bass and vocals (replacing Mike Tomich, who had toured with the band prior to these last recordings), as well as Cliff Davies and Dick Morrissey.

Coinciding with their more rock-influenced style, they also changed their famous small-case logo “if” for the more solid-looking large-case “IF”.

If finally broke up in 1975, Dick Morrissey going on to work with the Average White Band and Herbie Mann, eventually forming Morrissey–Mullen; Geoff Whitehorn to join Crawler and, subsequently, Procol Harum. Other members worked with Ted Nugent, who was also produced by Lew Futterman: Gabriel Magno (1973-1974), Cliff Davies (1975-1980) and Walt Monaghan (1979).

Following the interest generated in the band with the re-release of If, If 2, If 3, If 4, Dave Quincy and Terry Smith announced the reformation of If in 2015 with a new line-up. A new album was released in 2016 and was titled If 5.

The band were acclaimed by George Knemeyer in a Billboard concert review as “unquestionably the best of the so-called jazz-rock bands” (wikipedia)

And here´s a brilliant live recording, areal rare brodacast recording:

49 years ago today, British jazz-rock fusion band IF played live at Niedersachsenhalle in Hanover Germany. This concert was broadcast on 4/15/1972 on NDR FM radio in Germany. IF released their 4th album in 1972, IF 4.

If played their complete 4th album and some older tunes … if you love Colosseum for example, this album is a must.

If was one of the finest Jazz-Rock bands from UK in the early Seventies !

Personnel:
Dennis Elliott (drums)
J. W. Hodkinson (vocals, percussion)
John Mealing (keyboards, background vocals)
Dick Morrissey (saxophone, flute)
Dave Quincy (saxophone, flute)
Jim Richardson (bass)
Terry Smith (guitar)
Tracklist:
01. Sector 17 (Quincy) 10.41
02. The Light Still Shines (Quincy/Humphrey) 5.05
03. You In Your Small Corner (Quincy/Humphrey) 3.41
04. Waterfall (D.Morrissey/B.Morrissey) 5.40
05. Throw Myself To The Wind (D.Morrissey/B.Morrissey) 4.40
06. Svenska Soma (Jonsson/Smith) 7.14
07. Paint Your Picture (D.Morrissey/B.Morrissey) 5.40
08. Cast No Shadows (Davies) 7.28
09. The Light Still Shines (Quincy/Humphrey) 5.34
10. What Did I Say About The Box, Jack ((D.Morrissey) 8.07
11. Waterfall (D.Morrissey/B.Morrissey) 5.19
12. Seldom Seen Sam (Smith/Hodkinson) 7.36
13. Fibonacci’s Number (Quincy) 10.37

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Eric Clapton – Third Appearance (Nagoya 1977) (2018)

Eric Patrick Clapton CBE (born 30 March 1945) is an English rock and blues guitarist, singer, and songwriter. He is regarded as one of the most successful and influential guitarists in rock music.

Clapton ranked second in Rolling Stone’s list of the “100 Greatest Guitarists of All Time” and fourth in Gibson’s “Top 50 Guitarists of All Time”.

He was also named number five in Time magazine’s list of “The 10 Best Electric Guitar Players” in 2009.

After playing in a number of different local bands, Clapton joined the Yardbirds in 1963, replacing founding guitarist Top Topham. Dissatisfied with the change of the Yardbirds sound from blues rock to a more radio-friendly pop rock sound, Clapton left in 1965 to play with John Mayall & the Bluesbreakers. On leaving Mayall in 1966, after one album, he formed the power trio Cream with drummer Ginger Baker and bassist Jack Bruce, in which Clapton played sustained blues improvisations and “arty, blues-based psychedelic pop”.[6] After Cream broke up in November 1968, he formed the blues rock band Blind Faith with Baker, Steve Winwood, and Ric Grech, recording one album and performing on one tour before they broke up. Clapton embarked on a solo career in 1970.

Alongside his solo career, he also performed with Delaney & Bonnie and Derek and the Dominos, with whom he recorded “Layla”, one of his signature songs. He continued to record a number of successful solo albums and songs over the next several decades, including a 1974 cover of Bob Marley’s “I Shot the Sheriff” (which helped reggae reach a mass market),[7] the country-infused Slowhand album (1977) and the pop rock of 1986’s August. Following the death of his son Conor in 1991, Clapton’s grief was expressed in the song “Tears in Heaven”, which appeared on his Unplugged album, and in 1996 he had another top-40 hit with the R&B crossover “Change the World”. In 1998, he released the Grammy award-winning “My Father’s Eyes”. Since 1999, he has recorded a number of traditional blues and blues rock albums and hosted the periodic Crossroads Guitar Festival. His most recent studio album is Happy Xmas (2018).

Eric Clapton & Jeff Beck:

Clapton has received 18 Grammy Awards as well as the Brit Award for Outstanding Contribution to Music.[8][9] In 2004, he was awarded a CBE for services to music. He has received four Ivor Novello Awards from the British Academy of Songwriters, Composers and Authors, including the Lifetime Achievement Award. He is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist and separately as a member of the Yardbirds and of Cream. In his solo career, Clapton has sold more than 280 million records worldwide, making him one of the best-selling musicians of all time. In 1998, Clapton, a recovering alcoholic and drug addict, founded the Crossroads Centre on Antigua, a medical facility for those recovering from substance abuse. (wikipedia)

In May of this schedule, Clapton performed the recording of the famous record “SLOWHAND” at the Olympic studio in London, and this number was the number after the release from the new release “SLOWHAND” that was still part of this Japan tour. It was the first time to show off at the live show. This was unusual on Clapton’s career. The set list of this Nagoya performance was different from that of Kyoto performance, but the same songs as The Kyoto performance The Core and We’re All The Way were shown.  I can easily imagine that the best day in this Japan tour was this Nagoya. It is wonderful of Clapton’s back band “Tulsa Tops” that you should not forget. Carl Radle and Jamie Oldker who support the backbone with a tight rhythm. Dick Sims supporting a perfectly tune with organ play which runs all round to ever more than ever. Their skills are amazing.  In order to make this board more perfect, between the songs where the songs were cut, between Nobody Knows You When You’re Down And Out and We’re All The Way, between Key To The Highway and Layla, we corrected the pitch of the existing sound board master correctly and then compensated. This is the perfect Nagoya performance that our shop releases confidently! Please enjoy yourself. (giginjapan.com)

Recorded live at Nagoyashi Kokaido, Nagoya, Japan 30th September 1977
excellent soundboard recording

Personnel:
Eric Clapton (guitar, vocals)
Maecy Levy (vocals)
Jamie Oldaker (drums)
Carl Radle (bass)
Dick Sims (keyboards)
George Terry (guitar)

Tracklist:

CD 1:
01. The Core (Clapton/Levy) 7.51
02. I Shot The Sheriff (Marley) 9.26
03. Blues With A Feeling (Jacobs) / Stormy Monday (Walker) 23.57
04. Knockin’ On Heaven’s Door (Dylan) 5.00

CD 2:
01. One Night (With You) (King/Bartholomew/Domino) 3.43
02. Nobody Knows You When You’re Down And Out (Cox) 3.52
03. We’re All The Way (Williams) 3.13
04. Sign Language (Dylan) .4.11
05. Alberta (Traditional) 5.02
06. Badge (Clapton/Harrison) 13.07
07. Key To The Highway (Segar) 9.11
08. Layla (Clapton/Gordon) 4.55

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More from Eric Clapton:

The official website:

David Oistrakh – Plays Mendelssohn & Glazunov Violin Concertos (1961)

David Fyodorovich Oistrakh(né Eustrach; 30 September [O.S. 17 September] 1908 – 24 October 1974), was a Soviet classical violinist, violist and conductor.

Oistrakh collaborated with major orchestras and musicians from many parts of the world and was the dedicatee of numerous violin works, including both of Dmitri Shostakovich’s violin concerti and the violin concerto by Aram Khachaturian. He is considered one of the preeminent violinists of the 20th century. (wikipedia)

David Oistrakh is considered the premiere violinist of the mid-twentieth century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartok. In year 2008 it is going to be 100 years sinse he was born. Exept for beeing a fantastic violinist he was a gifted teacher, great conductor and a wonderful viola-player.

Oistrakh – born musician with exceptional natural talent. Can a normal kid to stop their antics from the fact that he threatened not to go with my mother in the theater and did not hear the orchestra, the sound is literally fascinated?
“I was three and a half years old when my father brought home a toy fiddle,” playing “with which I am very happy fancies himself a street musician… I thought not and could not be happier than go from house to house with a violin “.

Dream come true pretty soon. Touring journey Oistrakh – concerts soloist, began when he was barely 16 years old. His first and only music teacher called David F. eminent violin teacher – Peter Stolyarsky, creator of the famous schools – this factory talents. The teacher, in turn, recalled that his best pupil “with childhood showed exceptionally brilliant and almost breakneck speed along the road of mastering a difficult violin playing”.
“When I think of myself in those years, it seems to me that I was playing quite freely and fluently, tonally pure. But there is still have many years of hard work over the sound, rhythm and dynamics. of course, most importantly, a deep comprehension of the inner content “.

Then there was a landmark meeting with Alexander Konstantinovich Glazunov, and the invitation to speak in Leningrad. And finally – moving to Moscow, where he was to gain prestige, the name. The great creative will, desire and ability to work, a thirst for self-improvement led him to a brilliant victory in the competition named Eugene Ysaye in Brussels. Hence, in 1937, the international fame Oistrakh. Then the news spread around the world about the “appearance of violinist worldwide”.

Oistrakh in Moscow he was in classes most prominent professors of the Moscow Conservatory Violin – Lev Zeitlin, Abram Yampolsky and Constantine Mostras, listening to a set of Soviet and foreign artists, but to learn from everyone, he wrote in his motion to the heights of artistic maturity was obliged to myself itself.

Technical difficulties for Oistrakh did not exist, while no one remembers that he was rehearsing for 25 hours a day. His violin repertoire was enormous, but he gave preference to large canvases – a concert of Beethoven, Tchaikovsky, Brahms, Sibelius, Glazunov and Shostakovich. This was a choice rather than a virtuoso, as artist-philosopher. His creative thought gave birth to all new and new interpretations of works, play with it countless times. Not by accident, as recognized by the Oistrakh, he did not like to listen to their records, so that they allowed him to move forward. With particular force and a powerful intellect temper included when Oistrakh had to play the premiere of a new, modern works. For it was written, you can say “library” of works, crowned with such masterpieces as the sonata by Prokofiev, concerts of Shostakovich and Aram Khachaturian.

Never – even in childhood – Oistrakh no one to emulate. And this despite the fact that at that time with him on the international musical Olympus was Fritz Kreisler, Jascha Heifitz, Yehudi Menuhin, Joseph Szigeti, George Enescu, Isaac Stern, Myron Polyakin and many others.

60 years, he never let go of the hands of the violin, has traveled throughout Europe and North America, Japan, Australia and New Zealand, has performed with leading orchestras in the world, and most eminent of his colleagues gave him the palm. “On stage, Oistrakh impression of the Colossus – wrote an outstanding American violinist Isaac Stern. – He stands firm on the ground, he proudly holds a fiddle, he creates music, pouring in an endless stream of beauty and elegance”. (oistrakh.ru)

And here are two great concerts from Felix Mendelssohn and Alexander Glazunov  with an even greater David Oistrakh … listen to his playing on the violin … and you could believe he is playing himself into another universe. His violin is virtuosic and breathtaking.

Personnel:
David Oistrakh (violin)
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National Philharmonic Orchestra conducted by Kiril Kondrashin

Tracklist:

Felix Mendelssohn: Concerto In E Minor For Violin & Orchestra Op.64:
01. Allegro Molto Appassionato 8.00
02. Andante 13.38
03. Allegro Molto Vivace 5.19

Alexander Glazunov:
04. Violin Concerto In A Minor Op.82 (20.29)
04.1. Moderato
04.2. Andante
04.3. Allegro

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More from David Oistrakh:

Los Relámpagos – Páginas Musicales de la Historia de España (1969)

Between the late 1950s and early 1960s, a type of music emerged on the modern international music scene that dispensed with the singing voice and devoted itself solely to making the most of the sonic possibilities of electronic instruments such as organs and guitars. This is how instrumental rock, surf, raw, crude and other sub-styles of music, all of them instrumental, emerged.

In Spain, instrumental rock music was initially played with enthusiasm by Los Estudiantes and Los Sonor. At that time, Los Relámpagos also emerged, who were to become leaders in this type of music.

Los Relámpagos initially defined themselves as admirers of the American instrumental rock group Johnny and the Hurricanes and, in fact, the first themes of the Spanish group are very similar in aesthetics and sound to the American group, but Los Relámpagos would take advantage of a type of musical narrative widely used in instrumental music: melodic narration of stories and old popular songs. Thus, from 1965 onwards, the group’s own style emerged, which would define Los Relámpagos very personally: to interpret old Spanish melodies and classical compositions by Albéniz, Turina, Granados, etc., with modern instruments and rhythms…. Music that was danced to by the young and listened to by the old, who recognised in it their favourite classical melodies. An example is “La danza del fuego”, with a pre-psychedelic introduction, performed with a Theremin. “Limosna de amores” and “En Aranjuez con tu amor” are examples of this popular Spanish style in which Los Relámpagos create musical landscapes redefined with electric instruments.

On the level of sixties rock and rhythms of the moment, Los Relámpagos create very interesting songs like “Babieca”, reminiscent of the Cid’s horse, just as The Shadows do with the horse “Mustang”‘. Other songs, “Noche de Relámpagos” (“Nit de Llampecs”) was a great success, with a rhythm that is basically a sardana. Vacaciones en España” (“Holidays in Spain”) is in the same rhythm. Taking advantage of the space age, Los Relámpagos created the song “Constelación”, similar to “Telstar” by The Tornados. Although less well known, this Lightning track was recorded shortly before Telstar. In response to the American track “If I Had a Hammer”, The Flashes create a sympathetic and successful song of their own creation entitled “Take the Hammer”.

In 1968, two of its members, Pablo Herrero and José Luis Armenteros left the group, but the group continued to play and record until 1974, when it disbanded. Ignacio Sánchez Campins takes up the organ, also playing masterfully, and the group releases two new LPs and a single between 1969 and 1971. “Páginas musicales de la Historia de España” and “Piel de Toro” are the two most outstanding works in this period. On the latter LP, as well as on two more singles, they had the collaboration of a young Valencian who would later be known in the music world as Juan Camacho, who even provided the vocals on one of their singles: “Sobre el andén / Ella”, from 1971.

In 1981, two of its members were hired to make the soundtrack for the cartoon series Futbol en acción. Los Relámpagos were not seen together again until 1987, when they performed in the TVE programme “Qué noche la de aquel año”. In 1990 the Sánchez-Campíns brothers, members of the group, re-founded the group with other musicians of the time, replacing Ricardo López Fuster (drums), Fernando Mariscal Jimeno, founder of Los Polaris (a group that accompanied the French singer Robert Jeantal) together with Juanjo Sánchez-Campins, in the early sixties, in a previous stage of the latter, later joining the mythical group. Juanjo Sánchez-Campins Jr. also appeared on second guitar, together with younger musicians, and they released a new album, although with a different, more modern sound, but without leaving their characteristic style. From this album, entitled Nuevas canciones, nuevas versiones, perhaps the most outstanding song is “Lancelot”. In the 1990s they appeared on the TVE programme “Qué pasó con” and between 1994 and 1996 they played live every year at the festivities in Navalcarnero (Madrid).

In 2001 they recorded a new album, “Ayer, hoy y siempre”, made up of previously unreleased songs, four of which are the Sánchez-Campins brothers’ own compositions, and the rest are versions of classical Spanish music, copla and zarzuela, in which the classic “relampaguero” sound has been fully recovered. The previous demos of the album were recorded by Diego Cerdán. The album was released by El Cocodrilo Récords, the label of José Luis Álvarez.

Los Relámpagos are a reference in the instrumental music of the 60s, not only in Spain but in general, as their style is very personal and unique. Likewise, anyone who likes the sound of the electronic organ of the 60s will enjoy listening to the Relámpagos, as they make remarkable use of the instrument’s timbral varieties, from the trombones-vibrato in “Nit de Llampecs” and “Babieca” to the biting flutes in “El paso de los Urales” and the full and brilliant organ in “Nocturno”, “Alborada gallega” and many others. (wikipedia)

And here´s their 4th album:

If this LP were signed by Emerson, Lake and Palmer, Ekseption, Focus or any other symphonic rock great, we would be talking about one of the masterpieces of the early days of the style, but it was signed by Los Relámpagos, a group that the public assimilated to a certain style of music of the past and that made it go practically unnoticed at the time of its release, although, with time, it is a work that has been revalued in the appreciation of the few who have had the chance to know it in detail.

Los Relámpagos make descriptive music that plunges us into the historical depths of the Spanish Ancient and Middle Ages. The instruments and technical materials they use are the most advanced of their time in our country and the result is a great work, without fissures or commercialism.

Whoever has listened to the keyboards of Keith Emerson or Rick Wakeman of those years or even of later times, will surely be surprised to discover the virtuosity of Ignacio Sánchez Campins in “Los bárbaros” or “Abderramán”. Those who think that the incorporation of sound effects and external recordings to a musical theme is something new, should take a look at the steps of the legions on the Roman roads in “SPQR”. The effects-laden guitars in “Covadonga” or the quality of the plucking in “Jaime I” are not something within the reach of any ordinary guitarist either.

A project and an instrumental quality that fell on deaf ears and had no continuity afterwards. In short, an album that was misunderstood at the time and almost forgotten afterwards, that would have deserved better luck and that places the veteran band Relámpagos at the dawn of what would later be called symphonic rock. It’s a pity that the rest of the production of those years is far removed from these “Páginas Musicales”. (lafonoteca.net)

The comparison with Emerson, Lake and Palmer, Ekseption, Focus is exaggerated, but nevertheless, the abum has a very special magic.

Enjoy it !

Personnel:
José Luis Armenteros (guitar)
Ignacio Sánchez Campins (guitar)
Juan José Sánchez Campins (bass, guitar)
Ricardo López Fuster (drums)
Pablo Herrero (keyboards)

Tracklist:
01. Anibal 4.41
02. S.P.Q.R 3.49
03. Cristo 5.06
04. Los Barbaros 4.43
05. Covadonga 5.27
06. Abderraman 4.57
07. Jaime 1 3.02

Music:
José Luis Armenteros & Pablo Herrero

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Pic of the day: Well …

… that’s really no way to treat records:

Neil Young & Promise Of The Real – Farm Aid (2018)

Neil Percival Young OC (November 12, 1945) is a Canadian-American[3] singer and songwriter. After embarking on a music career in Winnipeg in the 1960s, Young moved to Los Angeles, joining the folk-rock group Buffalo Springfield. Since the beginning of his solo career, often with backing by the band Crazy Horse, he has released critically acclaimed albums such as Everybody Knows This Is Nowhere (1969), After the Gold Rush (1970), Harvest (1972), On the Beach (1974), and Rust Never Sleeps (1979). He was also a part-time member of Crosby, Stills, Nash & Young, with whom he recorded the chart-topping 1970 album Déjà Vu.

His guitar work, deeply personal lyrics and signature high tenor singing voice define his long career. Young also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical genres. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname “Godfather of Grunge” and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real.

Young directed (or co-directed) films using the pseudonym “Bernard Shakey”, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), CSNY/Déjà Vu (2008), and Harvest Time (2022). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995).

Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield. In 2000, Rolling Stone named Young No. 34 on their list of the 100 greatest musical artists. According to Acclaimed Music, he is the seventh most celebrated artist in popular music history. 21 of his albums and singles have been certified Gold and Platinum in U.S. by RIAA certification. Young was awarded the Order of Manitoba in 2006[2] and was made an Officer of the Order of Canada in 2009.

Lukas Nelson & Promise of the Real, sometimes referred to as POTR, is an American country rock group based in California. The band consists of Lukas Nelson (lead vocals, guitar), Anthony LoGerfo (drums, percussion), Corey McCormick (bass guitar, vocals), Logan Metz (keyboards, lap steel, guitar, harmonica, vocals), and Tato Melgar (percussion). Lukas is the son of Willie Nelson. Lukas Nelson & Promise of The Real has released 6 studio albums and 4 EP’s.

From 2015 to 2019, Promise of the Real were Canadian musician Neil Young’s regular backing band. With Young, the band has recorded two studio albums, The Monsanto Years (2015) and The Visitor (2017), a soundtrack album, Paradox (2018), and two live albums, Earth (2016) and Noise & Flowers (2022). When backing Young, the band is typically expanded to include Nelson’s younger brother, Micah Nelson. (wikipedia)

One never knows what Neil Young is going to perform at Farm Aid each year. It could be an acoustic set or electric guitar driven. Guessing what Neil will do keeps Farm Aid fresh and interesting. Young continues to have all the passion for Farm Aid that is needed to spread the message. He reminded the fans to stop at a farmers market when you see one and buy something. (concertlivewire.com)

Neil Young and Promise Of The Real got their portion of the night going with “Tell Me Why” from After the Gold Rush. From there Young would mine material from throughout his career ranging from “Field Of Opportunity” from Comes A Time to “Show Me” from 2016’s Peace Trail to “Children Of Destiny” from his most recent studio album The Visitor. The midportion featured the ensemble tackling a trio of classics with “Powderfinger,” “Heart Of Gold” and “Ohio.” (jambase.com)

And Young played his song “Children Of Destiny” for the first time live !

Thanks to indykid for sharing the HDTV webcast at Dime.

Recorded live at the XFINITY Theatre, Hartford, CT; September 22, 2018.
Very good audio (ripped from HDTV webcast).

Personnel:
Anthony Logerfo (drums)
Corey McCormick (bass, vocals)
Tato Melgar (percussion)
Lukas Nelson (guitar, vocals)
Micah Nelson (guitar, vocals)
Neil Young (vocals, guitar, piano, harmonica)

Alternate frontcover:

Tracklist:
01. Introduction by John Mellencamp 1.24
02. Tell Me Why 4.33
03. Field Of Opportunity 4:17
04. Show Me 4:56
05. Powderfinger 9:34
06. Heart Of Gold 4:55
07. Ohio 4:27
08. Children Of Destiny (live debut) 4:28
09. Love and Only Love 11:47

All songs written by Neil Young

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More from Neil Young:

Symphonic Slam – Same (1976)

Symphonic Slam was mainly about Timo Laine (born in Finland, and moved to America as a child), and his polyphonic guitar synthesizer. The rest of the band was filled out by drummer John Lowery, and keyboardist David Stone.

Timo had been playing the club circuit for a while, but it wasn’t until he relocated to Canada that things began to happen. It was there that Symphonic Slam was discovered by A&M Records. What set them apart was the $10,000 360 systems guitar synthesizer prototype. This led to the release of their 1976 self-titled album.

They toured, and played gigs with some of the big names of the time (Rush, The Rolling Stones, and the Village People). Soon they were asked to go to L.A. to work on a new album. Not being interested in this tack, Stone took the opportunity to defect to Rainbow.

After the album was completed, A&M wasn’t pleased (they wanted disco). Timo took it to Canada, and created his own label on which to release it. It had some modest success, but Laine wasn’t interested in going back to L.A. to fight disco once again.

Musea’s 2001 re-release of the first album inspired Timo to get back on the horse. Apparently he had been working on another album for many years. “Her Fire” is supposed to be released some time in the future. He is also working on an instrumental solo project.

You can hear some influences of Styx, Kansas, Wakeman, Emerson, a bit of E.L.O., and even some funk. However, this is not like most of what we consider to be the classic ’70s progressive sound. Some of those qualities are woven in, and there are some lovely moments. But make no mistake, this is mid 70’s rock and roll at the core.

The main point of interest here is really the fact that Laine basically pioneered the synth guitar. It was a very new thing at the time. (H.T. Riekels)

And here´s their first and last album:

A great album that deserves more attention! There is a intensity and glow to this album that make it stand out. SYMPHONIC SLAM is not breaking ground, although the use of the guitar-synth gives this album a unique sound, but they play there songs with conviction and guts.

I couldn’t say which other progressive band to compare SYMPHONIC SLAM with… One reviewer mentioned Uriah Heep and I agree a bit with that but what dominates the sound of this album is the guitar-synth and the only thing that comes up in my mind is the Recycled album of NEKTAR where Larry Fast was on the keyboards.

There are lots of fat synthesizer sounds on this album but it doesn’t sound like TANGERINE DREAM or EL&P at all. Musically it has some jazzy and funky influences but overall it’s very rocky. On Days I hear a FRANK ZAPPA influence with the speeded la-la-la-voices and a jolly melody-line.

There are no long epic songs for proglovers here but there are a lot of changes within every tune and most of the songs doesn’t follow the verse-chorus-bridge pattern, which IMO is enough to make it interesting although the songs are short.

This completely unknown Timo Laine shows to be a rather talented guitarist and his fellow musicians on drums and keyboards make a good job too, especially the drummer vibrates with energy and I find his drumming innovative and tasteful. Singing is not Timo Laines greatest talent but he knows it and doesn’t try to sing things he couldn’t manage. His yell on the last chorus of How Do You Stand is still very effective and the guitar solo that ends this album isn’t pioneering buut ardent and soulful. (by Boluf)

Personnel:
Timo Laine (guitar synthesizer, synthesizer, vocals)
John Lowery (drums, background vocals)
David Stone (keyboards, background vocals)

Tracklist:
01. Universe 6.30
02. Everytime / Fold Back 7.10
03. I Won’t Cry 2.53
04. Let It Grow 3.54
05. Modane Train 4.17
06. Times Run Short 2.46
07. Days 5.01
08. Summer Rain 3.50
09. How Do You Stand 4.54

All songs written by Timo Laine

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Tina Turner – Foreign Affair (1989)

Tina Turner (born Anna Mae Bullock; November 26, 1939 – May 24, 2023) was an American-born and naturalized Swiss singer, dancer, actress, and author. Widely referred to as the “Queen of Rock ‘n’ Roll”, she rose to prominence as the lead singer of the Ike & Tina Turner Revue before launching a successful career as a solo performer.

Turner began her career with Ike Turner’s Kings of Rhythm in 1957. Under the name Little Ann, she appeared on her first record, “Boxtop”, in 1958. In 1960, she debuted as Tina Turner with the hit duet single “A Fool in Love”. The duo Ike & Tina Turner became “one of the most formidable live acts in history”. They released hits such as “It’s Gonna Work Out Fine”, “River Deep – Mountain High”, “Proud Mary”, and “Nutbush City Limits”, before disbanding in 1976.

In the 1980s, Turner launched “one of the greatest comebacks in music history”. Her 1984 multi-platinum album Private Dancer contained the hit song “What’s Love Got to Do with It”, which won the Grammy Award for Record of the Year and became her first and only number one song on the Billboard Hot 100. Aged 44, she was the oldest female solo artist to top the Hot 100.[7] Her chart success continued with “Better Be Good to Me”, “Private Dancer”, “We Don’t Need Another Hero (Thunderdome)”, “Typical Male”, “The Best”, “I Don’t Wanna Fight”, and “GoldenEye”. During her Break Every Rule World Tour in 1988, she set a then-Guinness World Record for the largest paying audience (180,000) for a solo performer.

Turner also acted in the films Tommy (1975) and Mad Max Beyond Thunderdome (1985). In 1993, What’s Love Got to Do with It, a biographical film adapted from her autobiography I, Tina: My Life Story, was released. In 2009, Turner retired after completing her Tina!: 50th Anniversary Tour, which is the 15th highest-grossing tour of the 2000s. In 2018, she became the subject of the jukebox musical Tina.

Having sold over 100 million records worldwide, Turner is one of the best-selling recording artists of all time. She received 12 Grammy Awards, which include eight competitive awards, three Grammy Hall of Fame awards and a Grammy Lifetime Achievement Award. She was the first black artist and first woman to be on the cover of Rolling Stone. Rolling Stone ranked her among the 100 Greatest Artists of All Time and the 100 Greatest Singers of All Time.[9] Turner had a star on the Hollywood Walk of Fame and the St. Louis Walk of Fame. She was twice inducted into the Rock and Roll Hall of Fame, with Ike Turner in 1991 and as a solo artist in 2021. She was also a 2005 recipient of the Kennedy Center Honors and Women of the Year award. Turner died following a long illness on May 24, 2023, at the age of 83.

Turner revealed in her 2018 memoir My Love Story that she had suffered multiple life-threatening illnesses. In 2013, three weeks after her wedding to Erwin Bach, she suffered a stroke and had to learn to walk again. In 2016, she was diagnosed with intestinal cancer. Turner opted for homeopathic remedies to treat her high blood pressure. Her hypertension resulted in damage to her kidneys and eventual kidney failure. Her chances of receiving a kidney were low, and she was urged to start dialysis. She considered assisted suicide and signed up to be a member of Exit,[268] but Bach offered to donate a kidney for her transplant. Turner had kidney transplant surgery on April 7, 2017.

On May 24, 2023, Turner died at her home in Küsnacht, Switzerland, aged 83, following a long illness. (wikipedia)

Foreign Affair is the seventh solo studio album by Tina Turner, released on September 13, 1989, through Capitol Records. It was Turner’s third album release after her massively successful comeback five years earlier with Private Dancer and her third and last album with the label. Although the album was not a major success in Turner’s native United States, it was a huge international hit, especially in Europe. The album reached number one on the UK Albums Chart, her first number one album there. Dan Hartman produced most of the tracks on the album, including the hit single “The Best”, which has gone on to become one of Turner’s signature songs.

While Foreign Affair didn’t perform as well as Turner’s previous albums Private Dancer and Break Every Rule in the US, where it failed to crack the Top 30 in the Billboard 200, it was a worldwide hit, selling over six million copies. In the UK alone the album sold over 1.5 million copies entering the UK Albums Chart at number one (Turner’s first album to do so there) and staying in Top 100 for a year and a half. The album also reached number one in numerous other countries including Germany and Sweden and topped the overall European Chart for four weeks.

In 2021, Foreign Affair was released as a box set, which includes a previously unreleased demo of “The Best”.

Six tracks from the album were released as singles, most of which became hits in various parts of Europe and, to a lesser extent in the US. “The Best” (US No. 15; UK No. 5) was released as the first single propelling the sales of the album. This was followed by “I Don’t Wanna Lose You” (UK No. 8), which was released in Europe only. The album’s third single (second in the US) was the opening track, “Steamy Windows” (US. No. 39; UK No. 13), which earned Turner a Grammy nomination.

Three additional singles released in various territories were the title track “Foreign Affair” (Continental Europe only), the ballad “Look Me in the Heart” (No. 8 on the US Adult Contemporary chart; UK No. 31) and the rock ballad “Be Tender with Me Baby” (UK No. 28). (wikipedia)

Turner’s last studio album for Capitol was produced by the late Dan Hartman of “Instant Replay” disco fame; however, this was not a retro ’70s-style album. This set was comprised of 12 mature, middle-range, adult rock and pop songs. Turner tackled rock on “Steamy Windows” and “The Best,” the latter a universal hit. She created fine club tracks such as “Falling Like Rain,” “I Don’t Wanna Lose You,” and “Look Me in the Heart.” Still, she cooled down long enough for a couple of gutbucket ballads in “Be Tender With Me Baby” and “Ask Me How I Feel.” The most interesting cut was the scorching return to Turner’s Delta roots on the flawless “Undercover Agent for the Blues,” one of the finest pop-blues performances since B.B. King’s “The Thrill Is Gone.” Despite the slight musical style variations, the whole project was wrapped in an enticing pop style that gave it buoyancy and synthesis. (by Bil Carpenter)

Personnel:
Phil Ashley (keyboards on 02. 06., 07., synthesizer on 06., strings on 06., 07., 08.,  piano on 08., flute on 08.)
Gary Barnacle (saxophone on 01., 10. + 12.)
Gene Black (guitar on 02., 06., 07., 08., 10.)
Jeff Bova (horns on 01., 04., 05. synthesizer on 03., organ on 04., strings on 05.)
Timmy Cappello (saxophone on 05., 08.)
Danny Cummings (percussion on 03., 04., 05., 07.)
Dan Hartman (keyboards on 01., 02., 03., 04.,  guitar on 02., 04.,  background vocals on 02., 05., drum programmig on 05.)
Rupert Hine (keyboards, bass, drum programming, background vocals on 09.)
Mark Knopfler (guitar on 12.)
Elliot Lewis (keyboards on 08., flute on 11.)
J.T. Lewis (drums on 01., 03., 04., 05.)
Eddie Martinez (guitar on 01., 03., 05.)
Greg Mathieson (bass on 10.)
Neil Taylor (slide guitar on 01.)
Phil Palmer (guitar on 09.)
James Ralston (guitar on 02., 06., 07., 08., 10.)
Carmine Rojas (bass on 04., 05.)
Philippe Saisse (keyboards on 02., 03., 06., 07., 08. flute on 05.)
Nick Glennie-Smith (keyboards on 10. + 12.,, strings on 10.,bass, drums on 12.)
T.M. Stevens (bass on 02., 03., 06., 07., 08., 11.)
Pat Thrall (guitar on 02., 06., 11., slide guitar on 08.)
Tina Turner (vocals)
Tony Joe White (guitar, synthesizer, harmonica on 01., 03., 12.)
Edgar Winter (saxophone on 02.)
Art Wood (drums on 02., 06., 07., 08.)
Casey Young (keyboards on 10.)
+
background vocals on 02., 03., 05., 07., 08.:
Lance Ellington – Tessa Niles
+
background vocals on 06.:
Tessa Niles
+
background vocals on 10..
Holly Knight – G. Lyle – Albert HammondTracklist:
01. Steamy Windows (White) 4.06
02. The Best (Knight/Chapman) 5.30
03. You Know Who (Is Doing You Know What) (White) 3.48
04. Undercover Agent For The Blues (White)
05. Look Me In The Heart (Steinberg/Kelly) 3.43
06. Be Tender With Me Baby (Hammond/Knight) 4.22
07. You Can’t Stop Me Loving You (Hammond/Knight) 4.01
08. Ask Me How I Feel (Hammond/Knight) 4.47
09. Falling Like Rain (Munday/Stewart) 4.05
10. Don’t Wanna Lose You (Lyle) 4.21
11. Not Enough Romance (Hartman) 4.06
12. Foreign Affair (White) 4.30

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More from Tina Turner:
The official website:

John Hammond & Nighthawks – Hot Tracks (1979)

John Paul Hammond (born November 13, 1942 in New York City) is an American singer and musician. The son of record producer John H. Hammond, he is sometimes referred to as John Hammond Jr.

Hammond is a son of record producer and talent scout John H. Hammond and his first wife, Jemison McBride, an actress.

He is a descendant of Cornelius Vanderbilt, the patriarch of the prominent Vanderbilt family, through his paternal grandmother Emily Vanderbilt Sloane Hammond.

He has a brother, Jason, and a stepsister, (Esme) Rosita Sarnoff, the daughter of his father’s second wife, Esme O’Brien Sarnoff. Hammond’s middle name, Paul, is in honor of a friend of his father, the actor Paul Robeson. The younger Hammond was raised by his mother and saw his father only a few times a year while growing up.

He began playing guitar in high school, partially inspired by the album Jimmy Reed at Carnegie Hall. He attended Antioch College for one year but dropped out to pursue a music career. By the mid-1960s he was touring nationally and living in Greenwich Village. He befriended and recorded with many electric blues musicians in New York, including Jimi Hendrix, Eric Clapton, Levon Helm’s New Hawks (later known as the Band), Mike Bloomfield, Dr. John, and Duane Allman. (wikipedia)

The Nighthawks are an American blues and roots music band, based in Washington, D.C. As of 2018, The Nighthawks are Mark Wenner (vocals and harmonica), Dan Hovey (lead guitar), Paul Pisciotta (bass guitar), and Mark Stutso (drums).

Formed in 1972, the Nighthawks underwent several personnel changes before stabilizing as the lineup of Mark Wenner (vocals and harmonica), Jimmy Thackery (lead guitar), Jan Zukowski (bass guitar), and Pete Ragusa (drums). Their 1979 album, Full House, issued on Adelphi Records, includes guest appearances from Pinetop Perkins and Bob Margolin.

Keyboard player Gregg Wetzel joined the band in 1983, was a full-time member until 1986, and has continued to play at special performances. The membership of the band remained stable until 1986. At that time, tired of the band’s extensive touring schedule, Thackery departed to join ‘The Assassins’ (a part-time “vacation band” he helped found), eventually fronting ‘The Drivers’ and other groups and to record for Blind Pig Records, and Telarc Records.[1] Following his departure, several players filled the lead guitar spot. These included Jimmy Nalls, Warren Haynes, James Solberg, Danny Morris, Pete Kanaras, with Kanaras becoming the longest lasting member. Also in 1987 and 1988 the band became the Rosebud Agency’s East Coast house band, backing tours with Elvin Bishop, John Lee Hooker, John Hammond, and Pinetop Perkins.

In 2003, the band featured in the first episode of the second season of The Wire.

Kanaras and Zukowski departed the band in 2004. They were replaced by Paul Bell (lead guitar) and Johnny Castle (bass guitar). The Nighthawks won the Traditional Blues/R&B Duo/Group Award at the 2009 Washington Area Music Awards. In 2011, their album, Last Train to Bluesville won the Acoustic Album of the Year at the 32nd Blues Music Awards, sponsored by the Blues Foundation.

In 2011, they signed with Severn Records. Then the band released a number of albums on Richmond’s EllerSoul label including a Reverend Billy C. Wirtz release.

In 2018 Johnny Castle and Paul Bell left the band to be replaced by Paul Pisciotta on bass and Dan Hovey on guitar. They recorded Tryin To Get To You at Severn Studio in Annapolis, MD with David Earl co-producing and engineering in 2019 and released it on EllerSoul, spring 2020 in time for national lockdown. They are currently back in Severn working on new product including four Dan Hovey originals and two Mark Stutso originals. Tentative title is 49/50 since the band will celebrate its 50th anniversary in 2022. (wikipedia)

In September of 1979, John Hammond went into Vanguard Records’ 23rd Street Studio in New York with the Nighthawks — Jimmy Thackeray, guitar; Mark Wenner, harmonica; Jan Zukowski, bass; Pete Ragusa, drums — and cut this record, one of his best (and which might’ve sold better with maybe some better cover art). The sounds are alternately hot and soulful on the ten-song collection, featuring covers of songs by Little Walter (“You Better Watch Yourself,” “Last Night”), Chuck Berry (“Nadine”), Jimmy Reed (“Caress Me Baby,” one of Hammond’s slowest, most seductive numbers), and Robert Johnson (“Sweet Home Chicago”).

Live at the Great Southeast Music Hall on December 16, 1978 in Atlanta, Georgia:

Highlights include a stunningly beautiful rendition of Howlin’ Wolf’s “Who’s Been Talkin’,” a wailing reconsideration of John Lee Hooker’s “Sugar Mama” with a really searing guitar break, a very powerful version of “Howlin’ for My Darling,” and even the best cover of Dixon’s “Pretty Thing” this side of Bo Diddley himself, where Hammond and company manage to be raunchy and smooth at the same time. Nothing’s going to make anyone forget Walter, Wolf, or Willie, but this isn’t a bad way to spend 40 minutes, especially given the really crunchy guitar sound achieved by Jeff Zaraya and the uncredited producer. A real diamond in the rough, and one of Hammond’s best albums. (by Bruce Eder)

But … the cover is really lousy.

Personnel:
John Hammond (vocals, guitar)
+
Pete Ragusa (drums)
Jimmy Thackeray (guitar)
Mark Wenner (harmonica)
Jan Zukowski (bass)

Tracklist:
01. Mama Keep Your Big Mouth Shut (McDaniels) 3.20
02. Who’s Been Talkin’ (Burnett) 2.49
03. Sugar Mama (Hooker) 3.27
04. Howling For My Darling (Burnett/Dixon) 3.28
05. You Better Watch Yourself (Jacobs) 2.22
06. Pretty Thing (Dixon) 3.02
07. Caress Me Baby (Reed) 3.54
08. Nadine (Berry) 3.47
09. Last Night (Jacobs) 3.10
10. Sweet Home Chicago (Johnson) 4.27

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More from John Hammond:

More from The Nighthawks:

The official John Hammond website:

The official Nighthawks website:

The Doors – L.A. Woman (1971)

The Doors were an American rock band formed in Los Angeles in 1965, with vocalist Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger, and drummer John Densmore. They were among the most influential and controversial rock acts of the 1960s, partly due to Morrison’s lyrics and voice, along with his erratic stage persona. The group is widely regarded as an important figure of the era’s counterculture.

The band took its name from the title of Aldous Huxley’s book The Doors of Perception, itself a reference to a quote by William Blake. After signing with Elektra Records in 1966, the Doors with Morrison recorded and released six studio albums in five years, some of which are generally considered among the greatest of all time, including their self-titled debut (1967), Strange Days (1967), and L.A. Woman (1971). Dubbed the “Kings of Acid Rock”, they were one of the most successful bands during that time and by 1972 the Doors had sold over 4 million albums domestically and nearly 8 million singles.

Morrison died in uncertain circumstances in 1971. The band continued as a trio until disbanding in 1973. They released three more albums in the 1970s, one of which featured earlier recordings by Morrison, and over the decades reunited on stage in various configurations. In 2002, Manzarek, Krieger, and Ian Astbury of the Cult on vocals started performing as “The Doors of the 21st Century”. Densmore and the Morrison estate successfully sued them over the use of the band’s name. After a short time as Riders on the Storm, they settled on the name Manzarek–Krieger and toured until Manzarek’s death in 2013.

The Doors were the first American band to accumulate eight consecutive gold LPs. According to the RIAA, they have sold 34 million albums in the United States and over 100 million records worldwide, making them one of the best-selling bands of all time. The Doors have been listed as one of the greatest artists of all time by magazines including Rolling Stone, which ranked them 41st on its list of the “100 Greatest Artists of All Time”. In 1993, they were inducted into the Rock and Roll Hall of Fame. (wikipedia)

L.A. Woman is the sixth studio album by the American rock band the Doors, released on April 19, 1971, by Elektra Records. It is the last to feature lead singer Jim Morrison during his lifetime due to his death three months after the album’s release, though he would posthumously appear on the 1978 album An American Prayer. Even more so than its predecessors, the album is heavily influenced by blues. It was recorded without record producer Paul A. Rothchild after he fell out with the group over the perceived lack of quality of their studio performances. Subsequently, the band co-produced the album with longtime sound engineer Bruce Botnick.

“Love Her Madly” was released as a single in March 1971, preceding the album’s release, and reached the Top 20 in the Billboard Hot 100. Upon release, the album peaked at number nine on the Billboard 200 and reached number 28 on the UK Albums Charts.[3] The track “Riders on the Storm” also achieved chart success.

Critics including Richie Unterberger and David Quantick have called L.A. Woman one of the Doors’ best albums, citing Morrison’s vocal performance and the band’s stripped-down return to their blues-rock roots.

The final album with Jim Morrison in the lineup is by far their most blues-oriented, and the singer’s poetic ardor is undiminished, though his voice sounds increasingly worn and craggy on some numbers. Actually, some of the straight blues items sound kind of turgid, but that’s more than made up for by several cuts that rate among their finest and most disturbing work. The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy “Riders on the Storm,” was the group at its most melodic and ominous. It and the far bouncier “Love Her Madly” were hit singles, and “The Changeling” and “L’America” count as some of their better little-heeded album tracks. An uneven but worthy finale from the original quartet. (by Richie Unterberger)

Personnel:
John Densmore (drums)
Robby Krieger (guitar)
Ray Manzarek (keyboards, guitar on 03.)
Jim Morrison (vocals)
+
Marc Benno guitar on 03. – 05. + 08.)
Jerry Scheff (bass)

Tracklist:
01. Changeling 4.18
02. Love Her Madly 3.18
03. Been Down So Long 4.41
04. Cars Hiss By My Window 4.12
05. L.A. Woman 7.46
06. L’America 4.34
07. Hyacinth House 3.11
08. Crawling King Snake 4.59
09. The WASP (Texas Radio & The Big Beat) 4.17
10. Riders On The Storm 6.54
+
11. (You Need Meat) Don’t Look No Further

All songs written by:
John Densmore – Robby Krieger – Ray Manzarek – Jim Morrison
except Nr. 08, written by John Lee Hooker
and 11. written by Willie Dixon

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More from The Doors:

The official website: