VA – Christmas Party With Eddie G (1990)

FrontCover1And here´s a very special christmas sampler:

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

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

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


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




Eddie (G)orodetsky


Sorry …

Mr. AW wrote me:

Once more let me hip you. There is some difficulty with your downloads, There arrive incomplete. I have tried both methods off downloading and the problem persists. This a difficulty with your site.

And another reader of this blog wrote me yesterday

This and about the last 5 albums I have tried to download, I have gotten a message saying the archive is damaged, This is new as I have downloaded a number of albums the last couple years from you site. Thanks, I have enjoyed regularly checking out what you post.

And I have no idea … where´s the problem is …

I use since I startet this blog WINRAR 5.50 (64-Bit) … and I know that other readers can use the download links …

I will keep on searching to the find the mistake …

Once again: Sorry !

Jackson Browne – I´ m Alive (1993)

FrontCover1I’m Alive is the tenth album by American singer-songwriter Jackson Browne, released in 1993 (see 1993 in music). The title track, “I’m Alive”, reached No. 18 on the Album Rock Tracks chart and No. 28 on the Adult Contemporary chart. Other singles released from the album were “Everywhere I Go” (UK No. 67) and “Sky Blue and Black”.

After veering heavily towards songs of a political nature on his two previous albums, longtime fans of Browne welcomed the return on I’m Alive to his previous style of songwriting.

The song “Too Many Angels” includes backing vocals by Jennifer Warnes, Valerie Carter, Doug Haywood, Katia Cardinal and Ryan Browne while the song “All Good Things” includes backing vocals by David Crosby and Don Henley. The song “Sky Blue and Black” was also featured in the pilot episode of American situation comedy Friends.

I’m Alive was considered somewhat of a comeback for Browne. Stephen Holden writing for The New York Times wrote “I’m Alive is a striking return to the kind of romantic subject matter that the Los Angeles singer and songwriter seemed to have abandoned after 1980 in favor of political songwriting. His finest album in nearly two decades, it has much in common with his 1974 masterpiece, Late For The Sky, whose songs also described the disintegration of a relationship.”


Critic William Ruhlman agreed though did not consider the album as strong. “Longtime fans welcomed the album as a return in style… Browne eschewed the greater philosophical implications of romance and, falling back on stock imagery (angels, rain), failed to achieve an originality of expression. While it was good news that he wasn’t tilting at windmills anymore, Browne did not make a full comeback with the album, despite a couple of well-constructed songs.” The Rolling Stone Record Guide wrote Browne “returned to his forte: the personal joy and agony of day-to-day human interaction.”

In the original Rolling Stone review for the album from 1993, Kara Manning expressed the belief that “Browne has successfully managed to resurrect his persona of 20 years ago. I’m Alive shudders with the pain of someone who’s been soundly dumped. And Browne has even gained a sense of gallows humor. Between despondent cries for reconciliation, the singer indulges in refreshingly silly self-deprecation.” However, she wondered, “what does a younger, angrier generation – raging to Dr. Dre and Nirvana – make of all this? But ’70s nostalgia is on a roll…”


Jackson Browne abandoned politics for the war between the sexes on I’m Alive. “I have no problem with this crooked world,” he sang; “…My problem is you.” The album detailed the ups and downs of a relationship, starting with the defiant post-breakup title track and then doubling back to describe irritation (“My Problem Is You”), devotion (“Everywhere I Go,” “I’ll Do Anything”), increasing tension (“Miles Away,” “Too Many Angels”), separation (“Take This Rain,” “Two of Me, Two of You”), forgiveness (“Sky Blue and Black”), and finally acceptance (“All Good Things”).

Longtime fans welcomed the album as a return in style to the days of Late for the Sky, but a closer model might have been Hold Out, a complementary album concerned with the flowering of an affair rather than the withering of one, since Browne eschewed the greater philosophical implications of romance and, falling back on stock imagery (angels, rain), failed to achieve an originality of expression. Just as, in Hold Out, one wasn’t so much inspired as informed that Browne had found love, on I’m Alive, one wasn’t so much moved as told that he’d lost it. While it was good news that he wasn’t tilting at windmills anymore, Browne did not make a full comeback with the album, despite a couple of well-constructed songs. (by William Ruhlmann)

Jackson Browne

Jackson Browne (guitar, guitar, piano, vocals, background vocals)
Mike Campbell (guitar)
Lenny Castro (percussion)
Luis Conte (percussion)
Mark Goldenberg (guitar)
James “Hutch” Hutchinson (bass)
Jim Keltner (drums)
John Leventhal (guitar)
Mauricio-Fritz Lewak – drums
David Lindley (bouzouki, guitar, oud)
Kevin McCormick (bass)
Dean Parks (guitar)
Benmont Tench (organ)
Scott Thurston (guitar, keyboards, background vocals)
Waddy Wachtel (guitar)
Jai Winding (piano)
background vocals:
Sweet Pea Atkinson – Sir Harry Bowens – Ryan Browne – Katia Cardenal – Valerie Carter – David Crosby – William “Bill” Greene – Doug Haywood – Don Henley – Arnold McCuller – Jennifer Warnes – Steven Soles –


01. I’m Alive 5.01
02. My Problem Is You 4.40
03. Everywhere I Go 4.36
04. I’ll Do Anything” – 4:31
05. Miles Away 3.52
06. Too Many Angels 6.04
07. Take This Rain 4.49
08. Two Of Me, Two Of You 2.56
09. Sky Blue And Black 6.06
10. All Good Things 4.28

All songs qwritten by Jackson Browne



In the calling out to one another
Of the lovers up and down the strand
In the sound of the waves and the cries
Of the seagulls circling the sand
In the fragments of the songs
Carried down the wind from some radio
In the murmuring of the city in the distance
Ominous and low
I hear the sound of the world where we played
And the far too simple beauty of the promises we made
If you ever need holding
Call my name, and I’ll be there
If you ever need holding
And no holding back, I’ll see you through
Sky blue and black
Where the touch of the lover ends
And the soul of the friend begins
There’s a need to be separate and a need to be one
And a struggle neither wins
But you gave me the world I was in
And a place I could make a stand
I could…
Yeah, and I was much younger then
And I must have thought that I would know
If things were going to end
And the heavens were rolling
Like a wheel on a track
And our sky was unfolding
And it’ll never fold back
Sky blue and black
And I’d have fought the world for you
(I’d have fought the world for you)
If I thought that you wanted me to
Or put aside what was true or untrue (true or untrue)
If I’d know that’s what you needed
What you needed me to do
But the moment has passed by me now
You have put away my pride
And just come through for you somehow
If you ever need holding
Call my name, I’ll be there
If you ever need holding
And no holding back, I’ll see you through
You’re the color of the sky
Reflected in each store-front window pane
You’re the whispering and the sighing of my tires in the rain
You’re the hidden cost and the thing that’s lost
In everything I do
Yeah and I’ll never stop looking for you
In the sunlight and the shadows
And the faces on the avenue
That’s the way love is
That’s the way love is
That’s the way love is
Sky, sky blue and black

Hassan Boussou – Maalem (80´s)

FrontCover1Hassan Hakmoun is one of the most notable figures in contemporary Moroccan music.

Though schooled in the deeply traditional sounds of the Gnawa people in his native Marrakesh, since moving to the U.S. in 1987, his music has absorbed elements from a variety of popular styles, from jazz and “world music” to neo-classical contemporary Western music and cerebral pop, resulting in a diverse, award-winning and critically acclaimed body of work. His participation in such internationally renowned arts festivals as WOMAD (World of Music, Arts and Dance) and collaborations with respected artists, including David Sanborn, Peter Gabriel, Don Cherry and The Kronos Quartet, among countless others, have brought him further into the spotlight and inspired many artists from North Africa and around the globe to follow in his footsteps.

As a master musician whose vision and contributions have enabled a unique fusion and blending of traditions, cultures and genres in a world of ever-expanding global communication and exchange, his work maintains its profound and enormous capacity to joyously inspire and heal the individuals and communities it reaches, as Hakmoun undoubtedly remains a commanding and intriguing artist in the world music scene.


Hakmoun’’s musical origins are rooted in the African folk music of the Islamic Gnawa sect, descendants from West African slaves brought to North Africa several hundred years ago. Their music combines complicated West African syncopations with long, sinuous North African melodies. Tracing their roots back to the Bilal, a freed slave known for his beautiful voice and believed to have been chosen by the Islamic prophet Mohammed to serve as the first muezzin to call the people of the faith to their prayers, Gnawa musicians often express their religious devotion through their music, using it to enter into spiritual trance states.

These rich, ancient Gnawa traditions have powerfully and intimately influenced Hakmoun’s early life and calling as a musician as his mother is a mystic healer known throughout Marrakesh for her derdeba trance ceremonies, often all-night affairs involving hypnotic playing and chanting to exorcise spirits. Steeped in Islamic mysticism and West African rhythms, the Gnawa musical form and its rituals lift the spirit and heal the sick and wounded through its songs of praise.

Hakmoun began learning Gnawa music after witnessing his first trance ceremony at the young age of four. Through a miraculous incident involving his younger sister, whose body was mysteriously touched by the spirit, covered in cigarette burns and then healed as a result of a meeting of the local Gnawa masters who proceeded to gather and conduct a ceremony of singing, drumming and playing instruments such as the sintir while asking for forgiveness and inquiring as to the cause of her ailments, Hakmoun proceeded to study percussion, as well as traditional trance-inducing dances.


He eventually chose the sintir as his main instrument, a three-stringed lute with a body made of camel skin stretched over nutwood. The strings of the sintir are pitched low, enabling the instrument to serve as the bass foundation much like the Western string bass, while its tone is sweet, making it well-suited to carry the melodic line of a composition. By drumming on the body of the instrument, Hakmoun added his own percussion while contributing vocals, thereby creating a unique foundation for his musical explorations and growth. By the age of fourteen, he was an established musician performing at Gnawa lila ceremonies with his own ensemble.

Hakmoun made his U.S. debut in 1987 at Lincoln Center in New York City with Etian and Blanca Lee’’s Trio Gna & Nomadas dance group … (taken from his website)


I guess this is very rare record by Hassan Boussou … I found no further informations in the internet (this is maybe a bootleg, I don´t know) … I bought it last week in Marrakesh  at the Jamaa el Fna market:

Jamaa el Fna (also Jemaa el-Fnaa, Djema el-Fna or Djemaa el-Fnaa) is a square and market place in Marrakesh’s medina quarter (old city). It remains the main square of Marrakesh, used by locals and tourists.

And I guess, this were very erly recordings from the Eighties … unfortunatley the covers gives no more informations ..

So … listen to the magic of a real unique world of music …


Hassan Boussou (lute, vocals)
Marie le Baron et la troupe Boussou Ganga


01. Part 1 / 22.07
02. Part 2 / 36.51


Buddy Cole – Swing Fever (1960)

FrontCover1Edwin LeMar “Buddy” Cole (December 15, 1916 – November 5, 1964), was a jazz pianist and orchestra leader. He played behind a number of pop singers, including Rosemary Clooney, Jill Corey, Johnnie Ray and The Four Lads, who recorded for Columbia Records. As “Buddy Cole and his Trio” he recorded the albums Some Fine Old Chestnuts and New Tricks with Bing Crosby.


Buddy Cole was born in Irving, Illinois, and started his musical career in the theater playing between movies. He moved to Hollywood and played with a couple of bands, most notably the Alvino Rey big band, before becoming a studio musician. Joining the John Scott Trotter orchestra as a pianist in 1947, he worked closely with Bing Crosby for a number of years and in 1954 he began a daily radio show with Crosby supported by a trio comprising Vince Terri on guitar, banjo etc., Don Whittaker on bass and Nick Fatool on drums. Cole played piano and electric organ. He and Crosby built up a large library of songs which could then be inserted into the show. Cole also recorded a similar library of songs with Rosemary Clooney (with whom he had previously toured) and these songs together with those of Crosby’s were employed in The Bing Crosby – Rosemary Clooney Show (1960-1962). Albums with his combo were recorded on piano and Hammond organ.

BuddyCole01Cole recorded for Capitol Records as both Buddy Cole and Eddie LaMar and His Orchestra. He did both commercial and transcription recordings for Capitol.

Although primarily known as a pianist, he had an abiding love for the organ, both Hammond and theatre organ. In his capacity as a studio musician, he worked extensively with Henry Mancini, who used his distinctive Hammond organ sound for the sound track to the TV series “Mr. Lucky”. He also recorded several albums for Warner Brothers on piano, Hammond organ and theatre pipe organ.

The theatre organ heard on these albums was the 17-rank Wurlitzer organ from the United Artists theatre plus nine ranks from a one-time radio studio Robert Morton theatre organ which he installed in the garage of a former residence in North Hollywood and on which he recorded three albums for the Columbia and Capitol labels. The combined ranks were installed in a specially built studio next to his home.

Two albums – Modern Pipe Organ and Autumn Nocturne – were recorded for Warner Brothers, as well as two albums done in conjunction with arranger Monty Kelly, one of which contained an arrangement of Richard Rodgers’ Slaughter on Tenth Avenue, and the other of which contained transcriptions of big band arrangements with spaces for the organ. These two albums – for the Alshire label – were Cole’s last disc recordings.


He married Yvonne King on 17 August 1940, member of the King Sisters, and with her had two daughters, actress Tina Cole and Cathy Cole Green. They divorced in 1953.

He married Clare Foley Woodruff on 12 November 1957, who already had two children, Jay and Jeffrey Woodruff, the latter of whom would often assist him in organ tuning. The marriage lasted until Cole’s death.

Cole had been suffering from an advanced case of heart disease for a number of years, and beginning as early as 1959, suffered a series of heart attacks as a result. On November 4, 1964, Cole was contracted to record some organ pieces featured in 20th Century Fox’s blockbuster hit The Sound of Music including sections of the “End Titles”, the reprise of “Climb Ev’ry Mountain” and “Processional” and “Maria”. In the early hours of November 5, after the marathon six-hour recording session had been completed for the evening, Cole headed home, went to bed and died in his sleep of a heart attack, being found the following morning by a staff member (by wikipedia)

And here´s one of his countless albums … this is not a real jazz-album but a Easy Listening album … with lot´s of all these swinging organ sounds from that period.


Red Callender (bass)
Buddy Cole (organ)
Vince Terry (guitar)
Jack Costanzo – Al Stoller – Lou Singer – Milt Holland


01. Pagan Love Song (Brown/Freed) 1.36
02. Brazil (Barroso/Russell) 2.09
03. The Hour Of Parting (Khan/Spolianski) 2.15
04. The Peanut Vendor (Sunshine/Simons/Gilbert) 2.12
05. Solftly, As In The Morning Sunrise (Hammerstein/Romberg) 3.13
06. Old Devil Moon (Lane) 2.51
07. Heat Wave (Berlin) 2.07
08. La Rosita (Dupont/Stewart) 2.52
09. Frenesi (Charles/Russell/Dominguez) 2.19
10. The Moon Was Yellow (Leslie/Ahlert) 3.08
11. Poinciana (Bernier/Simon) 3.25
12, Crazy Rhythm (Caesar/Kahn/Meyer) 1,50