J.J. Cale – Troubadour (1976)

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John Weldon “J. J.” Cale (December 5, 1938 – July 26, 2013) was an American guitarist, singer, songwriter and sound engineer. Though he avoided the limelight his influence as a musical artist has been acknowledged by figures such as Mark Knopfler, Neil Young, Waylon Jennings, and Eric Clapton, who described him as “one of the most important artists in the history of rock”. He is one of the originators of the Tulsa sound, a loose genre drawing on blues, rockabilly, country, and jazz.

In 2008, Cale and Clapton received a Grammy Award for their album The Road to Escondido.

Cale died at the age of 74 in San Diego, California, on July 26, 2013, following a heart attack. (wikipedia)

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With his laid-back rootsy style, J.J. Cale was best-known for writing “After Midnight” and “Cocaine,” songs that Eric Clapton later made into hits. But Cale’s influence wasn’t only through songwriting — his distinctly loping sense of rhythm and shuffling boogie became the blueprint for the adult-oriented roots rock of Clapton and Mark Knopfler, among others. Cale’s refusal to vary the sound of his music over the course of his career caused some critics to label him as a one-trick pony, but he managed to build a dedicated following with his sporadically released recordings, several of which, including four singles between 1972 and 1976, entered the Top 100.

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While Naturally, his 1972 full-length, placed a respectable number 51 on the Top 200, it was The Road to Escondido, his 2006 collaborative album with Clapton, that charted highest at 23, won a Grammy for Best Contemporary Blues Album, and was Cale’s first RIAA-certified gold record. Cale’s songs have been covered by everyone from Lynyrd Skynyrd and Clapton to Neil Young and the Allman Brothers, to Beck, John Mayer, and Band of Horses, to name a few, and have been used extensively in film and television. After Cale passed in 2013, Clapton gathered a group of like-minded friends and musicians for The Breeze: An Appreciation of JJ Cale. The album, released one year later, was loaded with high-profile guests and charted inside the Top Ten in seven countries. (by Stephen Thomas Erlewine)

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Troubadour is a 1976 album by J. J. Cale, his fourth studio album since his debut in 1971. Eric Clapton covered the song “Cocaine” on his 1977 album Slowhand, turning it into one of his biggest hits.

Troubadour was produced by Audie Ashworth, who produced Cale’s first three studio albums. It sees Cale introducing new instruments to his sound, such as synthesizer on “Ride Me High”, with William Ruhlmann of AllMusic noting, “Producer Audie Ashworth introduced some different instruments, notably vibes and what sound like horns (although none are credited), for a slightly altered sound on Troubadour. But J.J. Cale’s albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you’ll want to have them all.” Several noted musicians play on the album, including Ken Buttrey, Buddy Emmons, and Reggie Young.

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In the 2004 documentary To Tulsa and Back, Cale recalled, “I wrote ‘Cocaine’, and I’m a big fan of Mose Allison…So I had written the song in a Mose Allison bag, kind of cocktail jazz kind of swing…And Audie said, ‘That’s really a good song, John, but you oughta make that a little more rock and roll, a little more commercial.’ I said, ‘Great, man.’ So I went back and recut it again as the thing you heard.” The song’s meaning is ambiguous, although Eric Clapton describes it as an anti-drug song. He has called the song “quite cleverly anti-cocaine”, noting:

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It’s no good to write a deliberate anti-drug song and hope that it will catch. Because the general thing is that people will be upset by that. It would disturb them to have someone else shoving something down their throat. So the best thing to do is offer something that seems ambiguous—that on study or on reflection actually can be seen to be “anti”—which the song “Cocaine” is actually an anti-cocaine song. If you study it or look at it with a little bit of thought … from a distance … or as it goes by … it just sounds like a song about cocaine. But actually, it is quite cleverly anti-cocaine

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Although “Cocaine” would be a major hit for Clapton in 1977, the first single released by Cale from Troubadour in 1976 was the restless “Travelin’ Light” with “Hey Baby” as the B-side. Critics from the music website Alltime Records reviewed the recording: “‘Travelin’ Light’, with its funky James Burton–style guitar that Jimmy Page tried to copy on “The Crunge”, along with great xylophones to fill out the sound – it moves and cooks and rolls and rocks and has just an absolutely earthy quality”.[6] The song was released as a part of various compilation albums, including 20th Century Masters – The Millennium Collection: The Best of J.J. Cale in 2002, The Ultimate Collection in 2004 and Classic Album Selection in 2013. Clapton later covered “Travelin’ Light” for his 2001 studio album Reptile. “Travelin’ Light” was also recorded by Widespread Panic for their album Space Wrangler in 1988.

Cale’s own version of “Travelin’ Light” was played to awaken the crews of the Atlantis Space Shuttle and International Space Station preceding their spacewalk early on Friday May 21, 2010. (wikipedia)

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Producer Audie Ashworth introduced some different instruments, notably vibes and what sound like horns (although none are credited), for a slightly altered sound on Troubadour. But J.J. Cale’s albums are so steeped in his introspective style that they become interchangeable. If you like one of them, chances are you’ll want to have them all. This one is notable for introducing “Cocaine,” which Eric Clapton covered on his Slowhand album a year later. (by William Ruhlmann)

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Personnel:
J.I. Allison (percussion on 07.)
Audie Ashworth (percussion on 03.)
Doug Bartenfeld (guitar)
Bill Boatman (guitar on 07.)
Harold Bradley (guitar on 02.)
Chuck Browning (guitar on 08.)
Kenny Buttrey (drums on 03., 06., 08. + 10.)
J. J. Cale (vocals, guitar, piano)
Tommy Cogbill (bass)
Charles Dungey (bass on 01. + 09.)
Buddy Emmons (pedal steel-guitar on 05.)
Dennis Goode (trombone on 10.)
Lloyd Green (pedal steel-guitar on 01. + 09.)
Buddy Harman (drums on 05. + 12.)
Karl Himmel (drums on 01., 02., 04. + 09.)
Jimmy Karstein (drums on 07.)
Kenny Malone (drums on 11.)
Farrell Morris (percussion on 02., 09. + 11.)
Joe Osborn (bass on 03.)
Gordon Payne (guitar on 08.)
Billy Puett (saxophone on 10.)
Bill Purcell (piano on 12.)
Bill Raffensperger (bass guitar on 07.)
George Tidwell (trumpet on 10.)
Don Tweedy (synthesizer)
Bobby Woods (piano on 08.)
Reggie Young (guitar on 01., 06. + 09.)

InletATracklist:
01. Hey Baby 3.12
02. Travelin’ Light 2.51
03. You Got Something 4.00
04. Ride Me High 3.34
05. Hold On 1.59
06. Cocaine 2.49
07. I’m A Gypsy Man 2.43
08. The Woman That Got Away 2.53
09. Super Blue 2.42
10. Let Me Do It To You 2.59
11. Cherry 3.22
12. You Got Me On So Bad 3.17

All songs written by J. J. Cale,
except 07., written by Sonny Curtis.

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The official website:
Website

James Taylor – Classic Songs (1987)

LPFrontCover1James Vernon Taylor (born March 12, 1948) is an American singer-songwriter and guitarist. A six-time Grammy Award winner, he was inducted into the Rock and Roll Hall of Fame in 2000. He is one of the best-selling music artists of all time, having sold more than 100 million records worldwide.

Taylor achieved his breakthrough in 1970 with the No. 3 single “Fire and Rain” and had his first No. 1 hit in 1971 with his recording of “You’ve Got a Friend”, written by Carole King in the same year. His 1976 Greatest Hits album was certified Diamond and has sold 12 million copies in the US alone. Following his 1977 album JT, he has retained a large audience over the decades. Every album that he released from 1977 to 2007 sold over 1 million copies. He enjoyed a resurgence in chart performance during the late 1990s and 2000s, when he recorded some of his most-awarded work (including Hourglass, October Road, and Covers). He achieved his first number-one album in the US in 2015 with his recording Before This World.

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Taylor is also known for his covers, such as “How Sweet It Is (To Be Loved by You)” and “Handy Man”, as well as originals such as “Sweet Baby James”. He played the leading role in Monte Hellman’s 1971 film Two-Lane Blacktop.

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Classic Songs is the second compilation album by James Taylor. Only available in Europe it was, for a long time, the only compilation album to feature original versions of Taylor’s classics. It spanned from his original work to his That’s Why I’m Here album from 1985. (wikipedia)

For a long time, Classic Songs was the only compilation to feature the original versions of all of James Taylor’s classics from his debut up through 1985’s That’s Why I’m Here. Unfortunately, it was only available in Europe, yet it long remained the best, most comprehensive collection of his work. (by Chris Woodstraby Chris Woodstra)

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Personnel:
James Taylor (vocals, guitar)
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many, many studio musicians

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Tracklist:
01. Fire And Rain (Taylor) 3.24
02, Mexico (Taylor) 3:00
03, You’ve Got a Friend (King) 4.30
04. How Sweet It Is (To Be Loved by You) (Hollan/Dozier/Holland) 3.36
05. Carolina In My Mind (Taylor) 4.00
06. Something In The Way She Moves (Taylor) 3.09
07. Shower The People (Taylor) 4.31
08. Sweet Baby James (Taylor) 2.52
09. That’s Why I’m Here (Taylor) 3.38
10. Everyday (Holly/Petty) 3.12
11. Up On The Roof (Goffin/King) 4.20
12. Your Smiling Face (Taylor) 2.43
13. Her Town Too (Souther/Taylor/Wachtel) 4.25
14. Handy Man (Blackwell/Jones) 3.17
15. Don’t Let Me Be Lonely Tonight (Taylor) 2.36
16. Only A Dream In Rio (Taylor) 4.57

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A low budget reissue from 1992:
Re-Issue

More from James Taylor:
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The official website:
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Roger McGuinn – Peace On You (1974)

FrontCover1As the frontman of the Byrds, Roger McGuinn and his trademark 12-string Rickenbacker guitar pioneered folk-rock and, by extension, country-rock, influencing everyone from contemporaries like the Beatles to acolytes like Tom Petty and R.E.M. in the process. James Joseph McGuinn was born on July 13, 1942, in Chicago, where by his teenage years he was already something of a folk music prodigy. After touring with the Limelighters, in 1960 he signed on as an accompanist with the Chad Mitchell Trio, appearing on the LPs Mighty Day on Campus and At the Bitter End; frustrated with his limited role in the group, he soon joined Bobby Darin’s group when the singer moved from pop to folk.

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After appearing on sessions for Hoyt Axton, Judy Collins, and Tom & Jerry (soon to be known as Simon & Garfunkel), McGuinn began playing solo dates around the Los Angeles area, where he soon formed the Jet Set with area musicians David Crosby and Gene Clark. After a failed single under the name the Beefeaters, the group recruited bassist Chris Hillman and drummer Michael Clarke, changed their name to the Byrds, and set about crystallizing McGuinn’s vision of merging the poetic folk music of Bob Dylan with the miraculous pop sounds heard via the British Invasion. McGuinn was the only member of the Byrds to play on their landmark debut single “Mr. Tambourine Man,” but his jangly guitar work quickly became the very definition of the burgeoning folk-rock form; still, despite the Byrds’ immediate success, both commercially and critically, the group was plagued by internal strife, and following the release of their 1968 country-rock breakthrough Sweetheart of the Rodeo, McGuinn was the only founding member still in the band.

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Under the direction of McGuinn — who had changed his first name to Roger after a flirtation with the Subud religion — the Byrds soldiered on, delving further and further into country and roots music before finally dissolving in February 1973. That same year, McGuinn issued his self-titled solo debut, an ambitious, eclectic affair which explored not only folk and country but surf and even space rock. 1974’s Peace on You and 1975’s Roger McGuinn & His Band preceded a stint with Bob Dylan’s Rolling Thunder Revue, which helped revitalize his standing within the musical community. 1976’s Cardiff Rose was regarded as his best solo effort to date, but the next year’s Thunderbyrd, which featured a cover of Tom Petty’s “American Girl,” failed to connect with audiences.

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In late 1977, McGuinn reunited with Byrds mates Chris Hillman and Gene Clark; the resulting LP, 1979’s McGuinn, Clark & Hillman, notched a Top 40 pop hit with the McGuinn-penned “Don’t You Write Her Off.” Midway through recording the follow-up, 1980’s City, Clark departed, and the album was released under the name “Roger McGuinn and Chris Hillman Featuring Gene Clark.” Following another effort, 1981’s McGuinn/Hillman, they went their separate ways. After undergoing another religious conversion, this time becoming a born-again Christian, McGuinn spent the remainder of the 1980s without a recording contract and performing solo dates.

The appearance of a faux Byrds led by Michael Clarke prompted McGuinn to reform the group with Hillman and David Crosby in 1989, resulting in a series of club performances, an appearance at a Roy Orbison tribute, and a handful of new recordings for inclusion on a box set retrospective. In 1991 — the same year the Byrds were inducted into the Rock and Roll Hall of Fame — McGuinn issued his first new solo recordings in over a decade, the all-star Back to Rio, which was met with great public and critical acclaim. Live From Mars, a retrospective of songs and stories, appeared in 1996. (by Jason Ankeny)

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Peace on You was Roger McGuinn’s second full-length solo album, released in 1974. The album peaked at number 92 in the US in October 1974.

The solo career of this great rock artist took a while to gather some steam; his 1976 album, Cardiff Rose, showed that with at least some consistent production and a tight backing ensemble, he could put across a powerful musical vision without having to rely totally on re-creating the sound of the Byrds. For this 1974 album his focus is as wandering as a glaucoma patient who has just gone through a two-hour field test. Many different influences come into his musical world, like strange cooks passing through a kitchen and dropping odd things into the stew. There is heavy collaborating with songwriter Jacques Levy, who like McGuinn was part of Bob Dylan’s chaotic music world during this period.

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While Levy has fans who feel he brought great riches to the kingdoms of artists such as McGuinn, the offerings from the McGuinn and Levy songwriting team on this album, such as “Together” and “The Lady,” are packed with corny images and shallow sentiments — in other words, not exactly what one is used to hearing from McGuinn in his practically angelic role as a lead vocal spokesman for the Byrds. A bit of Turtles sauce goes in courtesy of vocal contributions from Howard Kaylan and Mark Volman — it doesn’t add much, but at least doesn’t detract, which is more than can be said for the song contributions of session pro Al Kooper or the wimpy Dan Fogelberg. The title of the former artist’s tune is a gift to critics and the public alike: “(Please Not) One More Time.” One Donnie Dacus offers another pair of nothing songs, while the album’s title number, courtesy of country singer Charlie Rich and hyped to the hilt via the album’s artwork, is also pretty much a disappointment, a one-idea song that badly muddles the all-important opening track parade. (by Eugene Chadbourne)

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Personnel:
Donnie Dacus (guitar, vocals)
Dan Fogelberg (guitar, vocals)
Paul “Harry” Harris (keyboards)
Al Kooper (guitar, piano, clavinet)
Russ Kunkel (drums, percussion)
Roger McGuinn (vocals, guitar, bass)
Al Perkins (pedal steel-guitar)
Leland Sklar (bass)
Tommy Tedesco (flamenco guitar)
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background vocals:
Jorge Calderón – Brian Russell – Tim Coulter – Brooks Hunnicutt – Mark Volman – William McLeish Smith -Gwendolyn Edwards – Brenda Gordon – Howard Kaylan – Paul Stallworth

Inlets

Tracklist:
01. Peace On You (Charlie Rich) 4.02
02. Without You (McGuinn/Levy) 4.07
03. Going To The Country (Dacus) 3.16
04. (Please Not) One More Time (Kooper) 3.23
05. Same Old Sound (McGuinn) 3.31
06. Do What You Want To Do (Dacus) 3.01
07. Together (McGuinn/Levy) 3.40
08. Better Change (Fogelberg) 2.58
09. Gate Of Horn (McGuinn/Levy) 2.47
10. The Lady (McGuinn/Levy) 4.17

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More from Roger McGuinn:
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The official website:
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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

More from Cat Stevens:
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The official website:
Website

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)

BackCover1

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

Booklet04A

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!

ConcertTicket

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:
TheBandCopenhagen71_01

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.

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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

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Booklet03A

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