James Gang – Rides Again (1971)

FrontCover1James Gang Rides Again (alternatively known as simply Rides Again) is the second studio album by American rock band James Gang. The album was released in mid 1970, on the label ABC Records. It is the James Gang’s first album to feature bassist Dale Peters.

Writing for AllMusic, critic Stephen Thomas Erlewine wrote of the album “With their second album Rides Again, the James Gang came into their own… Walsh’s songwriting had improved, giving the band solid support for their stylistic experiments. What ties the two sides of the record together is the strength of the band’s musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads.”

JamesGang01On the initial pressings of James Gang Rides Again, a 1:25 electric rendition of Maurice Ravel’s “Boléro” is interpolated into the song “The Bomber.” Ravel’s estate threatened suit against both the James Gang and ABC Records for its unauthorized use. As a result, the track was edited, and the “Boléro” section was removed on most subsequent pressings of the album. The edited song’s running time on such pressings is 5:39. Some late 70’s LP pressings included “Boléro” by mistake, and the most recent CD re-issue of Rides Again contains the full version of “The Bomber,” with the “Boléro” section restored. (by wikipedia)

With their second album Rides Again, the James Gang came into their own. Under the direction of guitarist Joe Walsh, the group — now featuring bassist Dale Peters — began incorporating keyboards into their hard rock, which helped open up their musical horizons. For much of the first side of Rides Again, the group tear through a bunch of boogie numbers, most notably the heavy groove of “Funk #49.” On the second side, the James Gang departs from their trademark sound, adding keyboard flourishes and JamesGang02elements of country-rock to their hard rock. Walsh’s songwriting had improved, giving the band solid support for their stylistic experiments. What ties the two sides of the record together is the strength of the band’s musicianship, which burns brightly and powerfully on the hardest rockers, as well as on the sensitive ballads. (by Stephen Thomas Erlewine)

Led by future Eagle Joe Walsh, the James Gang establishes a power-trio template for all times on it’s 1970 sophomore album. Home to the top-down favorite ‘Funk #49,’ Rides Again sparks with a stylistic versatility, hard-rocking edge, and balladic vulnerability united by tight-knit musicianship. The quartet’s penchant for crunch-laden boogies and focused jamming pours out on the first half of the record before the band pulls it’s trick bag out on the second half and injects keyboards into the stylistically varied mix. From start to finish, Rides Again is a 70s rock classic – and, now, one that at last features first-rate sonics to match the music.

JamesGang03The FM radio staple ‘Funk #49’ – kick-started by the irresistible declaration ‘I sleep all day, out all night/I know where you’re goin’ – continues to be identified by many as a Walsh solo tune. Yet it, as well as the sexual thrust of the head-bobbing ‘Woman’ and proto-metal slash of the multi-part ‘The Bomber,’ fully represents the pure chemistry and locomotive momentum of the James Gang. With Walsh’s Echoplex-equipped slide guitar making psychedelic- and blues-leaning comments, his mates pick up on the direction and answer with melodic responses. Throughout the record, the trio’s synergy clicks at every turn. Such interplay extends to the more diverse, country-tinged fare on Side B. Streaked with throaty organ passages and reflective moods, sincere midtempo ballads like ‘Tend My Garden’ tease with rave-up structures and express a softer side of the group. Similarly, the acoustic-based ‘Garden Gate’ and Jack Nitzsche-orchestrated ‘Ashes the Rain and I’ showcase sincerity and diversity suggesting the James Gang prepared to defy limitations afforded most of it’s peers. Yet Walsh’s departure in 1971 changed the group’s fortunes – and, by extension, upped the value of Rides Again, which survives as a near-flawless example of earnest 70s rock and organic playing. Experience this stellar album …

Listen to “Tend My Garden” and you´ll hear a guitar … years later a group called “Boston” made this sound very popular …

And … “The Bomber” is one of the most exciting hard rock songs ever recorded ! The song is a monster James Gang combines heavy metal guitar riffs with Ravels “Bolero” … Listen and enejoy !


Jim Fox (drums, vocals, percussion, keyboards)
Dale Peters (bass, vocals, guitar, keyboards, percussion)
Joe Walsh (guitar, vocals, keyboards, percussion)
Rusty Young (pedal steel guitar on 07.)

01. Funk #49 (Fox/Peters/Walsh) 3.56
02. Asshtonpark (Fox/Peters/Walsh) 2.02
03. Woman (Fox/Peters/Walsh) 4.38
04. The Bomber: Closet Queen/Boléro/ Cast Your Fate To The Wind (Fox/Peters/Wals/Ravel/Guaraldi) 7.05
05. Tend My Garden (Walsh) 5.40
06. Garden Gate (Walsh) 1.42
07. There I Go Again (Walsh) 2.50
08. Thanks (Walsh) 2.20
09. Ashes The Rain And I (Peters/Walsh) 4.59



“The Bomber (Closet Queen / Bolero / Cast Your Fate To The Wind)”:

When I became of age, my mama sat me down
She said, “Son, you’re growing up, it’s time you looked around.”
So I began to notice some things I’ve never seen before
That’s what brought me here knockin’ at your back door
Oh, yeah

A closet queen, a bus stop fiend
It wants to shake my hand.
I don’t want to be there, she decides she can
It’s Apple Dan, he’s just the man to pick fruit off your branches
I can’t sleep and we can’t keep this cattle off our ranches
Oh, oh… yeah

[Instrumental Bridge – Bolero – Cast Your Fate To The Wind]

It’s too strong, something’s wrong, I guess I lost the feeling
I don’t mind the games you play, but I don’t like you dealing
The cards looked bad, the luck’s been had and there’s nothing left to smoke
We’ll all be back tomorrow for the punchline of the joke

Oh, Oh… Oh, Oh…



Joy Division/New Order – Songbook (1982)

FrontCoverI got this very rare item from a serious record collector … I will call him Mister Sleeve … thanks a lot, Mr. Sleeve !!!

Joy Division were an English rock band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook, and drummer Stephen Morris.

Formed by Sumner and Hook after the two attended a Sex Pistols gig, Joy Division soon moved beyond their punk roots to develop a sound and style that made them one of the pioneers of the late-1970s post-punk movement. The band’s self-released 1978 debut EP, An Ideal for Living, drew the attention of the Manchester television personality Tony Wilson, who signed the group to his independent label Factory Records. Joy Division’s debut album Unknown Pleasures, recorded with producer Martin Hannett, was released in 1979 to critical acclaim.

As the band’s popularity grew, singer Curtis suffered from personal problems that included depression, a failing marriage, and epilepsy. He found it increasingly difficult to perform live concerts, during which he sometimes suffered seizures. In May 1980, on the eve of the band’s first American tour, Curtis committed suicide, aged 23. The band’s second and final album, Closer, was released two months later; the album and preceding single “Love Will Tear Us Apart” became the band’s highest charting releases.


After Curtis’s death, the remaining members continued as New Order and achieved critical and commercial success. Although Joy Division’s career spanned less than four years, the band continues to exert an influence on a variety of subsequent artists (by wikipedia)

And here´s a fanzine … called songbook … but it´s much more than a songbook only:

A4 size booklet. 42 pages. Includes discography, pictures, press cuttings etc. The most common versions has a red cover with black & white text, white border. Front cover has live picture of Ian Curtis (with Steve in the background) from Paris, Les Bains Douches 18/12/79. 1983(?) (by joydiv.org)











The black and yellow edition of this songbook

Robert Plant – The Principle Of Moments (1983)

FrontCover1The Principle of Moments is the second solo studio album by the English singer Robert Plant, formerly of Led Zeppelin. It was Plant’s second Top 10 album in the US and UK. It also gave him his first solo Top 40 hit with “Big Log”. The most popular track on album-oriented rock radio in the US was “Other Arms”, which reached number-one on the Billboard Top Tracks chart. Genesis’ drummer Phil Collins played drums for six of the album’s eight songs (as he did on Pictures at Eleven). On the other two tracks former Jethro Tull drummer Barriemore Barlow performed.

Like Plant’s first solo album, Pictures at Eleven, the songs departed from the hard rock sound of Led Zeppelin. Following the strength of these albums, Plant launched a successful tour in 1983. Phil Collins was the drummer for Plant’s band for the North American portion of the tour. Collins was content to perform in the background, despite his own enormous success as a solo artist and with Genesis at the time. Little Feat’s Richie Hayward played drums for the remaining dates.

In 1983, Robert Plant went on a tour to promote the album, starting on August 26 in Peoria, Illinois, and ending on October 1 in Vancouver, British Columbia.(by wikipedia)


Robert Plant’s follow-up to Pictures at Eleven implements much of his debut’s style and vocal meandering into a new and more exciting bunch of songs. The mysteriousness of “Big Log,” the album’s first single, reached the Top 20 in the United States and in the U.K., while “In the Mood” is The Principle of Moments’ finest offering, proving that Plant could roam freely with his voice and still have it work effectively. But Plant doesn’t stop here, as he gives tracks like “Wreckless Love,” “Stranger Here…Than Over There,” and “Other Arms” an equal amount of curt abstractness and rock appeal. Because Plant’s voice is so compelling in any state, the convolution of his writing tends to take a back seat to his singing in most of his solo work, which is definitely the case in most of the songs here. Plant went on tour with the Honeydrippers within the same year of The Principle of Moments’ release, adding another facet to his already diverse solo repertoire. (by Mike DeGagne)

The 1983 release of The Principle of Moments was the second solo album by Robert Plant, following the disbandment of Led Zeppelin in late 1980. The album follows close on the heels of Plant’s debut, Pictures At Eleven and employs the same musicians and RobertPlantproduction team. Recorded in Wales, the production was polished and clinical while maintaining enough rock edge to keep it original and interesting. Plant had declined to tour following his debut because he didn’t want to perform any Led Zeppelin songs live and didn’t yet have enough original solo material to justify a tour. With the release of this second album, Plant’s second life as a major recording artist took was fully spawned.

The Principle of Moments was the first release on Plant’s independent label Es Paranza Records, after the folding of Led Zeppelin’s label Swan Song, which was also the label from Plant’s debut. Swan Song ceased operations due to the failing health of Zeppelin manager Peter Grant. When Swan Song’s offices were cleared out in 1983, early demos from Iron Maiden, Heart and other popular bands were found.

The sound of The Principle of Moments fuses new wave rock with some elements of reggae and abstract motifs and is percussion heavy with sharp, high-pitched guitars, led by guitarist Robbie Blunt and drummer Phil Collins. While not as dynamic as in the heart of the Zeppelin years, Plant’s vocals are melodic and refined. The album’s title comes from the scientific Varignon’s Theorem, which states that the moment of any force is equal to the algebraic sum of the moments of the components of that force. With the experimental tracks on this album, Plant seems to be declaring his independence from the Zeppelin sound and celebrating his own “moment” in time.


Although not officially released as a single, the opener “Other Arms” reached number one on the Billboard Mainstream Rock chart. Musically, the song continues the style of Pictures at Eleven, melodic and heavy on the chorus backing vocals, a long way from the improvised arrangements of Zeppelin’s early days. “In the Mood” (which was officially released as a single) follows and marks the point where the album starts to distinguish itself. Built on bassist Paul Martinez’s very simple yet infectious bass line, with Blunt’s simple, strummed chords on top and a strong percussion presence by Collins in contrast to laid back music and vocals. Plant’s melody rhythm is almost like blue-eyed rap and this translated into a Top 40 single on the pop charts.

Keyboardist Jezz Woodroffe shines brightest on the ballad “Through with the Two Step”, where Plant’s melodic verse vocals drip with melancholy sweetness to the waltz of Woodroffe’s wafty keyboards and in contrast to Blunt’s excellent lead later in the song. “Horizontal Departure” is a very upbeat and entertaining, sex-infused rock song, like a new wave version of Zeppelin;s “Whole Lotta Love”. Again Collins has a very strong and dynamic performances on drums, contrasting against the very measured riffs of Blunt and Martinez.

RobertPllantThe album’s biggest hit is the closer “Big Log”. Reflective and somber, this is a mature song in every respect, musically, lyrically and production-wise. It employs some of the better synth-era techniques – the rubber kick effect, snappy top beat – along with well refined guitars, a swell of long synths, and vocal choruses by session singers John David and Ray Martinez. But this song is a true showcase for Robbie Blunt, one of rock’s forgotten great guitarists, whose cleaver latin phrasing leaves the most indellible mark in this truly unique composition.

The Principle of Moments includes a trio of experimental songs. “Messin’ With the Mekon” starts with an almost Jimmy Page-like riff before giving way to a moderate Caribbean groove with measured beats, although the arrangement does seems hollow when trying too hard to fit odd pieces together. “Wreckless Love” contains a mixture of electronic and Middle Eastern textures and other highly experimental arrangement that only gels due to Plant’s strong melody. The song features Barriemore Barlow, formally of Jethro Tull, on drums, as does “Stranger Here…Then Oven There”. Another experimental song with some brilliant verse vocals, this song also suffers from too many superfluous effects and arrangements, which do little more than interrupt the reggae beat and flow of the song’s core.

With two Top 10 albums under his belt, Plant launched a successful tour in late 1983, taking the stage for the first time since Zeppelin’s Knebworth concerts in 1979. In the following years Plant would work with his former bandmates sporadically, starting with the short-lived oldies project The Honeydrippers, while continuing to build his solo career. (by classicrockreview.com)


Robbie Blunt (guitar)
Phil Collins (drums)
Paul Martinez (bass, background vocals)
Robert Plant (vocals)
Jezz Woodroffe (keyboards)
Barriemore Barlow (drums on 04. + 07.)
John David -(background vocals)
Bob Mayo (guitar; keyboards; background vocals on 09. -11.)


01. Other Arms (Plant/Blunt) 4.21
02. In The Mood (Plant/Blunt/Martinez) 4.23
03. Messin’ With The Mekon (Plant/Blunt/Martinez) 4.40
04. Wreckless Love (Plant/Blunt) 5.18
05. Thru’ With The Two Step (Plant/Blunt/Martinez) 5.34
06. Horizontal Departure (Plant/Blunt/Martinez/Woodroffe) 4.20
07. Stranger Here… Than Over There (Plant/Blunt/Martinez/Woodroffe)  4,19
08. Big Log (Plant/Blunt/Woodroffe) 5.05
09. In the Mood (Plant/Blunt/Martinez) 7.34
10. Thru’ With The Two Step (Plant/Blunt/Martinez) 11.09
11. Lively Up Yourself (Marley) 3.02
12. Turnaround (Plant/Blunt/Martinez/Woodroffe) (previously unreleased studio track) 4.55

(Tracks 09. – 11,  recorded live at the Summit, Houston, TX, September 20, 1983)




Diana Krall feat. The Clayton-Hamilton Jazz Orchestra – Christmas Songs (2005)

FrontCover1Christmas Songs is the eighth studio album by Canadian singer Diana Krall, performed with the Clayton-Hamilton Jazz Orchestra. It was released on October 26, 2005 by Verve Records. This is Krall’s first full-length album of Christmas songs (not counting her 1998 EP Have Yourself a Merry Little Christmas), and her first studio album with a big band. The album was released on vinyl for the first time on October 14, 2016. (by wikipedia)

On her first full-length Christmas album, pianist/vocalist Diana Krall delivers a smoky, sophisticated, and slightly melancholy album perfectly suited to accompany egg nog cocktails and romantic afterglow holiday affairs. Although there isn’t anything unexpected on Christmas Songs — Irving Berlin’s “Count Your Blessings Instead of Sheep” is as close to obscure as it gets — Krall coos life into such standards as “Have Yourself a Merry Little Christmas,” “What Are You Doing New Year’s Eve,” and “I’ll Be Home for Christmas.” It also doesn’t hurt that she gains top-notch support from the Clayton-Hamilton Orchestra, whose urbane arrangements help bring to mind similar works by such iconic vocalists as Nat King Cole, June Christy, and Frank Sinatra. But it’s not all deep sighs and bedroom eyes; on the contrary, Krall keeps things swinging with such uptempo numbers as the joyous “Jingle Bells,” “Winter Wonderland,” and the Blossom Dearie-inflected “Santa Claus Is Coming to Town.” If you like your holiday albums cool and classy, Christmas Songs is a stocking stuffer that’s sure to please. (by Matt Collar)


Diana Krall (piano, vocals)
The Clayton-Hamilton Jazz Orchestra:
Rick Baptist (trumpet)
William Barnhart (trombone)
George Bohanon (trombone)
Gilberto Castellanos (trumpet)
Jeff Clayton (saxophone, flute)
Sal Cracchiolo (trumpet)
David Duke (french horn)
Keith Fiddmont (saxophone, clarinet)
Jeff Hamilton (drums)
Robert Hurst (bass)
Clay Jenkins (trumpet)
Tommy Johnson (tuba)
Joe Meyer (french horn)
Ira Nepus (trombone)
Charles Owens (saxophone, clarinet)
Joe Porcaro (percussion)
Ryan Porter (trombone)
Adam Schroeder (saxophone, clarinet)
Rick Todd (french horn)
Brad Warnaar (french horn)
Anthony Wilson (guitar)
Rickey Woodard (saxophone solos, clarinet)
Gerald Clayton (piano on 07.)
Tamir Hendelman (piano on 10, + 11.)


01. Jingle Bells (Pierpont) 3:26
02. Let It Snow (Styne/Cahn) 4.02
03. The Christmas Song (Tormé/Wells) 4.24
04. Winter Wonderland (Bernard/Smith) 3.15
05. I’ll Be Home For Christmas (Gannon/Kent/Ram) 3.08
06. Christmas Time Is Here (Guaraldi/Mendelson) 3.35
07. Santa Claus Is Coming To Town (Coots/Gillespie) 2.54
08. Have Yourself A Merry Little Christmas (Blane/Martin) 4.19
09. White Christmas (Berlin) 4.32
10. What Are You Doing New Year’s Eve (Loesser) 4.10
11. Sleigh Ride (Anderson/Parish) 3.26
12. Count Your Blessings Instead Of Sheep (Berlin) 3.41




J. Geils Band – Live – Blow Your Face Out (1976)

FrontCover1Blow Your Face Out is the eighth album (and second live album) by American rock band The J. Geils Band, released in 1976.

The album was recorded at two concerts held in November 1975. The first show was at the Boston Garden in the band’s hometown (Boston, Massachusetts) on November 15th, and recorded by Record Plant East Remote with David Hewitt. The second was recorded by Metro Audio Detroit four nights later at Cobo Hall in Detroit, Michigan, where the band’s other two live albums “Live” Full House (1972) and Showtime! (1982) were also recorded. (by wikipedia)

Double-album live sets came into vogue in 1976 after Peter Frampton’s sales went through the roof for A&M, Bob Seger found fame with Live Bullet on Capitol, and the J. Geils Band released its second in-concert document in four years, Blow Your Face Out. There is great power in these grooves recorded over two nights, November 15 and November 19, at the now deconstructed Boston Garden and in Detroit at Cobo Hall. ConcertFlyer1976Here’s the beautiful dilemma with the Geils band: Live: Full House, recorded in Detroit in April of 1972, contains five songs that became J. Geils standards, and none of them overlap on the 1982 EMI single live disc, Showtime, chock-full of their latter-day classics. Can you believe there is absolutely no overlap from the first or third live album on this double disc, which came in between (except for “Looking for a Love,” uncredited, which they slip into the intro of “Houseparty” on side two)? The Rhino CD contains Jeff Tamarkin’s liner notes, while the original Atlantic album has an exquisite gatefold chock-full of photos, and inner sleeves with priceless band memo stuff à la Grand Funk’s Live Album. Sides one and two are great, and three and four are even better. “Detroit Breakdown” rocks and grooves, with tons of audience applause…Wolfy and the polished authority of his monologues are in command as the band oozes into “Chimes” from 1973’s Ladies Invited. About three and a half minutes longer than the five-minute original, it is one of many highlights on this revealing pair of discs. A precursor to 1977’s title track, “Monkey Island,” “Chimes” gives this enigmatic PromotionAdband a chance to jam out slowly and lovingly over its groove. There is so much to this album: the Janis Joplin standard “Raise Your Hand” written by Eddie Floyd, Albert Collins’ “Sno-Cone” from their first album, and “Truck Drivin’ Man” beating Bachman-Turner Overdrive to the punch. B.B. King producer Bill Szymczyk does a masterful job bringing it all together, and the band photos on back look…roguish. “Must of Got Lost,” “Where Did Our Love Go,” and “Give It to Me” are here in all their glory, a different glory than the studio versions, on an album that should have done for Geils what Live Bullet and Frampton Comes Alive did for their respective artists. If only a legitimate release of their 1999 tour would be issued to stand next to this monster — during that tour they combined the best elements of all three of their previous live discs. The J. Geils Band is more important and influential than the boys have been given credit for. It will be the live documents that ensure they eventually get their due, and Blow Your Face Out is a very worthy component that can still frazzle speakers. (by Joe Viglione)

A hell of a record … one of the finest live-albums ever !


Stephen Bladd (drums)
Magic Dick (harmonica)
J. Geils (guitar)
Seth Justman (keyboards)
Danny Klein (bass)
Peter Wolf (vocals)


01. Southside Shuffle (Justman/Wolf) 4.18
02. Back To Get Ya (Justman/Wolf) 4.36
03. Shoot Your Shot (Walker/Graves/Horn) 3.48
04. Must Of Got Lost (Justman/Wolf) 6.34
05. Where Did Our Love Go (B.Holland/Dozier/E.Holland) 3.51
06. Truck Drivin’ Man (Fell) 1.51
07. Love-Itis (Scales/Vance) 4.07
08. Lookin’ For A Love (Alexander/Samuels) +  Ain’t Nothin’ But A Houseparty (Sharh/Thomas) 7.04
09. So Sharp (Christian) + Detroit Breakdown (Justman/Wolf) 8.11
10. Detroit Breakdown (Reprise) (Justman/Wolf) 0.33
11. Chimes (Justman/Wolf) 8.54
12. Sno-Cone (Collins) 3.07
13. Wait (Justman/Wolf) 3.29
14. Raise Your Hand (Cropper/Floyd/Isbell) 4.13
15. Start All Over + Give It To Me (Justman/Wolf) 8.38
16. Blow Your Face Out (uncut version) 1.14.49






Crosby, Stills, Nash & Young – The Winterland Reunion (1973)

FrontCover1From the time they came together as a trio at the end of 1968, to the fall of 1973 when they turned in this impromptu set at Winterland, the three voices comprising Crosby, Stills and Nash had seen their share of changes: they triumphed with their 1969 self-titled debut, joined forces with Neil Young for the follow-up Déjà Vu in 1970, and took their show on the road; by the end of that run, they’d weathered the kind of wear and tear on their hearts and souls that could throw the average band off course for good. And yet, whether performing songs from those first two albums, Crosby’s If Only I Could Remember My Name, Nash’s Songs for Beginners, Crosby and Nash’s heralded duo album, or Stills’ solo albums and works with Manassas, when the original core CSN trio got together they still made sweet harmony, as they did on this night to remember.

In the Fall of 1973, Crosby, Stills and Nash were still slightly reeling from a busy period that followed recording in Hawaii with Young and the passing of CSN&Y roadie Bruce Berry (famously eulogized by Young on “Tonight’s the Night”). Stills had been on the road with Manassas, and Crosby and Nash were playing their own shows with an electric band. But when Manassas booked a couple of dates at Winterland on October 4 and 7 of 1973, it was family reunion time when Crosby and Nash pulled a walk-on and the trio appeared onstage together for the first time since 1970.

Informal, joking, and pleasingly loose, the three friends seemed to truly enjoy singing together, despite the occasional onstage bristling and ropy moments. Crosby sarcastically refers to “our usual slick Hollywood show,” explaining away the presentation’s unrehearsed nature as “more fun this way for us.” Stills answered his band mate’s quip drolly with, “Anything you say, David, anything you say.”


Between the banter and tuning up, the three manage to turn in some prime vocal shots, from a version of the Beatle’s “Blackbird” to a handful of their group’s and solo works. Nash takes the lead on “Southbound Train” and retreats to piano for “Prison Song,” his protest of tough marijuana laws on the poor population. Stills sings Young’s “Human Highway,” which Crosby characterizes as a song by “our skinny friend;” the live version isn’t quite worked out the way we’ve come to know it, but that’s part of the excitement of this off-the-cuff set. “Wooden Ships” is dedicated to Crosby and Stills’ co-writer, the Jefferson Airplane/Starship’s Paul Kantner, before the evening is crowned with the vocal trio tour de force “Helplessly Hoping.”

The two sets from these Winterland shows foreshadowed a proper reunion on the horizon: a couple of months later, Young would join Nash and Crosby at an appearance at the San Francisco Civic and, the following year, CSN&Y would be on the road again, playing to their largest audiences ever. Marking a tentative step toward their mid-’70s triumph, as well as a throwback to their early days when the vocal giants were just a trio, this Winterland night is a historic footprint on CSN’s trail of rock & roll. Long may they continue to run its course. (by concertvault.com)


David Crosby (guitar, vocals)
Graham Nash (guitar, vocals, piano)
Stephen Stills (guitar, vocals)
Neil Young (guitar, vocals, harmonica)


01. Helplessly Hoping (Stills) 4.00
02. Wooden Ships (Crosby/Kantner/Stills) 6.00
03. Blackbird (Lennon/McCartney) 2.56
04. As I Come Of Age (Stills) 5.56
05. Roll Another Number (Young) 4.37
06. Human Highway (Young) 4.07
07. Dreamland (Mitchell) 4.06
08. So It Goes (Nash) 6.40
09. The Prison Song (Nash) 4.18
10. Long Time Gone (Crosby) 7.27
11. Change Partners (Stills) 5.16
12 Down By The River (ABC TV, 1969) (Young) 4.52


Alternate front+ back cover



VA – Christmas Party With Eddie G (1990)

FrontCover1And here´s a very special christmas sampler:

Eddie G. (“no relation to Kenny,” as his liner notes emphasize) is a Hollywood comedy writer who gained some notoriety for his annual made-for-friends Christmas tapes. In 1990, Columbia released one of his tapes on CD, and it remains among the finest Christmas compilations on the market. Highlights include such delights as Detroit Junior’s rockin’ “Christmas Day,” the Skeletons’ innovative blend of “Do You Hear What I Hear” with the Kinks’ “You Really Got Me” (taking up where the Ventures left off on their Christmas LP), and terrific contributions from Foghat (yes, Foghat!), Louis Prima, and George Jones & Tammy Wynette, who are oh-so-fine on “Mr. & Mrs. Santa Claus.” Devotees still long for volume two. (by Bill Holdship)

If there is a more entertaining Christmas compilation than this CD, I have not heard it. This is a party platter that includes international Christmas greetings and amusing comedy bits from old radio in between 17 tracks of R&B, blues, country, exotica, rock, novelty, and more.

Most tracks are unavailable elsewhere on CD. From the surf sounds of Untamed Youth to the strains of Monty & Marsha Brown’s “Cajun Christmas,” this is a nonstop Christmas party. (by Dennis MacDonald)


01. The Eddie G. Singers: Here Comes Eddie (West/Gorodetsky) 0.47
02. Detroit Junior: Christmas Day (Williams) 2.15
03. Eddie Lawrence: Merry Old Philosopher #1 (Lawrence) 0.54
04. Bobby Lloyd & The Skeletons: Do You Hear What I Hear / You Really Got Me (Regney/Shane/Davies) 2.05
05. Billy West & Eddie Gorodetsky: Late Slap (West/Gorodetsky) 0.46
06. Augie Rios: Donde Esta Santa Claus (Parker/Greiner/Scheck) 2.50
07. Byron Lee & The Dragonaires: Winter Wonderland (Bernard/Smith) 2.33
08. Billy West & Eddie Gorodetsky: Eye Pokes (West/Gorodetsky) 0.44
09. Louis Prima: What Will Santa Claus Say When He Finds Everybody Swinging? (Prima) 3.08
10. Huey Piano Smith & The Clowns: All I Want For Christmas (Is A Little Bit Of Music) (Smith) 3.03
11. Billy West & Eddie Gorodetsky: Five More Slaps (West/Gorodetsky) 0.54
12. Tony Rodelle Larson: Cool Yule (Larson) 2.28
13. Untamed Youth: Santa’s Gonna Shut ‘Em Down (Dickerson) 2.15
14. Eddie Lawrence: Merry Old Philosopher #2 (Lawrence) 0.54
15. Rufus Thomas: I’ll Be Your Santa Baby (Thomas) 4.00
16. Billy West & Eddie Gorodetsky:  I Hope He Stays In Germany (West/Gorodetsky) 0.27
17. Debbie Dabney: I Want To Spend Christmas With Elvis (Heartbreak Noel) (Kirschner/Darin) 2.11
18. Foghat: All I Want For Christmas Is You (Peverett) 3.35
19. Billy West & Eddie Gorodetsky: Shemp Tribute (West/Gorodetsky) 0.37
20. The Fabulous Thunderbirds: Merry Christmas Darling (Wilson/Semiens) 4.23
21. Monty & Marsha Brown: Cajun Christmas (Brown) 2.47
22. Billy West & Eddie Gorodetsky: Our 49th State (West/Gorodetsky) 0.22
23. Arthur Lyman: Mele Kalikimaka (Anderson) 2.12
24. George Jones & Tammy Wynette: Mr. And Mrs. Santa Claus (Montgomery/Frazier) 2.22
25. Solomon Burke: Christmas Presents (Burke) 3.12
26. NRBQ: Christmas Wish (Spampinato) 2.50
27. Billy West & Eddie Gorodetsky: A Final Try (West/Gorodetsky) 0.44
28. Eddie Lawrence: Merry Old Philosopher #3 (Lawrence) 1.11
29. The Eddie G. Singers: So Long Eddie (West/Gorodetsky) 1.03




Eddie (G)orodetsky