Road Me – Strings Out Of Control (2019)

FrontCover1A real fine street musician from the next generation:

I am a singer, guitarist and songwriter. I have been involved in music since I was about 14 years old, in 12 years of active work in the music industry I have been in 4 bands. Nowadays I am most devoted to solo performing only with acoustic guitar and looper, busking and composing and producing music. Since the year I completed my university studies (2019, CTU, FEE, field of Biomedical Engineering, Prague, Czech Republic), I have been devoting myself to music full-time.

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You will meet me in clubs, at parties, at weddings and on the streets all over the world. When I’m not traveling, I live in Prague, Czech Republic. My repertoire consists of imaginative acoustic cover versions of world-famous hits interspersed with my own songs. In the summer of 2019, I released my debut album Strings Out Of Control. (press release)

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And here´s their debut album …

The debut CD Strings Out Of Control brings a mix of specially crafted well-known pieces of world popular music as well as original songs. The album emphasizes colorful, unusual mostly acoustic arrangements, various percussion and beat-box. (press release)

Indeed, a great mixture between own songs (with some great flute sounds !) and cover versions of bands and musicians like Red Hot Chilli Peppers, Mark Ronson, Daft Punk, The Rembrandts … and …

… Paul Simon !

Enjoy this rarity !

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Personnel:
Petr Kocis (vocals, guitar)
Jakub Mejstřík (drums, percussion)
Stepanka Moudra (vocals, flute)
Tomáš Tóth (violin, bass)

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Tracklist:
01. I´ll Be There For You (Skloff/Crane/Kauffman/Willis/Wilde/Sōlem) 2.55
02. Lada fährt so schnell (Kocis/Moudra) 2.15
03. Under The Bridge (Kiedis/Flea/Frusciante/Smith) 3.52
04. Uptown Funk (Ronson/Mars/Lawrence/Bhasker) 3.46
05. Zazpívej jak Bůh (Kocis/Moudra) 4.36
06. Bienvenidos (Kocis/Moudra) 2.51
07. Mrs. Robinson (Simon) 3.29
08. Slečna ze Smečna (Kocis/Moudra) 3.24
09. Get Lucky (de Homem-Christo/Williams) 3.42
10. Write The Answer Back (Kocis/Moudra) 3.35
11. God Damn (Kocis/Moudra) 3.08
12. Kvido (Kocis/Moudra) 4.38
13. Good Night My Baby (Kocis/Moudra) 4.26

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The official website:
Website

Cat Stevens – Teaser And The Firecat (1971)

FrontCover1Yusuf Islam (born Steven Demetre Georgiou; 21 July 1948), commonly known by his stage names Cat Stevens, Yusuf, and Yusuf / Cat Stevens, is a British singer-songwriter and multi-instrumentalist. His musical style consists of folk, pop, rock, and, later in his career, Islamic music. He returned to making secular music in 2006. He was inducted into the Rock and Roll Hall of Fame in 2014.

His 1967 debut album and its title song “Matthew and Son” both reached top ten in the UK charts. Stevens’ albums Tea for the Tillerman (1970) and Teaser and the Firecat (1971) were certified triple platinum in the US. His 1972 album Catch Bull at Four went to No.1 on Billboard Pop Albums and spent weeks at the top of several major charts. He earned ASCAP songwriting awards in 2005 and 2006 for “The First Cut Is the Deepest”, which has been a hit for four artists. His other hit songs include “Father and Son”, “Wild World”, “Moonshadow”, “Peace Train”, and “Morning Has Broken”.

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In December 1977, Stevens converted to Islam and adopted the name Yusuf Islam the following year. In 1979, he auctioned all of his guitars for charity, and left his musical career to devote himself to educational and philanthropic causes in the Muslim community. He has since bought back at least one of these guitars as a result of the efforts of his son Yoriyos. He was embroiled in a long-running controversy regarding comments he made in 1989 about the death fatwa on author Salman Rushdie. His current stance is that he never supported the fatwa: “I was cleverly framed by certain questions. I never supported the fatwa.” He has received two honorary doctorates and awards for promoting peace as well as other humanitarian awards.

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In 2006, he returned to pop music by releasing his first new studio album of new pop songs in 28 years, entitled An Other Cup. With that release and subsequent ones, he dropped the surname “Islam” from the album cover art – using the stage name Yusuf as a mononym. In 2009, he released the album Roadsinger and, in 2014, he released the album Tell ‘Em I’m Gone and began his first US tour since 1978. His second North American tour since his resurgence, featuring 12 shows in intimate venues, ran from 12 September to 7 October 2016. In 2017, he released the album The Laughing Apple, now using the stage name Yusuf / Cat Stevens, using the Cat Stevens name for the first time in 39 years. In September 2020, he released Tea for the Tillerman 2, a reimagining of his classic album Tea for the Tillerman to celebrate its 50th anniversary. (wikipedia)

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Teaser and the Firecat is the fifth studio album by Cat Stevens, released in October 1971. English keyboardist Rick Wakeman played piano on “Morning Has Broken” and English musician Linda Lewis also contributed vocals on “How Can I Tell You”.

The album contains 10 songs, including the hits “Morning Has Broken”, “Moonshadow” and “Peace Train”. It is also the title of a children’s book written and illustrated by Stevens. The story features the title characters from the album cover, top-hatted young Teaser and his pet, Firecat, who attempt to put the moon back in its place after it falls from the sky. Published in 1972, the book has been out of print since the mid-1970s.

The album was a commercial success, surpassing the heights achieved by Stevens’ previous album, Tea for the Tillerman, reaching both the UK and US top 3 and also spending fifteen weeks at the top of the Australian charts, becoming the biggest-selling album of the country in 1972.

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In 1977 an animated version, narrated by comedian Spike Milligan, using the song “Moonshadow”, was a segment in Fantastic Animation Festival. In November 2008, a “deluxe edition” was released featuring a second disc of demos and live recordings.

In a contemporary review for Rolling Stone magazine, music critic Timothy Crouse praised Stevens’ distinctive musical style and introspective songs such as “Tuesday’s Dead” and “The Wind”, but felt that he lacks Van Morrison’s evocative quality and James Taylor’s refined lyrics: “Cat has become a dependable artist, a good artist, but he appears to be one of those composers who does not develop, who holds no surprises.”

It was voted number 539 in the third edition of Colin Larkin’s All Time Top 1000 Albums (2000). (wikipedia)

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Even as a serious-minded singer/songwriter, Cat Stevens never stopped being a pop singer at heart, and with Teaser and the Firecat he reconciled his philosophical interests with his pop instincts. Basically, Teaser’s songs came in two modes: gentle ballads that usually found Stevens and second guitarist Alun Davies playing delicate lines over sensitive love lyrics, and up-tempo numbers on which the guitarists strummed away and thundering drums played in stop-start rhythms. There were also more exotic styles, such as the Greek-styled “Rubylove,” with its twin bouzoukis and a verse sung in Greek, and “Tuesday’s Dead,” with its Caribbean feel. Stevens seemed to have worked out some of his big questions, to the point of wanting to proselytize on songs like “Changes IV” and “Peace Train,” both stirring tunes in which he urged social and spiritual improvement. Meanwhile, his love songs had become simpler and more plaintive.

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And while there had always been a charming, childlike quality to some of his lyrics, there were songs here that worked as nursery rhymes, and these were among the album’s most memorable tracks and its biggest hits: “Moonshadow” and “Morning Has Broken,” the latter adapted from a hymn with words by English author Eleanor Farjeon. The overall result was an album that was musically more interesting than ever, but lyrically dumbed-down. Stevens continued to look for satisfaction in romance, despite its disappointment, but he found more fulfillment in a still-unspecified religious pursuit that he was ready to tout to others. And they were at least nominally ready to listen: the album produced three hit singles and just missed topping the charts. Tea for the Tillerman may have been the more impressive effort, but Teaser and the Firecat was the Cat Stevens album that gave more surface pleasures to more people, which in pop music is the name of the game. (by William Ruhlmann)

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Personnel:
Harvey Burns (drums, percussion)
Gerry Conway (drums, percussion)
Alun Davies (guitar, background vocals)
Larry Steele (bass, percussion)
Cat Stevens (vocals, guitar, keyboards)
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Angelos Hatzipavli (bouzouki on 02.)
Linda Lewis (vocal on 05.)
Andy Roberts (kriwaczek string organ on 05.)
Jean Alain Roussel (organ on 10.)
Andreas Toumazis (bouzouki on 02.)
Rick Wakeman (piano on 07.)

Booklet

Tracklist:
01. The Wind 1.42
02. Rubylove 2.38
03. If I Laugh 3.20
04. Changes IV 3.32
05. How Can I Tell You 4.27
06. Tuesday’s Dead 3.37
07. Morning Has Broken 3.20
08. Bitterblue 3.12
09. Moonshadow 2.52
10. Peace Train 4.11

All songs written by Cat Stevens
except 07.: Traditional with words by Eleanor Farjeon

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Now I’ve been happy lately
Thinking about the good things to come
And I believe it could be
Something good has begun
Oh, I’ve been smiling lately
Dreaming about the world as one
And I believe it could be
Someday it’s going to come

‘Cause I’m on the edge of darkness
There ride the Peace Train
Oh, Peace Train take this country
Come take me home again

Now I’ve been smiling lately,
Thinkin’ about the good things to come
And I believe it could be,
Something good has begun

Oh Peace Train sounding louder
Glide on the Peace Train
Come on now Peace Train
Yes, Peace Train holy roller

Everyone jump upon the Peace Train
Come on now, Peace Train

Get your bags together,
Go bring your good friends, too
‘Cause it’s getting nearer,
It soon will be with you

Now come and join the living,
It’s not so far from you
And it’s getting nearer,
Soon it will all be true

Oh Peace Train sounding louder
Glide on the Peace Train
Come on now Peace Train
Peace Train

Now I’ve been crying lately,
Thinkin’ about the world as it is
Why must we go on hating,
Why can’t we live in bliss

‘Cause out on the edge of darkness,
There rides a Peace Train
Oh Peace Train take this country,
Come take me home again

Oh Peace Train sounding louder
Glide on the Peace Train
Come on now, Peace Train
Yes, Peace Train holy roller

Everyone jump upon the Peace Train
Come on, come on, come on
Yes, come on, peace train
Yes, it’s the peace train

Come on now, peace train
Oh, peace train

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Strawbs – From The Witchwood (1971)

FrontCover1Strawbs (or The Strawbs) are an English rock band founded in 1964 as the Strawberry Hill Boys. The band started out as a bluegrass group, but eventually moved on to other styles such as folk rock, progressive rock, and (briefly) glam rock.

They are best known for their hit “Part of the Union”, which reached number two in the UK Singles Chart in February 1973, as well as for “Lay Down”, a popular progressive rock hit from the same LP. Strawbs toured with Supertramp in their “Crime of the Century” tour, doing their own “Hero and Heroine” tour, which drew musical similarities and themes.

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The Strawbs formed in 1964 as the Strawberry Hill Boys while the founder members were at St Mary’s Teacher Training College, Strawberry Hill, London. The name was shortened to ‘The Strawbs’ for a June 1967 concert in which they wanted to display the band name on stage. Their long-time leader and most active songwriter is guitarist and singer Dave Cousins (guitar, dulcimer, banjo, vocals) (born David Joseph Hindson, 7 January 1945, Hounslow, Middlesex). In the early days Strawbs played with Sandy Denny (later lead singer of Fairport Convention and Fotheringay).

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Although they started out in the 1960s as a bluegrass band the band’s repertoire shifted to favour their own (mainly Cousins’) material. While in Denmark in 1967, the Strawbs (Cousins, Tony Hooper and Ron Chesterman) with Sandy Denny recorded 13 songs for a proposed first album, All Our Own Work. It was apparently not issued in Denmark and the fledgling band could not get a UK record deal. (Meanwhile, Denny left to join Fairport Convention and the album was forgotten until it was issued on Pickwick Hallmark in the UK in the mid-1970s.)

They were the first UK group signing to Herb Alpert’s A&M Records and recorded their first single, “Oh How She Changed” in 1968, which was produced and arranged by Gus Dudgeon and Tony Visconti, who also worked on their critically acclaimed first album, Strawbs (1969). Between the first and second A&M albums, in 1969, a sampler, Strawberry Music Sampler No. 1 was recorded. According to the 2001 CD reissue, only 99 copies of the original vinyl LP were pressed up.

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After the folk-tinged Dragonfly, Cousins and Hooper added Rick Wakeman on keyboards, Richard Hudson on drums, and John Ford on bass. The new line-up had their London debut at the Queen Elizabeth Hall, where they recorded their third album, Just a Collection of Antiques and Curios; the Melody Maker reported on the concert with the headline “Tomorrow’s superstar” in reference to Wakeman. Wakeman stayed with them for one further album, From the Witchwood, then departed to join Yes, remarking to the press that “I’m sure we’ll all benefit from the split because we were beginning to compromise a lot on ideas – like we’d use half of my ideas and half of theirs – and I don’t think it was helping what was eventually coming out. We ended up lacking challenge. Complacency set in, and for the last couple of months we just weren’t working.” (wikipedia)

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From the Witchwood is the third album by the English band Strawbs. It was recorded at Air Studios in London during February and March 1971 and reached number 39 in the UK Albums Chart on 17 July 1971.

The album is the third and final album to include Rick Wakeman, including his appearance as a session musician on the 1970 album Dragonfly. The sleeve illustration was “The Vision of St. Jerome”, a tapestry from the Spanish Royal Collection. (wikipedia)

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This album was originally the weak link in the transition of the Strawbs from an acoustic folk-rock outfit to a progressive folk band, being neither fish nor fowl and suffering from an anemic mix. The 1998 British reissue (A&M 540-939-2), however, solves some inherent problems that plagued both the original vinyl edition and the first CD reissues. The new remastering toughens up the bass sound, and brings out more of the sheer power of Rick Wakeman’s organ and synthesizer playing, accenting the harder side of the group’s sound that was obviously there in the studio but lacking in the analog mix. “A Glimpse of Heaven” and “The Hangman and the Papist,” in particular, benefit from the remastering, and “Sheep” finally has the musical fury to match its lyrics.

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Dave Cousins’ voice also comes off as really close, and the effect is to make this a much more potent album than it previously seemed. Overall, it’s now far easier to visualize this recording as the step leading to full-blown progressive rock releases such as Grave New World, which followed. The disc includes one bonus track, John Ford’s “Keep the Devil Outside,” which has an acoustic opening and a hard rock break and finale, which was cut at these same sessions, and which turned up months later as the B-side of “Benedictus,” a single drawn from the next album. (by Bruce Eder)

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Personnel:
Dave Cousins (guitar, vocals, dulcimer, banjo, recorder)
John Ford (bass, vocals)
Tony Hooper (guitar, autoharp, percussion,vocals)
Richard Hudson (drums, sitar, vocals)
Rick Wakeman (keyboards, synthesizer)
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The Choir and Congregation of Air Strawb (choir on 01.)

Booklet

Tracklist:
01. A Glimpse Of Heaven (Cousins) 3.50
02. Witchwood (Cousins) 3.24
03. Thirty Days (Ford) 2.53
04. Flight (Hudson) 4.24
05. The Hangman And The Papist (Cousins) 4.12
06. Sheep (Cousins) 4.16
07. Canon Dale (Hudson) 3.46
08. The Shepherd’s Song (Cousins) 4.33
09. In Amongst The Roses (Cousins) 3.48
10. I’ll Carry On Beside You (Cousins) 3.10
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11. Keep The Devil Outside (Ford) 3.02

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Neil Young – Unplugged (1993)

FrontCover1Neil Percival Young OC OM (born November 12, 1945) is a Canadian-American singer, musician and songwriter. After embarking on a music career in Winnipeg in the 1960s, Young moved to Los Angeles, joining Buffalo Springfield with Stephen Stills, Richie Furay and others. Since the beginning of his solo career with his backing band Crazy Horse, Young has released many critically acclaimed and important albums, such as Everybody Knows This Is Nowhere, After the Gold Rush, Harvest, On the Beach and Rust Never Sleeps. He was a part-time member of Crosby, Stills, Nash & Young.

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.[6] 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. His guitar work, deeply personal lyrics and signature high tenor singing voice define his long career.

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He 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. 21 of his albums and singles have been certified Gold and Platinum in U.S by RIAA certification.

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), and CSNY/Déjà Vu (2008). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995).

Young has lived in California since the 1960s but retains Canadian citizenship. He was awarded the Order of Manitoba in 2006 and was made an Officer of the Order of Canada in 2009. He became a United States citizen, taking dual citizenship, in 2020.

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Unplugged is a live album by Canadian / American singer-songwriter Neil Young, released on June 15, 1993 on Reprise. Recorded on February 7, 1993, the album is an installment of the MTV series, Unplugged. The performance was also released on VHS.

The recording of Unplugged was reportedly rife with tension, with Young displeased with the performances of many of his band members. The released version was his second attempt at recording a set suitable for airing and release.

The track “Stringman” was recorded for Young’s famously unreleased studio album, Chrome Dreams (1977). (wikipedia)

Taped on February 7, 1993, and first broadcast on MTV on March 10, Neil Young’s Unplugged appearance was released as a home video to coincide with the release of an audio CD version. This 73-minute tape ran seven minutes longer than the album, the extra time consisting of applause, guitar tuning, and a few scattered asides (“Aw, it’s nothin’, really,” Young said, for example, after an audience member called out, “Thank you, Neil”). Young was anything but videogenic in his leather jacket, Harley Davidson T-shirt, jeans, and boots, sitting hunched over his guitar, often scowling as he turned his face, hooded with unruly, grey-flecked hair and partially covered by a week-old stubble, to the microphone. Yet his casual appearance and introspective demeanor served to focus attention on his music.

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And a 14-song set that on record seemed a random selection from across his career made more sense on video, as Young began with a series of early songs, accompanying himself on guitar and harmonica, then moving to keyboards and gradually bringing other musicians on-stage to augment the sound. The songs were wistful, midtempo reflections on stardom, love, and the passage of time. Some were familiar, including “Mr. Soul” and “Like a Hurricane,” and were given new treatments; others were obscure or even previously unrecorded (“Stringman”). But all were melodic and inviting, especially the selections from Harvest Moon, including the title tune, which featured a broom as a percussion instrument. Unplugged was a low-key Neil Young performance that emphasized the consistency of his work over time and the repetition of certain lyrical themes and musical tendencies. If it avoided some of his best-known folk and country material, it did contain a few crowd-pleasers, and it brought up several forgotten tunes for reconsideration. (by William Ruhlmann)

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Personnel:
Oscar Butterworth (drums)
Tim Drummond (bass)
Ben Keith (dobro)
Nils Lofgren (guitar, autoharp, accordion, background vocals)
Spooner Oldham – piano, pump organ
Neil Young – guitar, vocals harmonica, piano, pump organ
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Larry Cragg (broom on 09.)
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background vocals:
Astrid Young – Nicolette Larson

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Tracklist:
01. The Old Laughing Lady 5.15
02. Mr. Soul 3.54
03. World On A String 3.02
04. Pocahontas 5.06
05. Stringman 4.01
06. Like A Hurricane 4.44
07. The Needle And The Damage Done 2.52
08. Helpless 5.47
09. Harvest Moon 5.20
10. Transformer Man 3.36
11. Unknown Legend 4.46
12. Look Out For My Love 5.58
13. Long May You Run 5.21
14. From Hank To Hendrix 5.50

All songs written by Neil Young

In addition to the tracks found on this album, Neil Young performed the following songs live during the performance:

“Dreamin’ Man” – “Sample And Hold” – “War Of Man” – “Winterlong”

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Linda Ronstadt – Greatest Hits (1976)

LPFrontCover1Linda Maria Ronstadt (born July 15, 1946) is a retired American singer who performed and recorded in diverse genres including rock, country, light opera, and Latin. She has earned 11 Grammy Awards, three American Music Awards, two Academy of Country Music awards, an Emmy Award, and an ALMA Award. Many of her albums have been certified gold, platinum or multiplatinum in the United States and internationally. She has also earned nominations for a Tony Award and a Golden Globe award. She was awarded the Latin Grammy Lifetime Achievement Award by the Latin Recording Academy in 2011 and also awarded the Grammy Lifetime Achievement Award by the Recording Academy in 2016. She was inducted into the Rock and Roll Hall of Fame in April 2014. On July 28, 2014, she was awarded the National Medal of Arts and Humanities. In 2019, she received a star jointly with Dolly Parton and Emmylou Harris on the Hollywood Walk of Fame for their work as the group Trio. Ronstadt was among five honorees who received the 2019 Kennedy Center Honors for lifetime artistic achievements.

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Ronstadt has released 24 studio albums and 15 compilation or greatest hits albums. She charted 38 US Billboard Hot 100 singles. Twenty-one of those singles reached the top 40, ten reached the top 10, and one reached number one (“You’re No Good”). Ronstadt also charted in UK as two of her duets, “Somewhere Out There” with James Ingram and “Don’t Know Much” with Aaron Neville, peaked at numbers 8 and 2 respectively and the single “Blue Bayou” reached number 35 on the UK Singles charts. She has charted 36 albums, ten top-10 albums, and three number 1 albums on the US Billboard Pop Album Chart.

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Ronstadt has collaborated with artists in diverse genres, including: Dolly Parton, Emmylou Harris, Bette Midler, Billy Eckstine, Frank Zappa, Carla Bley (Escalator Over the Hill), Rosemary Clooney, Flaco Jiménez, Philip Glass, Warren Zevon, Gram Parsons, Neil Young, Paul Simon, Earl Scruggs, Johnny Cash, and Nelson Riddle. She has lent her voice to over 120 albums and has sold more than 100 million records, making her one of the world’s best-selling artists of all time. Christopher Loudon, of Jazz Times, wrote in 2004 that Ronstadt is “blessed with arguably the most sterling set of pipes of her generation.”

Ronstadt reduced her activity after 2000 when she felt her singing voice deteriorating, releasing her last full-length album in 2004 and performing her last live concert in 2009. She announced her retirement in 2011 and revealed shortly afterwards that she is no longer able to sing as a result of a degenerative condition later determined to be progressive supranuclear palsy.[24][a] Since then, Ronstadt has continued to make public appearances, going on a number of public speaking tours in the 2010s. She published an autobiography, Simple Dreams: A Musical Memoir, in September 2013. A documentary based on her memoirs, Linda Ronstadt: The Sound of My Voice, was released in 2019.

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In August 2013, Ronstadt revealed she was diagnosed with Parkinson’s disease, leaving her unable to sing due to loss of muscular control, which is common to Parkinson’s patients. She was diagnosed eight months prior to the announcement and had initially attributed the symptoms she had been experiencing to the aftereffects of shoulder surgery and a tick bite.[164][165] In late 2019, it was reported her doctors had revised their diagnosis to progressive supranuclear palsy, a degenerative disease commonly mistaken for Parkinson’s due to the similarity of the symptoms. (wikipedia)

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Greatest Hits is Linda Ronstadt’s first major compilation album, released at the end of 1976 for the holiday shopping season. It includes material from both her Capitol Records and Asylum Records output, and goes back to 1967 for The Stone Poneys’ hit “Different Drum.”

It remains the biggest-selling album of Ronstadt’s career, being certified seven times Platinum (over 7 million US copies shipped) by the Recording Industry Association of America[4] in America alone, with 1.87 million units consumed after 1991 when SoundScan started tracking sales. It peaked at No. 6 on the main Billboard album chart and also reached No. 2 on Billboard’s Top Country Albums chart, where it remained for over three years.

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The album was criticized by the Rolling Stone Record Guide for being “premature,” as Ronstadt continued to have record-breaking mainstream successes for many years following this release. By the time this collection came out, however, Ronstadt had already been recording hit records (as a solo artist and with the Stone Poneys) for a decade, and there were many examples of other artists releasing greatest hits albums much sooner, such as Elvis Presley.

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In terms of being released while the performer was still in the midst of their career, this collection is unusual for a major artist in that it compiled works from two unrelated labels thanks to, as the sleeve states, a “special arrangement” between Asylum and Capitol; this overlap mirrors the situation in which Ronstadt briefly alternated releasing albums between Capitol and Asylum in 1973-74 in order to fulfil her contract with Capitol. (wikipedia)

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Greatest Hits, Vol. 1 is a good 12-track collection of Linda Ronstadt’s biggest hits from the early ’70s, beginning with the Stone Poneys’ “Different Drum” and running through “Tracks of My Tears,” from 1975’s Prisoner in Disguise. In between, all of her best-known songs — “You’re No Good,” “When Will I Be Loved,” “Heat Wave” — are included, plus selected minor hits, making it an excellent overview of her peak years. (by Stephen Thomas Erlewine)

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Personnel:
Peter Asher (percussion)
Ed Black (guitar, pedal steel-guitar)
Michael Botts (drums)
Mike Bowden (bass)
Richard Bowden (guitar)
John Boylan (keyboards)
Richard Burden (guitar)
John Connor (harmonica)
Dan Dugmore (pedal steel-guitar)
Kenny Edwards (guitar, bass, background vocals)
Chris Ethridge (bass)
Jim Fadden (harmonica)
Andrew Gold (guitar, drums, keyboards, percussion,background vocals)
Jim Gordon (saxophone)
Gib Guilbeau (fiddle)
Andy Johnson (guitar)
Mac Johnson (trumpet)
David Kemper (drums)
Sneaky Pete Kleinow (pedal steel-guitar)
Danny Kortchmar (guitar)
Russ Kunkel (drums)
Bernie Leadon (guitar)
Daryl Leonard (trumpet)
David Lindley (fiddle)
Gail Martin (trombone)
Mickey McGee (drums)
Weldon Myrick (pedal steel-guitar)
Spooner Oldham (piano)
Herb Pedersen (guitar, banjo, background vocals)
Norbert Putnam (bass, harpsichord)
Don Randi (harpsichord)
Linda Ronstadt (vocals)
John David Souther (guitar)
Buddy Spicher (fiddle)
Dennis St. John (drums)
Nino Tempo (saxophone)
Al Viola (guitar)
Waddy: Electric Guitar
Pete Wade (guitar)
Bob Warford (guitar)
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background vocals:
Don Francisco – Ginger Holliday – Mary Holliday – Clyde King – Shirley Matthews – Marty McCall –

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Tracklist:
01. You’re No Good (Ballard Jr.) (1974) 3.46
02. Silver Threads And Golden Needles (Rhodes/Reynolds) (1973) 2.28
03. Desperado (Frey/Henley) (1973) 3.36
04. Love Is A Rose (Young) (1975) 2.48
05. That’ll Be The Day (Allison/Holly/Petty) (1976) 2.34
06. Long, Long Time (White) (1970) 4.24
07. Different Drum (with The Stone Poneys) (Nesmith) (1970) 2.40
08. When Will I Be Loved (Everly) (1974) 2.11
09. Love Has No Pride (Kaz/Titus) (1973) 4.19
10. Heat Wave (Holland/Dozier/Holland) (1975) 2.47
11. It Doesn’t Matter Anymore (Anka) (1974) 3.30
12. Tracks Of My Tears (Robinson/Moore/Tarplin) (1975) 3.13

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The Band – Live In Copenhagen (1971)

FrontCover1The Band was a Canadian-American rock band formed in Toronto, Ontario, in 1967. It consisted of four Canadians and one American: Rick Danko (bass guitar, vocals, fiddle), Garth Hudson (keyboards, accordion, saxophone), Richard Manuel (keyboards, drums, lap steel guitar, vocals), Robbie Robertson (guitar, vocals), and Levon Helm (drums, vocals, mandolin, guitar). The Band combined elements of Americana, folk, rock, jazz, country, and R&B, influencing subsequent musicians such as the Eagles, Elton John, the Grateful Dead, the Flaming Lips, and Wilco.

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Between 1958 and 1963, the group was known as the Hawks, a backing band for rockabilly singer Ronnie Hawkins. In the mid-1960s, they gained recognition for backing Bob Dylan, and the 1966 concert tour was notable as Dylan’s first with an electric band. After leaving Dylan and changing their name to “The Band”, they released several records to critical and popular acclaim, including their debut album Music from Big Pink, in 1968. According to AllMusic, the album’s influence on several generations of musicians has been substantial: musician Roger Waters called Music from Big Pink the second-most influential record in the history of rock and roll, and music journalist Al Aronowitz called it “country soul … a sound never heard before”. Their most popular songs included “The Weight” and “The Night They Drove Old Dixie Down”.

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Music critic Bruce Eder described the Band as “one of the most popular and influential rock groups in the world, their music embraced by critics … as seriously as the music of the Beatles and the Rolling Stones.” The Band was inducted into the Canadian Music Hall of Fame in 1989 and the Rock and Roll Hall of Fame in 1994. In 2004, Rolling Stone ranked them 50th on its list of the 100 greatest artists of all time,[8] while ranking “The Weight” 41st on its list of the 500 greatest songs of all time. In 2008, the group received the Grammy Lifetime Achievement Award, and in 2014, they were inducted into Canada’s Walk of Fame. (wikipedia)

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And here´s a pretty good bootleg (excellent audience recording except 19. + 20.):

THE BAND IN COPENHAGEN! Thursday the 27th of May 1971! It is now 30 years ago that a dream was fulfilled! The Band LIVE!! The expectations to experience The Band on stage was very high, but it was redeemed for certain!

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The Copenhagen concert 30 years ago was unique and must be characterised as one of the best concerts ever on Danish soil. Unfortunately an experience that would not be repeated. It’s not fanatic to claim that the concert 30 years ago with The Band was a musical miracle. The sound, after Robbie Robertson finished tuning up his guitar, was played with stereo-like effects! It was fantastic!!(by Jan Ingemann Sørensen)

Recorded live at the KB Halle, Copenhagen/Denmark, May 27, 1971

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Personnel:
Rick Danko (bass, violin, vocals)
Levon Helm (drums, mandolin, vocals)
Garth Hudson (keyboards, accordion, saxophone)
Richard Manuel (keyboards, drums, vocals)
Robbie Robertson (guitar, vocals)

Rick Danko, Levon Helm and Robbie Robertson,
KB Hallen, Copenhagen, Denmark May 27, 1971:
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Tracklist:
01. Time To Kill (Robertson) 3.25
02. The Weight (Robertson) 4.50
03. King Harvest Surely Come (Robertson) 3.39
04. I Shall Be Released (Dylan) 3.39
05. Stage Fright (Robertson) 3.44
06. Up On Cripple Creek (Robertson) 4.36
07. The W. S. Walcott Medicine Show 3.45
08. We Can Talk (Manuel) 3.07
09. Loving You Is Sweeter Than Ever (Hunter/Wonder) 3.23
10. The Night They Drove Old Dixie Down (Robertson) 4.13
11. Across The Great Divide (Robertson) 3.23
12. The Unfaithful Servant (Robertson) 2.12
13. Don’t Do It (B.Holland/Dozier/E.Holland) 4.31
14. Genetic Method (Hudson) 4.41
15. Chest Fever (Roberston) 5.19
16. Rag Mama Rag ((Robertson) 3.41
17. Slippin’ And Slidin’ (Penniman/Bocage/Collins/Smith) 3.39
18. This Wheels On Fire (Dylan/Danko) 4.06
19. The Shape I’m In (alternate source) (Robertson) 5.20
20. The Unfaithful Servant (alternate source) (Robertson) 4.42

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Paul Roland – Professor Moriarty’s Jukebox (2014)

FrontCover1Paul Roland (born 6 September 1959 in Kent, England), is a singer-songwriter, author, journalist and paranormal researcher.

Since the release of his first (shared) single “Oscar Automobile” in 1979, Roland has been spinning his tales against a backdrop of gothic rock, psychedelic pop, folk and, occasionally, baroque strings. His character creations include a Regency magistrate, various 19th Century murderers, a retired executioner, an opium addict, and an entire court of medieval grotesques.

Paul has been called “the male Kate Bush” by one-time label-mate Robyn Hitchcock, and “The Lord Byron of Rock” by the French music magazine Les Inrockuptibles.

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“Paul Roland has remained a cherished figure on the gothic rock and psychedelic pop periphery for 30 years…a treasury of detail and eloquence…Roland’s impeccable narratives (and) formal, baroque instrumentation…creates the antiquated yet timeless ambience his songs deserve” (Marco Rossi, Record Collector, May 2010).

Joshua Pfeiffer of Vernian Process is quoted as saying “As for Paul Roland, if anyone deserves credit for spearheading steampunk music, it is him. He was one of the inspirations I had in starting my project. He was writing songs about the first attempt at manned flight, and an Edwardian airship raid in the mid-80s long before almost anyone else….”[1]

“Paul Roland writes nice melodies and has a very particular personality but he is too intellectual for me!” (Frank Zappa, 1988). (wikipedia)

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A few years back Paul Roland released ‘In Memoriam 1980-2010’ a superb collection highlighting the range of great tracks Paul has produced over 30 years. In his latest release ‘Professor Moriarty’s Jukebox’ Paul has revisited his back catalogue again but this time through a previously unreleased session recorded last year. Like the best sessions and live material these recordings retain the spark that made them so fondly regarded but they are arranged or played differently (sometimes subtlety) so you can listen with fresh ears.

Veronique Rocka

As with all of Paul’s material there’s a distinctly gothic edge to these new versions: from (one of my favourites) 2007’s rock edged ‘Re-animator’ to 1989’s acoustic macabre fan-favourite ‘Nosferatu’. Special mentions must go to ‘Aleister Crowley’ (originally on 1997’s ‘Gargoyles’ album) which as infectious a track as it was almost 20 years ago; and a rougher take on ‘The Puppet Master’ from the previous decade’s ‘Burnt Orchids’ long player.

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There’s also an extra 9 tracks of outtakes, remixes and rarities, expanding the set considerably. One gem is his excellent version of The Kinks ‘I’m Not Like Everyone Else’, starting baroquely and cutting loose with fiddle. The track is particularly apt for Paul’s ghoulish tales giving the lyric new meaning. Whilst there’s plenty of Roland originals in these curios, equally as good as the earlier 10 session tracks, I must finish mentioning Paul’s version of Joy Division’s ‘Day of the Lords’. It’s an outstanding gothic remake of this seminal number.

So if you like Paul Roland you’ll love this release, and if you haven’t heard Paul’s work ‘Professor Moriarty’s Jukebox’ it’s another great place to start. (Jason Barnard)

And we hear fantastic violin melodies played by Veronique Rocka

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Personnel:
Mick Crossley (guitar, background vocals)
Patryk Korzybski (drums)
Veronique Rocka (violin)
Joshua Roland (bass)
Paul Roland (vocals, guitar, percussion)
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Derek Heffernan (guitar on 11.)
Simon Jeffrey (drums on 11., percussion on 12.)
John Tracey (bass on 11.)
Geoffrey Richardson (violin on 12. + 18.)
Nico Steckelberg (piano on 15.)

Booklet02ATracklist:
01. Re-Animator (Roland) 3.48
02. The Crimes Of Dr Cream (Roland) 3.02
03. Cairo (Roland) 2.59
04. I Was A Teenage Zombie (Roland) 3.11
05. Captain Nemo (Roland) 4.35
06. Aleistair Crowley (Roland) 2.40
07. The Puppet Master (Roland) 3.33
08. Tortured By The Daughter Of Fu Manchu (Roland) 3.38
09. The Hanging Judge (Roland) 2.05
10. Nosferatu (Roland) 4.57
11 Meadows Of The Sea (unreleased re-recording 2007) (Bolan) 4.36
12. I’m Not Like Everybody Else (unreleased acoustic version 2007) (R.Davies) 4.29
13. Faeries (unreleased version) (Roland) 2.51
14.  Eight Little Whores (unreleased version) (Roland) 3.35
15. Kali (unreleased acoustic radio session) (Roland) 4.08
16. Bates Motel (unreleased acoustic radio session) (Roland) 5.11
17. I Dared The Devil (remixed from ‘The Devil in Love’ album) (Roland) 4.36
18. Death Of A Clown (outtake from ‘Sarabande’ sessions) (D.Davies) 3.55
19. Day Of The Lords (from ‘Shadowplay’, the Joy Division tribute album) (Curtis/Hook) 4.37

CD1

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Professor James Moriarty – as you might imagine him to be:
Professor Moriarty

Bob Dylan – Always Down The Road (1995)

FrontCover1Robert Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter, author and visual artist. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning 60 years. Much of his most celebrated work dates from the 1960s, when songs such as “Blowin’ in the Wind” (1963) and “The Times They Are a-Changin'” (1964) became anthems for the civil rights and anti-war movements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture.

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Following his self-titled debut album in 1962, which mainly comprised traditional folk songs, Dylan made his breakthrough as a songwriter with the release of The Freewheelin’ Bob Dylan the following year. The album features “Blowin’ in the Wind” and the thematically complex “A Hard Rain’s a-Gonna Fall”. Many of his songs adapted the tunes and phraseology of older folk songs. He went on to release the politically charged The Times They Are a-Changin’ and the more lyrically abstract and introspective Another Side of Bob Dylan in 1964. In 1965 and 1966, Dylan drew controversy when he adopted electrically amplified rock instrumentation, and in the space of 15 months recorded three of the most important and influential rock albums of the 1960s: Bringing It All Back Home (1965), Highway 61 Revisited (1965) and Blonde on Blonde (1966). His six-minute single “Like a Rolling Stone” (1965) expanded commercial and creative boundaries in popular music.

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In July 1966, a motorcycle accident led to Dylan’s withdrawal from touring. During this period, he recorded a large body of songs with members of the Band, who had previously backed him on tour. These recordings were released as the collaborative album The Basement Tapes in 1975. In the late 1960s and early 1970s, Dylan explored country music and rural themes in John Wesley Harding (1967), Nashville Skyline (1969), and New Morning (1970). In 1975, he released Blood on the Tracks, which many saw as a return to form. In the late 1970s, he became a born-again Christian and released a series of albums of contemporary gospel music before returning to his more familiar rock-based idiom in the early 1980s. Dylan’s 1997 album Time Out of Mind marked the beginning of a renaissance for his career. He has released five critically acclaimed albums of original material since then, the most recent being Rough and Rowdy Ways (2020). He also recorded a series of three albums in the 2010s comprising versions of traditional American standards, especially songs recorded by Frank Sinatra. Dylan has toured continuously since the late 1980s on what has become known as the Never Ending Tour.

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Since 1994, Dylan has published eight books of drawings and paintings, and his work has been exhibited in major art galleries. He has sold more than 125 million records, making him one of the best-selling musicians of all time. He has received numerous awards, including the Presidential Medal of Freedom, ten Grammy Awards, a Golden Globe Award and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and the Songwriters Hall of Fame. The Pulitzer Prize Board in 2008 awarded him a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In 2016, Dylan was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. (wikipedia)

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This German release clocks in at over 76 minutes. The original show was 1½ hours. To facilitate a single disc release, Maggie’s Farm and It Ain’t Me, Babe were left off. The recording is from a a very good audience tape, with minimal audience noise. Unfortunately, the package is minimal as well. The coolest thing is the disc itself. It has been silk-screened to look like a 45RPM. Simple graphics, minimal colors, and lack of Dylan images make the aesthetics quite dull. This was offset by a low cost. In 1995, The release was available on the German retail market for @ $8 USD. All said and done, this would be better left for the completeists.

… but then … I got a copy from the master tapes of this show:

Ok this is another Dylan 1995 tour show I received from maybe an internet download possibly “The Midnight Cafe” or other such place from a number of years ago.

For my own listen pleasure I placed the tracks into one folder but if you wish to return them to two folders the break is as show above.

FC+BC (Complete show)

As usual I thank the taper for recording this show and those that have shared this with me, it’s their generosity that allows us all to enjoy this concert 26 years later.

The sound quality of this is once again sensational and can only be bettered by a soundboard recording, so thats a 9.5/10 or Sup-

As I’ve been working through my Dylan collection and sharing shows from the 1995 tour I’ve been blown away by the quality of the recordings from the tour.
I assume its because of the advent of the DAT recording machines which are superb I have a Tascam DR 07 and it’s never let me down yet. (unknown colletor)

This is a great show from a great tour! Brussels March 23, 1995. Bob Dylan plays a setlist full of hits with a crackerjack band and an excellent recording. Fantastic energy and performances. (heartofmarkness.com)

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Personnel:
Bucky Baxter (pedal steel guitar, slide guitar)
Bob Dylan (vocals, guitar)
Tony Garnier (bass)
John Jackson (guitar)
Winston Watson (drums, percussion)

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Tracklist:

CD 1:
01. Crash On The Levee (Down In The Flood) 5.04
02. If Not For You 4.07
03. All Along The Watchtower 5.05
04. Just Like A Woman 6.40
05. Tangled Up In Blue 7.54
06. Queen Jane Approximately 8.10
07. Mr. Tambourine Man 6.25

CD 2:
01. Boots Of Spanish Leather 6.53
02. Don’t Think Twice, It’s All Right 6.50
03. Dignity 7.07
04. I And I 6.08
05. Maggie’s Farm 6.26
06. Like A Rolling Stone 9.49
07. It Ain’t Me, Babe 8.56

All songs written by Bob Dylan

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The official website:
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Paul Simon – Negotiations And Love Songs 1971-1986 (1988)

LPFrontCover1Paul Frederic Simon (born October 13, 1941) is an American musician, singer, songwriter, and actor whose career has spanned six decades. He is one of the most acclaimed songwriters in popular music.

Simon was born in Newark, New Jersey, and grew up in the borough of Queens in New York City. He began performing with his schoolfriend Art Garfunkel in 1956 when they were still in their early teens. After limited success, the pair reunited after an electrified version of their song “The Sound of Silence” became a hit in 1966. Simon & Garfunkel recorded five albums together featuring songs mostly written by Simon, including the hits “Mrs. Robinson”, “America”, “Bridge over Troubled Water”, and “The Boxer”

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After Simon & Garfunkel split in 1970, Simon recorded three acclaimed albums over the following five years,[2] all of which charted in the top 5 on the Billboard 200. His 1972 self-titled album contained the hit songs “Mother and Child Reunion” and “Me and Julio Down by the Schoolyard”. The 1975 album Still Crazy After All These Years, which featured guest vocals from Garfunkel, was his first number-one solo album, and featured the number 1 hit single “50 Ways to Leave Your Lover”, among other top-40 songs such as “Still Crazy After All These Years”, “Gone at Last”, and “My Little Town”.

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Simon reunited with Garfunkel for a performance in New York Central Park in 1981, drawing half a million spectators, followed by a world tour with Garfunkel. After a career slump, Simon released Graceland, an album inspired by South African township music, which sold 14 million copies worldwide and remains his most popular and acclaimed solo work.[3] A number of hit singles were released from the album, including “You Can Call Me Al”, “The Boy in the Bubble”, and “Diamonds on the Soles of Her Shoes”. It won the Grammy Award for Album of the Year in 1987.

Simon continued to tour throughout the 1990s, wrote a Broadway musical, The Capeman, and recorded a companion album, Songs from The Capeman which was released in 1997. His 2000 album You’re the One was nominated again for Album of the Year honors. He followed that album up with several years of touring, including another reunion tour with Garfunkel, and released Surprise, his last album of the decade, in 2006.

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In 2016 he released Stranger to Stranger, which debuted at number 3 on the Billboard Album Chart and number 1 the UK Albums Chart, and marked his greatest commercial and critical success in thirty years. His most recent album is 2018’s In the Blue Light, which contains re-arrangements of lesser-known songs from his prior albums.

Simon has earned sixteen Grammy Awards for his solo and collaborative work, including three for Album of the Year (Bridge Over Troubled Water, Still Crazy After All These Years, and Graceland), and a Lifetime Achievement Award.[4] He is a two-time inductee into the Rock and Roll Hall of Fame: first in 1990 as a member of Simon & Garfunkel and again in 2001 for his solo career.[5] In 2006 he was selected as one of the “100 People Who Shaped the World” by Time.[6] In 2011, Rolling Stone named Simon one of the 100 greatest guitarists, and in 2015 he was ranked eighth in their list of the 100 Greatest Songwriters of All Time. Simon was the first recipient of the Library of Congress’s Gershwin Prize for Popular Song in 2007.

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Negotiations and Love Songs is a compilation album of songs by American singer-songwriter Paul Simon, released in 1988 and consisting of songs released from 1971 to 1986. The title of the compilation is taken from a line in the song “Train in the Distance.”

Paul Simon replaced his earlier compilation, Greatest Hits, Etc. (1977), with this one, allowing Hits to go out of print. Fans may well wish that he had simply put together a Greatest Hits, Etc., Vol. 2 instead, however, since this is a case of a 16-track album covering 15 years replacing a 14-track album covering five years while containing nine of the same songs. All the major hits have been retained (though “Mother and Child Reunion” and “Loves Me Like a Rock” each have been shortened by 15 seconds), along with some of Simon’s odd album track choices, such as “Have a Good Time.”

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From the post-1977 period, you have the 1980 Top Ten hit “Late in the Evening,” three selections from the underrated Hearts and Bones, and two from Graceland. (The original double-LP version of Negotiations and Love Songs contained a third, the Grammy Record of the Year-winning title song, but the in-print CD and cassette versions do not.) The result is more sampler than compilation. An artist of Simon’s caliber is difficult to condense, and most of the tracks here are worthy, but as a single-album career retrospective, this could have been better. (by William Ruhlmann)

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Personnel:
Paul Simon (vocals, guitar)
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many, many studio musicians (see booklet)

Booklet03A

Tracklist:
01. Mother And Child Reunion (from Paul Simon; 1972) 2.49
02. Me And Julio Down By The Schoolyard (from Paul Simon; 1972) 2.43
03. Something So Right (from There Goes Rhymin’ Simon: 1973) 4.30
04. St. Judy’s Comet (fromThere Goes Rhymin’ Simon; 1973) 3.17
05. Loves Me Like  Rock (from  There Goes Rhymin’ Simon;1973) 3.18
06. Kodachrome (from There Goes Rhymin’ Simon; 1973) 3.30
07. Have A Good Time (Still Crazy After All These Years; 1975) 3.23
08. 50 Ways To Leave Your Lover (fom Still Crazy After All These Years;1975) 3.32
09. Still Crazy After All These Years (from Still Crazy After All These Years; 1975) 3.22
10. Late In The Evening (from One-Trick Pony; 1980) 3.54
11. Slip Slidin’ Away (from Greatest Hits, Etc.;1977) 4.43
12. Hearts And Bones (from Hearts and Bones; 1983) 5.38
13. Train In The Distance (from Hearts and Bones; 1983) 4.22
14. Rene And Georgette Magritte With Their Dog After The War (from Hearts and Bones; 1983) 3.43
15. Diamonds On The Soles Of Her Shoes (from Graceland;1986) 5.46
126. You Can Call Me Al (from Graceland;1986) 4.40

All written by Paul Simon
except except “Diamonds on the Soles of Her Shoes,” co-written by Joseph Shabalala..

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Bonnie Dobson – Same (1969)

FrontCover1Bonnie Dobson (born November 13, 1940, Toronto, Ontario, Canada) is a Canadian folk music songwriter, singer, and guitarist, most known in the 1960s for composing the songs “I’m Your Woman” and “Morning Dew”. The latter, augmented (with a controversial co-writing credit) by Tim Rose, became a melancholy folk rock standard, covered by Fred Neil, Ralph McTell, Lulu, Nazareth, the Grateful Dead, the Jeff Beck Group, Robert Plant, the Pozo-Seco Singers, The 31st of February (including Gregg Allman, Duane Allman, and Butch Trucks of The Allman Brothers Band), Long John Baldry, DEVO and Einstürzende Neubauten, among many others.

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Dobson was born in Toronto. Her father was a union organizer and opera lover. Her early music influences included Paul Robeson and The Weavers.

Dobson became part of the active folk-revival scene in Toronto, performing in local coffee houses and at the Mariposa Folk Festival. She later moved to the United States where she performed in coffee houses across the country and recorded several albums, including 1962’s Bonnie Dobson at Folk City, which contained her well-known song “Morning Dew”.

Dobson has consistently questioned Tim Rose’s right to a co-writing credit for “Morning Dew” (stating that Rose first heard it as sung by Fred Neil) (1964 album Tear Down The Walls, crediting Dobson).

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After returning to Toronto in 1967 she continued to perform locally in coffee houses as well programs on the CBC. She married, and in 1969 moved to London, England, where she took up university studies and later became an administrator of the Philosophy Department at Birkbeck College, part of the University of London.

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After retiring in the 1980s, Dobson returned to perform in 2007 in London with Jarvis Cocker;[6] she released a new album in 2013 with the Hornbeam label and that year launched a number of concert dates.

She performed with Combined Services Entertainment, and was one of the last performers at RAF Salalah Oman. (wikipedia)

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Bonnie Dobson did not make the transition from folk to rock well, as this 1969 album attests. With its pop trimmings and orchestration, the impression is that RCA was trying to put Dobson into the pop market, rather than the rock or even folk-rock one. The arrangements aren’t awful, but they aren’t inspired either, and don’t suit the songs well. It’s as if someone was trying to make her over into a folk Bobbie Gentry. And the material isn’t the greatest either. Getting an opportunity to do an electric version of her own “Morning Dew” would seem to have been the greatest opportunity that the author of the song could have, yet it’s no more than adequate, and in any case had been beaten to the punch through prior versions by Tim Rose, the Grateful Dead, the Jeff Beck Group, Lulu, and others. Same thing with her covers of Fred Neil’s “Everybody’s Talking” and Dino Valenti’s “Let’s Get Together”: would have been a great idea in early 1967, but was running behind the pack a couple of years later. (At least her cover of Jackson Frank’s “You Never Me” was a more obscure, daring choice.)

Single

Five of the 12 songs are her own compositions, but with the exception of “Morning Dew” they’re inoffensively forgettable, easygoing pop-folk-rock. A sitar (or possibly an electric sitar) pops up a couple of times, but it sounds more trendy than far-out. As an early-1960s folk singer, Dobson made notable if little-known contributions to the folk scene, but this album indicates that she wasn’t able to either maximize her potential or capitalize on her assets in a timely fashion. (by Richie Unterberger)

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Personnel:
Bonnie Dobson (vocals, guitar)
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a bunch of unknown studio musicians

CDBooklet1

Tracklist:
01. I Got Stung (Dobson) 2.57
02. Morning Dew (Dobson/Rose) 3.20
03. Let’s Get Together (Valenti) 3.08
04. I’m Your Woman (Dobson) 3.00
05. Time (Shaper/Bourtayre) 3.09
06. Rainy Windows (Dobson) 2.40
07. Everybody’s Talking (Neil) 3.26
08. Bird Of Space (McPeek) 2.50
09. You Never Wanted Me (Frank) 3.11
10. Pendant Que (Vigneault) 3.01
11. Elevator Man (Allan) 2.53
12. Winter’s Going (Dobson) 2.41

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Take me for a walk in the mornin’ dew, my honey
Take me for a walk in the mornin’ sun, my love
You can’t go walkin’ in the mornin’ dew today
You can’t go walkin’ in the mornin’ sun today

But listen, I hear a man moanin’, “Lord”
Oh yes, I hear a man moanin’, “Lord”
You didn’t hear a man moan at all
You didn’t hear a man moan at all

But I thought I heard my baby cryin’, “Mama”
Oh yes, I hear my baby cryin’, “Mama”
You’ll never hear your baby cry again
You’ll never hear your baby cry again

Now, where have all the people gone?
Won’t you tell me where have all the people gone?
Don’t you worry about the people anymore
Don’t you worry about the people anymore

“Morning Dew”, also known as “(Walk Me Out in the) Morning Dew”, is a contemporary folk song by Canadian singer-songwriter Bonnie Dobson. The lyrics relate a fictional conversation in a post-nuclear holocaust world. Originally recorded live as a solo performance, Dobson’s vocal is accompanied by her finger-picked acoustic guitar playing.

In 1962, “Morning Dew” was included on the live Bonnie Dobson at Folk City album. Subsequently, the song was recorded by other contemporary folk and rock musicians, including the Grateful Dead, who adapted it using an electric rock-ensemble arrangement for their debut album.

The song is a dialogue between the last man and woman left alive following an apocalyptic catastrophe. Dobson stated that the inspiration for “Morning Dew” was the film On the Beach, which is about the survivors of virtual global annihilation by nuclear holocaust. Dobson wrote the song while staying with a friend in Los Angeles; she recalled how the guests at her friend’s apartment were speculating about a nuclear war’s aftermath and “after everyone went to bed, I sat up and suddenly I just started writing this song [although] I had never written [a song] in my life”. In 1961, Dobson premiered “Morning Dew” at the inaugural Mariposa Folk Festival and a live recording appeared on Dobson’s At Folk City album in 1962. In 1969, she recorded a studio version for her self-titled album.

The earliest release of a studio version of “Morning Dew” was on the 1964 self-titled album by the Goldebriars, using the title “Come Walk Me Out” and without giving songwriter credit to Dobson. It was followed about a month later by a recording by singer and guitarist Fred Neil with Vince Martin, for their album Tear Down The Walls.[5] Tim Rose followed with a version for his self-titled debut album; according to Dobson, “all Tim Rose did was take Freddie Neil’s changes”. Dobson claimed she never met Rose, but she received 75% songwriting royalty as she retains sole writing credit for the song’s music.

“Morning Dew” became part of the Grateful Dead’s repertoire after frontman Jerry Garcia was introduced to the Fred Neil recording by roadie Laird Grant in 1966. The group first played the song as their opening number at the Human Be-In in January 1967; the same month the group recorded it for their self-titled debut album, which was released that March.

American psychodelic rock band The West Coast Pop Art Experimental Band released their cover of “Morning Dew” under the title “Will You Walk With Me” in February 1967 on their album Part One.

The British pop singer Lulu made a version of “Morning Dew” in her album Love Loves To Love Lulu produced by John Paul Jones, in 1967. With Rod Stewart on vocals, the Jeff Beck Group recorded a version on their 1968 album Truth that carried over some aspects of the Tim Rose version, including the bass part. Swiss rock band Krokodil included a version on their self-titled debut in 1969. Scottish rockers Nazareth covered the song on their 1971 debut in a version with an extended arrangement similar to the Jeff Beck Group’s, and released a single version the following year. Long John Baldry did “Morning Dew” on his self-titled 1980 release and released it as a single the same year. The German band Einstürzende Neubauten included too a version of “Morning Dew” in their album Fünf auf der nach oben offenen Richterskala of 1987. Devo covered the song on Smooth Noodle Maps released in 1990. US band Blackfoot also covered it to open their 1984 album Vertical Smiles.

Cleveland, Ohio rock band Damnation of Adam Blessing covered “Morning Dew” on their 1969 self-titled debut. “Morning Dew” was also performed by Duane and Greg Allman on their album released by Bold records. Robert Plant covered the song on his 2002 album Dreamland. (wikipedia)