Bob Dylan – The Freewheelin’ Bob Dylan (1963)

FrontCover1The Freewheelin’ Bob Dylan is the second studio album by American singer-songwriter Bob Dylan, released on May 27, 1963 by Columbia Records. Whereas his self-titled debut album Bob Dylan had contained only two original songs, Freewheelin’ represented the beginning of Dylan’s writing contemporary words to traditional melodies. Eleven of the thirteen songs on the album are Dylan’s original compositions. The album opens with “Blowin’ in the Wind”, which became an anthem of the 1960s, and an international hit for folk trio Peter, Paul & Mary soon after the release of Freewheelin’. The album featured several other songs which came to be regarded as among Dylan’s best compositions and classics of the 1960s folk scene: “Girl from the North Country”, “Masters of War”, “A Hard Rain’s a-Gonna Fall” and “Don’t Think Twice, It’s All Right”.

Dylan’s lyrics embraced news stories drawn from headlines about the Civil Rights Movement and he articulated anxieties about the fear of nuclear warfare. Balancing this political material were love songs, sometimes bitter and accusatory, and material that features surreal humor. Freewheelin’ showcased Dylan’s songwriting talent for the first time, propelling him to national and international fame. The success of the album and Dylan’s subsequent recognition led to his being named as “Spokesman of a Generation”, a label Dylan repudiated.

Dylan1963_02The Freewheelin’ Bob Dylan reached number 22 in the US (eventually going platinum), and became a number-one album in the UK in 1964. In 2003, the album was ranked number 97 on Rolling Stone Magazine’s list of the 500 greatest albums of all time. In 2002, Freewheelin’ was one of the first 50 recordings chosen by the Library of Congress to be added to the National Recording Registry. (by wikipedia)

It’s hard to overestimate the importance of The Freewheelin’ Bob Dylan, the record that firmly established Dylan as an unparalleled songwriter, one of considerable skill, imagination, and vision. At the time, folk had been quite popular on college campuses and bohemian circles, making headway onto the pop charts in diluted form, and while there certainly were a number of gifted songwriters, nobody had transcended the scene as Dylan did with this record. There are a couple (very good) covers, with “Corrina Corrina” and “Honey Just Allow Me One More Chance,” but they pale with the originals here. At the time, the social protests received the most attention, and deservedly so, since “Blowin’ in the Wind,” “Masters of War,” and “A Hard Rain’s A-Gonna Fall” weren’t just specific in their targets; they were gracefully executed and even melodic.

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Although they’ve proven resilient throughout the years, if that’s all Freewheelin’ had to offer, it wouldn’t have had its seismic impact, but this also revealed a songwriter who could turn out whimsy (“Don’t Think Twice, It’s All Right”), gorgeous love songs (“Girl From the North Country”), and cheerfully absurdist humor (“Bob Dylan’s Blues,” “Bob Dylan’s Dream”) with equal skill. This is rich, imaginative music, capturing the sound and spirit of America as much as that of Louis Armstrong, Hank Williams, or Elvis Presley. Dylan, in many ways, recorded music that equaled this, but he never topped it. (by Stephen Thomas Erlewine)

Bob Dylan On The Ed Sullivan Show

Personnel:
Bob Dylan (vocals, guitar, harmonica)
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on 11:
Howie Collins (guitar)
Leonard Gaskin (bass)
Bruce Langhorne (guitar)
Herb Lovelle (drums)
Dick Wellstood (piano)

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Tracklist:
01. Blowin’ In The Wind (Dylan) 2.47
02. Girl From The North Country (Dylan) 3.22
03. Masters Of War (Dylan) 4.33
04. Down The Highway (Dylan) 3.25
05. Bob Dylan’s Blues (Dylan) 2.24
06. A Hard Rain’s A-Gonna Fall (Dylan) 6.53
07. Don’t Think Twice, It’s All Right (Dylan) 3.40
08. Bob Dylan’s Dream (Dylan) 5.03
09. Oxford Town (Dylan) 1.50
10. Talking World War III Blues (Dylan) 6.26
11. Corrina, Corrina (Thomas) 2.42
12. Honey, Just Allow Me One More Chance (Dylan) 2.00
13. I Shall Be Free (Dylan) 4.48

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More Bob Dylan:

 

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Come, you masters of war
You that build the big guns
You that build the death planes
You that build all the bombs

You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin’
But build to destroy
You play with my world
Like it’s your little toy

You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe

But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten all the triggers
For the others to fire
Then you sit back and watch
While the death count gets higher

You hide in your mansion
While the young peoples’ blood
Flows out of their bodies
And is buried in the mud

You’ve thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world

For threatenin’ my baby
Unborn and unnamed
You ain’t worth the blood
That runs in your veins

How much do I know
To talk out of turn?
You might say that I’m young
You might say I’m unlearned

But there’s one thing I know
Though I’m younger than you
That even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good?
Will it buy you forgiveness?
Do you think that it could?

I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death will come soon
I’ll follow your casket
On a pale afternoon

I’ll watch while you’re lowered
Down to your deathbed
And I’ll stand over your grave
‘Til I’m sure that you’re dead

Spencer Bohren – Karlstorbahnhof, Heidelberg (2007)

FrontCover1Spencer Ward Bohren (born 1950, Casper, Wyoming) is an American roots musician, singer, songwriter, teacher, and visual artist. He plays guitar, lap steel guitar, banjo, and percussion, and utilizes the roots of American traditional music to write songs in blues, country, gospel and folk styles. He has released fourteen albums since 1984.

Bohren’s maternal ancestry is Scots-Irish, and his father’s family came from Alsace-Lorraine. He grew up in a Baptist family in Wyoming and spent time in Denver and Boulder, Colorado, southern Oregon, and Seattle, Washington in the early part of his career. In 1976 he began raising a family with his wife, Marilyn, in New Orleans, Louisiana.

Bohren has performed throughout the United States as well as in Canada, England, Ireland, Scotland, France, Italy, Germany, Belgium, the Netherlands, Sweden, Norway, Denmark, Switzerland, Spain, Mexico, and Japan. He has performed on the A Prairie Home Companion radio program and at the New Orleans Jazz & Heritage Festival. He has also taught at the Fur Peace Ranch. In the late 1970s and early 1980s he hosted a weekly Monday-night jam session at the Tipitina’s music club in New Orleans.

SpencerBohren01Although he most often works as a soloist, he has performed in several bands, including the Funston Brothers, the Eagle-Ridin’ Papa, Butterfat, Rufus Krisp, the Earthtones, and Gone Johnson. He has collaborated with folk blues performer Judy Roderick, diesel-billy guitarist Bill Kirchen, opera singer Karen Clift, Dr. John, the Blind Boys of Alabama, and the vocal duo The Tremors.

In the academic world, Bohren presents a musical overview of American roots music, a lecture-performance entitled Down the Dirt Road Blues, which traces the journey of a single song, “Dirt Road Blues,” from Africa to the days of slavery in the American South, through the modern age. He uses appropriate vintage instruments to orchestrate the story as the song evolves from a simple vocal melody to a blues song, a dance number, a hillbilly banjo piece, a country hit, and into the age of rock ‘n’ roll.

His CD Carry the Word was named “Best CD of the Year 2000 by a Louisiana Artist” by The Times-Picayune of New Orleans, and he has won the New Orleans Gambit Weekly’s “Big Easy Award for Best Folk Artist” several times.

He has recorded for the Virgin, Sony/France, Valve, Zephyr, Public Road, Last Call, Loft, Alpha, Great Southern, and New Blues labels.

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Also a visual artist, Bohren creates artworks that he calls “Reliquaries” and shares his philosophy and techniques with interested students of all ages.

Spencer Bohren and his wife Marilyn live in New Orleans and have home-schooled their four children. The family home suffered significant damage during Hurricane Katrina and Bohren wrote the song “Long Black Line” about the experience. (by wikipedia)

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And here´s an excellent soundboard recording from his concert in Heidelberg in 2007.

And it was a magical night !!! A blend of 60´s Folk,Singer Songwriter,Blues,Country Folk,Dylan,New Orleans,History…….

THINGS,YOU CAN`T GET ON THE BIG STAGE ANYMORE – !!!

Spencer is a real Master…..he did set the place on fire that night,again !!!

This concert was a part of the “For the sake of the song” Concert series…the 1st night.

It´s time to discoverSpencer Bohren !

Spencer Bohren… a musician, educator, artist, guitarist and storyteller !

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Personnel:
Spencer Bohren (guitar, vocals, percussion, lap steel guitar)

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Tracklist:
01. People Get Ready (Mayfield) 7.04
02. Beulah Land (Traditional) 6.30
03. Cairo Blues (Urban) 7.16
04. Hey Hey Daddy Blues (Blake) +Maple Leaf Rag (Joplin) 9.18
05. Somebody On Your Bond (Traditional) 7.00
06. Wings Of An Angel (Bohren) 5.14
07. Darkness (Bohren) 6.13
08. Deportees (Guthrie/Hoffman) 8.48
09. The Long Black Line (Bohren)
10. Ode To Billy Jo (Gentry)
11. Ain´t Nobodys Business (Grainger/Robbins) 5.48
12. Weary Blues (Williams) 4.25
13. I´ll Be Your Baby Tonight (Dylan) 4.57
14. Watermelon (
15. Ring Them Bells……. (In Memoriam Of Sven) (Dylan) 8.00
16. Natchez Blues (Traditional) 5.16
17. Bound For Glory (Traditional) 6.23
18. Working On A Building (Traditional) 6.59
19. Deep Ellum Blues (Traditional) 6.34
20. Night Is Falling (Bohren) 7.18
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The Strawbs – In Concert At The Paris Theatre London (1971)

FrontCover1This concert is known to be the last with Rick Wakeman on keyboard, before he joined Yes, replacing Tony Kaye. Not a bad thing he left I must say, since he’s often totally out of subject with his progressive-epic approach of keyboards, more Keith Emerson than Matthew Fisher. Recorded one year after the Queen Elizabeth Hall concert that gave the Antiques and Curios album, it shows how the band grew confident, often not for the best, some versions being quite weak. Others are great such as “The Shepherd’s Song”. But it’s clear that the band was going away from his folk roots, and it’s no surprise Tony Hooper was living his last months with the band. All in all, an unavoidable addition to any Strawbs collection. (by dkandroughmix-forgottensongs.blogspot)

This is maybe not the best period of The Strawbs … but even in this difficult Phase (you know Rick Wakeman leave the band to join Yes 1), it´s a superb album from a real great band !

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Personnel:
Dave Cousins (vocals, guitar, banjo, dulcimer)
John Ford (bass, vocals)
Tony Hooper (guitar, vocals)
Richard Hudson (drums, Percussion, vocals)
Rock Wakeman (keyboards)
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Tracklist:
01. Hangman And The Papist 4.19
02. Martin Luther King’s Dream 3.00
03, A Glimpse Of Heaven 4.00
04. Witchwood 3.13
05. In Amongst The Roses 4.17
06. R.M.W. 5.06
07. Flower And The Young Man 5.11
08. Fingertips 5.56
09. The Shepherd’s Song 4.52
10. When You Wore A Tulip 2.08
11. Sheep 11.18

All Songs written by Dave Cousins

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Harry Chapin – Portrait Gallery (1975)

LPFrontCover1Harry Chapin was an American singer-songwriter famous for his folk rock songs like ‘Taxi’, ’W*O*L*D’, and ‘Sniper’. A highly talented and popular singer, he gained much fame for his self-described ”story song”, a narrative form that borrowed heavily from older talking blues primarily dealing with themes related to lost opportunities, cruel ironies and life’s hypocrisies. Born as one of the sons of Jim Chapin, a legendary percussionist, Harry was exposed to music at an early age. He played the trumpet as a child and soon switched over to the guitar. He performed with his brothers as a teenager and also played music occasionally with his father who had divorced his mother when Harry was young. He graduated from the Brooklyn Technical High School and studied at Cornell University before embarking on a career as a documentary filmmaker. He soon switched gear and ventured into a musical career and found success with his debut album ’Heads & Tales’. He soon gained a reputation as a classy folk rock singer and also became known for his work on Broadway productions. Along with being a singer par excellence, he was also a committed humanitarian who fought to end world hunger.

The life of this amazing human being was cut short by a fatal accident which claimed him at the age of 38.  (by thefamouspeople.com)

Portrait Gallery is the fifth studio album by the American singer-songwriter Harry Chapin, released in 1975.

An early version of “Someone Keeps Calling My Name”, done in a folk-rock vein reminiscent of The Byrds, appeared on the obscure 1966 album Chapin recorded with his brothers, Chapin Music!. The main guitar riff (and entire arrangement) in this version is strikingly similar to The Blue Things’ equally obscure 1966 track “Doll House.”

The album artwork was designed and illustrated by Milton Glaser. (by wikipedia)

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 Portrait Gallery failed to follow up the great success of “Cats in the Cradle,” and perhaps that was what Chapin had in mind. Much more in line with his first two releases, Portrait Gallery shouldn’t be written off just because it didn’t get that Top 40 hit. The songs have again become more personal, and the track “Bummer” depicts a medal-winning veteran who never quite fit into society. Chilling, to say the least, Portrait Gallery is well worth the effort. (by James Chrispell)

Musically, the album is a solid mix of approachable, mostly ballad oriented, material in the long, narrative “story song” mold of song writing Chapin was most famous for. “Dreams Go By”, despite it’s title one of his more upbeat songs emotionally (Chapin had a penchant for crafting songs with sad or disappointing endings, often dealing with characters based upon life’s losers and societies most disenfranchised) became a fan favorite at his live shows for many years. “Tangled Up Puppett” , also known as “A Song For Jaime” was inspired by Chapin’s relationship with his oldest daughter, as she was entering her teen years. A beautiful melody complete with some of the violin and string arrangements famous in his more acoustic oriented work, with lyrics ripe with metaphor that none the less do a terrific job of expressing the poignancy of growing up and how it changes parent-child dynamics, it’s one of the best stories and from strictly from a pop music perspective one of his most approachable works, amazing that it didn’t enjoy greater success as a single. (by Tom From Pghon)
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Personnel:
Murray Adler (violin)
Ron Bacchiocchi (synthesiser, percussion)
Ed Bednarski (clarinet)
Gene Bianco (harmonica)
George Bohanon (rombone)
Bud Brisbois (rumpet)
Harry Chapin (guitar, vocals)
Steve Chapin (piano, clavinet, vocals)
Tom Chapin (vocals)
Rita Coolidge (vocals)
Assa Drori (violin)
Jesse Ehrlich (cello)
Joan Fishman (vocals)
Joe Flood (vocals)
Ronald Folsom (violin)
James Getzoff (violin)
Jeff Gross (vocals)
Jim Horn (saxophone)
Paul Hubinon (trumpet)
Bill Hymanson (strings)
Armand Kaproff (Cello)
Jackie Kelso (saxophone)
Christopher von Koschembahr (vocals)
David Kondziela (vocals)
Kris Kristofferson (vocals)
Paul Leka (piano, celeste, harpsichord)
Jonathan B. Lindle (vocals)
Betty MacIver (vocals)
Pete MacIver (vocals)
Michael Masters (Cello)
Marti McCall (vocals)
Jay Migliori (saxophone, flute)
Tim Moore (keyboards, clavinet)
Todd Mulder (vocals)
Alexander Neiman (viola)
Gareth Nuttycombe (viola)
Ronald Palmer (guitar, vocals)
Geoff Parker (vocals, choir, Chorus)
Judi Parker (vocals)
Don Payne (bass)
Donald Peake (Synthesizer)
Stanley Plummer (violin)
Katherine Anne Porter (vocals)
Frank Porto (accordion)
Kathy Ramos (vocals)
Henry Roth (violin)
Allan Schwartzberg (drums)
Tim Scott (Cello)
Jack Shulman (violin)
Frank Simms (vocals)
George Simms (vocals)
Ken Smith (flute, mandolin)
Bob Springer (percussion)
Billy Swan (vocals)
John Tropea (guitar)
Sheila Turner (vocals)
John Wallace (bass, vocals)
Rob White (whistle)
Susan White (vocals)
Carolyn Willis (vocals)

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Tracklist:
01. Dreams Go By (H.Chapin) 4.46
02. Tangled Up Puppet (H.Chapin/S.Chapin) 3.45
03. Star Tripper (H.Chapin) 4.19
04. Babysitter (H.Chapin)  4.36
05. Someone Keeps Calling My Name (H.Chapin) 6.30
06. Rock (H.Chapin) 4.16
07. Sandy (H.Chapin) 2.48
08. Dirt Gets Under the Fingernails (H.Chapin) 3.48
09. Bummer (H.Chapin) 9.55
10. Stop Singing These Sad Songs (H.Chapin) 2.59

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Amazing Blondel – Dancing Supertivoli (1972)

FrontCover1Amazing Blondel are an English acoustic progressive folk band, containing Eddie Baird, John Gladwin, and Terry Wincott. They released a number of LPs for Island Records in the early 1970s. They are sometimes categorised as psychedelic folk or as medieval folk rock, but their music was much more a reinvention of Renaissance music, based around the use of period instruments such as lutes and recorders.
John Gladwin and Terry Wincott had both played in a loud “electric” band called Methuselah. However, at some point in Methuselah concerts, the duo would play an acoustic number together: they found that this went down well with the audiences and allowed them to bring out more of the subtlety of their singing and instrumental work. They left Methuselah in 1969 and began working on their own acoustic material.
Initially their material was derived from folk music, in line with many of the other performers of the time. However, they began to develop their own musical idiom, influenced, at one extreme, by the early music revivalists such as David Munrow, and the other extreme, by their childhood memories of the Robin Hood TV series, with its pseudo-mediaeval soundtrack by Elton Hayes.

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The band was named after Blondel de Nesle, the musician in the court of Richard I. According to legend, when Richard was held prisoner, Blondel travelled through central Europe, singing at every castle to locate the King and assist his escape. This name for the band was suggested by a chef, Eugene McCoy, who listened to some of their songs and commented: “Oh, very Blondel!” and they began to use that name. They were then advised to add an adjective (in line, for example, with The Incredible String Band) and so they became “Amazing Blondel”.

Their first album The Amazing Blondel (also called “Amazing Blondel and a Few Faces,”) was recorded in 1969 and released by Bell Records. It was directed by session guitarist Big Jim Sullivan. At about this time, Eddie Baird (who had known the other members at school) joined the band. On 19 September 1970 they were one of the bands to play at the first Glastonbury Festival. Following what Baird described as “a disastrous ‘showbiz’ record signing”, Amazing Blondel were introduced, by members of the band Free, to Chris Blackwell of Island Records and Artists. Blackwell signed them up to Island, for whom they recorded their albums Evensong, Fantasia Lindum and England. (by Wikipedia)

And this is a very fine bootleg from a Show, recorded in Italy. It´s a very good audience recording … and you can you hear … you can hear the Magic of Amazing Blondel … really amazing !

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Personnel:
Edwards Baird (guitar, vocals)
John David Gladwin (vocals, guitar)
Terence Alan Wincott (Recorder, woodwinds, vocals)

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Tracklist:

01. Toye 3.02
02. Pavan 3.02
03. Seascape 6.09
04. A Spring Air *  3.03
05. Willowood 3.02
06. Afterglow 3.34
07. The Shepherd’s Song 7.41
08. Saxon Lady
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09. Travagliato BresciaItaly (1972) (uncut version) 32.06

All songs written by John David Gladwin

*Problems with the microphones on stage.

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Melanie Safka – BBC On Air (1997)

FrontCover1Ten of the 18 songs on this CD were recorded live in 1975, another four date from 1969, and the last four are from 1989. Thus, we get a glimpse of Melanie in performance across a period of 20 years, doing a variety of material ranging from her own originals (including familiar songs such as “Beautiful People” and “Baby Guitar”) to covers of Phil Ochs’s “Chords of Fame,” Alan J. Lerner and Frederick Loewe’s “Almost Like Being in Love” (from Brigadoon), and the Rolling Stones’ “Ruby Tuesday.” Her rendition of “Almost Like Being in Love” is a folk-blues style interpretation, and one of the most downbeat and interesting (if not necessarily successful) takes on the song ever done. There is a certain sameness to much of the rest of the material that works against too many people other than hardcore fans appreciating this disc, although some numbers, such as “The Nickel Song” and “Beautiful People,” always work. The version of “Ruby Tuesday,” like the other three 1989 vintage songs here, features a full band with synthesizers and drum machines, and is a bit jarring, though Melanie still throws herself impressively into the classic Rolling Stones song. (by Bruce Eder)

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Featuring a series of live recordings covering a period of 20 years this CD provides excellent sound and a unique record of Melanie’s live and session work for the BBC. The first 10 tracks feature a concert recorded for the BBC Radio One In Concert series in 1975. Track 5 is incorrectly listed and is actually a song called Here We Go Again. During this concert Melanie is accompanied by Barry Lee Harwood on guitar and mandolin. Barry played on Sunsets and Other Beginnings and As I See It Now but fails to be credited on the cover of the CD.

Tracks 11 to 14 are rare session recordings from 1969, just Melanie and her guitar. Visit My Dreams is perhaps better known as Deep Down Low from Melanie’s second album.
While all tracks have so far featured acoustic versions of songs, the last four feature Melanie with a full band. The tracks where recorded during a visit to the UK to promote Cowabonga. The musicians that accompany Melanie also accompanied her during two concerts at the Shaw Theatre in London in 1989. (by melaniesafkarecordings.uk)

And I confess … I´m a real fan of Melanie Safka … what  wonderful voice, what sensitive music and lyrics …

But … her 1989 recordings were not really good (especially tzhe Version of “Goodybye Ruby Tuesday is more than lousy …) … but …

… don’t miss “Rock An’ Roll Heart” — a song every baby boomer can relate to.
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Personnel:

BBC Radio One In Concert, November 1975:
Barry Lee Hardwood (guitar, mandolin)
Melanie (vocals, guitar)

BBC Session, September 1969:
Melanie Safka (vocals, guitar)

BBC Session, September 89:
Kay Langford (vocals)
Justin Myers (bass)
Neil Palmer (keyboards)
Alan Ross (guitar, background vocals)
Melanie Safka (vocals, guitar)
Chris Staines (background vocals)
Pete Thompson (drums)

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Tracklist:

BBC Radio One In Concert, November 1975:

01. Autumn Lady (Safka) 4.13
02. Chords Of Fame (Ochs) 5.14
03. Almost Like Being In Love (Lerner/Loewe) 5.09
04. Stoneground Words (Safka) 5.09
05. Here I Am (Safka) 2.37
06. Any Guy (Safka) 2.560
07. Do You Believe (Safka) 6.08
08. Leftover Wine (Safka) 5.44
09. The Nickel Song (Safka) 4.03
10. Beautiful People (Safka) 5.31

BBC Session, September 1969:
11. Visit My Dreams (Deep Down Low) (Safka) 3.51
12. Up Town And Down (Safka) 2.51
13. Baby Guitar (Safka) 2.49
14. Tuning My Guitar (Safka) 4.16

BBC Session, September 89:
15. Ruby Tuesday (Jagger/Richards) 3.50
16. Rock ‘n’ Roll Heart (Safka) 5.17
17. Racing Heart (Safka) 5.17
18. Apathy (Safka/Schekeryk) 3.50

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The Tony Rice Unit – Mar West (1980)

FrontCover1Mar West is an album by American guitarist Tony Rice, released in 1980. It is credited to the Tony Rice Unit.
Mar West was reissued in 1987 along with Still Inside as Devlin minus the song “Mar East”.. (by wikipedia)
Mar West is the third recording by the Tony Rice Unit and like their other recordings, it features some of the best acoustic musicians on the scene. Mar West showcases music closely resembling swing jazz, and if it seems less inspired than an earlier effort like Acoustics, it is nonetheless a good instrumental album. Compare it to a lesser effort by Stephane Grapelli and Django Reinhardt: Perhaps the song choice is less than perfect and the musicians less inspired than usual, but who would want to miss it? Sam Bush, Richard Greene, Mike Marshall, and Todd Phillips join Rice for eight instrumentals. The title cut, which opens the album, also reveals its shortcomings. “Mar West” is one of those fast, open-chorded instrumentals that Rice enjoys writing. Rice kicks the piece off with quick-paced flat-picking that is technically perfect, but the solo continues for too long and is lacking in feeling. More successful is the measured “Waltz for Indira” with a nice mandolin part by Bush, and “Neon Tetra” with an inspired violin solo by Greene.
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Perhaps the best cut on the album is “Nardis,” written by Miles Davis. “Nardis'” colored textures evoke a romantic mood and challenge the musicians to create distinctive, longing solos. Like the other Tony Rice Unit albums, emphasis remains focused on the skills of the individual musicians involved. Each instrumental provides the violin, guitar, and mandolin room for lengthy solos while Phillips’ bass keeps everyone grounded. Both Rice fans and lovers of good acoustic music will enjoy Mar West. (by Ronnie D. Lankford, Jr.)
Like Paul Brett, Tony Rice is a superb acoustic guitar Player … and it´s such a shame, the musicians like him are more or less unknown.
It´s time to discover the magic of Tony Rice !!!
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Personnel:
Sam Bush (mandolin)
Richard Greene (violin)
Mike Marshall (mandolin)
Todd Phillips (bass)
Tony Rice (guitar, vocals)
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Tracklist:
01. Mar West (Rice) 5.33
02. Nardis (Davis) 3.47
03. Waltz For Indira (Rice) 3.23
04. Neon Tetra (Rice) 4.28
06. Is That So (Rice) 4.29
07. Whoa Baby, Every Day I Wake up With the Blues (Rice) 3.57
08. Mar East (Rice) 4.37
09. Untitled As Of Yet (Rice) 4.23
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