The Nice – The Swedish Radio Sessions (1967/2001)

FrontCover1.jpgOne of the mainstays of the early Prog-rock/Art-Rock genre were Emerson, Lake & Palmer. Their popularity was enormous worldwide and their fans ran the gamut from mainstream pop enthusiasts to hardcore stoners.

But that was the 70’s. Tonight it’s an incarnation from 1967 in which the common link is keyboard maestro Keith Emerson. The Nice came on the scene right at the time of Psychedelia and were a sizable hit with audiences. They blended an interesting mixture of Pop, Psych, Jazz and Art-Rock into one relatively seamless presentation and had an enthusiastic following as the result.

Here´s a very rare live session done by The Nice while on tour in Sweden. Recorded by Sveriges Radio with a reasonably sedate audience, this live document of The Nice offers a few disappointments. First off, the vocals were not the strong suit of The Nice, and Keith Jackson’s voice is flat a lot of the time, a well documented weak aspect of the band which probably hampered their universal success.


But that’s a small nit to pick for an otherwise long-thought-lost radio session by a band that, at the time were just getting ready to release their first album and were destined to do great things.

What more than makes up for any vocal deficiencies is the fact this recording is so good and is something of an anomaly for a period of time where live recordings were rare and well recorded ones even rarer. (by


The Nice were booked to play live on Swedish radio in the fall of 1967, prior to the release of their debut record while they were still a quartet. Organist Keith Emerson was not yet the dominate force he became following the departure of guitarist Davy O’List, who is quite prominent on this session. The music is a bit of a mishmash, with Bob Dylan’s “She Belongs to Me” starting a bit erratically but finally coming together. Their own composition “Flower King of Flies” has a more subtle vocal by bassist Lee Jackson than the studio version they eventually released, though he has trouble staying in tune. The instrumental jam upon jazzman Charles Lloyd’s “Sombrero Sam” seems a bit like filler, but the turkey of the evening is a forgettable cover of Vanilla Fudge’s overwrought “You Keep Me Hanging On.”


A quick take of their own “The Thoughts of Emerlist Davjack” is followed by the gem of the date: a 12-minute workout of “Rondo,” better known as jazz pianist Dave Brubeck’s “Blue Rondo à la Turk” (though the Nice were initially credited with composing the piece by their own label, Castle gets it right).


This version of “Rondo” easily eclipses all the other versions by the Nice (even though the rhythm is still very stiff compared to its composer’s recordings) because of the interaction between the organist and the guitarist. Considering the vintage of this long overlooked music, the sound is quite good, so any fans of the Nice should consider this to be a lost treasure worth acquiring. (by Ken Dryden)


Brian Davison (drums)
Keith Emerson (organ)
Lee Jackson (bass, vocals)
Guitar – David O’List (guitar)


01. She Belongs To Me (Dylan) 6.06
02. Flower King Of Flies (Jackson/Emerson) 4.25
03. Sombrero Sam (Lloyd) 7.27
04. You Keep Me Hanging On (B.Holland/Dozier/E.Holland) 6.44
05. The Thoughts Of Emerlist Davjack (Emerson/O´List) 3.07
06. Rondo (Brubeck/Emerson/Jackson/Davison) 12.14




Ekseption – Same (Classic In Pop) (1969)

FrontCover1.jpgEkseption was a Dutch rock band active from 1967 to 1989, playing mostly-instrumental progressive rock and classical rock. The central character in the changing roster, and the only band member present on every album, was conservatory-trained trumpeter Rein van den Broek (10 September 1945 – 11 May 2015). The band knew some commercial success in the 1970s, having Dutch top ten hit singles with their adaptations of Beethoven’s “Fifth” and Bach’s (Celebrated) “Air.” The second album, “Beggar Julia’s time trip” (1969), won the Dutch Edison Award for album of the year, and the first five albums all went gold.

Ekseption grew out of the high-school band The Jokers, which van den Broek formed in 1958. They changed their name to The Incrowd (after the Ramsey Lewis song) before discovering that name was already taken. Finally they settled on the name Ekseption in 1967. The group played jazz, pop and R&B covers, but in 1969, shortly after keyboardist Rick van der Linden joined, they were impressed by a gig of The Nice, and van der Linden decided to concentrate on producing classical rock, modern re-interpretations of classical works for rock band. Most of their subsequent albums contain both original songs and re-interpreted classical pieces.


It quickly became evident that van der Linden had assumed leadership of the group, and in a 1972 press release interview accompanying advance copies of the album Ekseption 5 he openly said so. After 1973’s Trinity album he was asked to leave the group by his bandmates, and in the fall of that year he formed a new group Trace, during which time he was replaced by Dutch keyboardist Hans Jansen. Jansen took Ekseption in a jazzier direction, with two LPs of original compositions, but lackluster sales caused the band to break up in 1976. An offshoot band, named Spin, formed later that year and released two more albums, but success also eluded them.[2] In 1978 Trace and Spin merged to become Ekseption once again. Periodic reunions (with new members) appeared until van der Linden’s death in 2006. (by wikipedia)

And here´s their debut album from 1969:

“Ekseption’s idea to record well-known classical themes started in 1968, when the group visited a concert of a British group called The Nice. The six boys were impressed by the way The Nice mixed pop and classical music.
A few weeks after the concert Ekseption was invited to play with one of the finest symphony orchestras in Holland – the North Holland Philharmonic – at a big festival in Haarlem.
The obvious man with Ekseption to handle this project was 22 year old pianist Rick van der Linden, who is also one the promising young classical pianists in Holland. Rick, who finished Conservatory and has played piano recitals with well-known orchestras, started to arrange several classical themes for the festival.
Some weeks before the event, however, Ekseption was told that the orchestra refused to perform with a pop group. That part of the festival was cancelled, but Ekseption stuck to the idea and decided to use the arrangement of Beethoven’s “The 5th” for their new record.
“The 5th” was an instant smash hit and stayed for seven weeks in the national Top Ten. This LP was the result of requests for more ‘classical pop’ from Ekseption’s many fans.” (taken from the original liner notes)


This was their first album, which consisted of covers of classical (which they were best known for), one original, and more. They do a cover of Beethoven’s “Fifth Symphony”, entitled “The 5th”, which actually became a hit. This is basically a rock version of the famous Beethoven composition, with organ, guitar, bass, drums, and horns. The song starts off with the famous symphony version (sounds like a recording sampled from a real symphony orchestra), but then quickly changes to a rock version. They do a cover of JETHRO TULL’s “Dharma For One”, which is quite a bit tamer than the original, not so aggressive. They even include the proper, Ian Anderson-like flute where needed (just like the original). “Little X-Plus” is a band original, and a nice piece with some jazz influence and nice use of flute. “Ritual Fire Dance” is a nice number complete with horns, some ’60s sounding guitar. They also cover George Gershwin’s “Rhapsody in Blue”, which is truly the album’s high point. There’s also Bach’s “Air on G String”, which is the song that PROCOL HARUM borrowed for their hit “A Whiter Shade of Pale”. This of course, is the Bach composition done EKSEPTION style, with harspichord from Rick van der Linden, and horns, and you won’t mistake this for Procol Harum.


EKSEPTION is one of those bands that don’t have much middle ground, you either dig the band or you don’t. It all depends how much you like the idea of a band “rocking the classics”. I still think this is much better than what Apollo 100 done (Apollo 100 was a British group who gave us the hit “Joy”, which was a pop take on Bach’s “Jesu, Joy of Man’s Desiring”, and most of the rest of the stuff they did was rock versions of classical songs, and in my opinion, not as good as what EKSEPTION did). (by proghead)

I include a very rare single from 1967 … Ekseption before Rick van der Linden joined the band …


Rein van den Broek (trumpet)
Cor Dekker (bass, guitar)
Huib van Kampen (guitar, saxophone)
Rob Kruisman (saxophone, flute, guitar, vocals)
Peter de Leeuwe (drums)
Rick van der Linden (keyboards)


01. The 5th (van Beethoven) 3.28
02. Dharma For One (Anderson/Bunker) 3.30
03. Little X Plus (v.d.Brock/Dekker/v.Kampen/Kruisman/d.Leeuwe/v.d.Linden) 3.34
04. Sabre Dance (Khachaturian) 3.50
05. Air (Bach) 2.55
06. Ritual Firedance (de Falla) 2.18
07. Rhapsody In Blue (Gershwin) 4.04
08. This Here (Timmons/Hendricks) 4.15
09. Dance Macabre, opus 40 (Saint-Saëns) 2.26
10. Canvas (Bennett) 2.31
11. Talk About Tomorrow (van Kampen/Kruisman)
12. Mojo Ann (van Kampen/Kruisman)



Rick van der Linden.jpg

Rick van der Linden
(5 August 1946, Badhoevedorp, North Holland – 22 January 2006, Groningen)

Cal Tjader – Along Comes Cal (1967)

FrontCover1.jpgCallen Radcliffe “Cal” Tjader, Jr. (July 16, 1925 – May 5, 1982) was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He explored other jazz idioms, even as he continued to perform the music of Cuba, the Caribbean, and Latin America for the rest of his life.

Tjader played the vibraphone primarily. He was accomplished on the drums, bongos, congas, timpani, and the piano. He worked with many musicians from several cultures. He is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often categorized as “Latin jazz” (or, earlier, “Afro-Cuban jazz”), Tjader’s works swung freely between both styles. His Grammy award in 1980 for his album La Onda Va Bien capped off a career that spanned over forty years. (by wikipedia)


Great stuff – and very very groovy! Cal cut this record for Verve during the height of his swinging 60s Latin years – and he’s working here with arranger Chico O’Farrill, who at the time, was perfectly suited for Cal’s short, jaunty approach to a groove! The album’s filled with nice tracks that bounce along – a bit of bass at the bottom, and plenty of strong vibes and piano. Titles include “Trick or Treat”, “Similau”, and “Green Peppers”, plus his take on “Along Comes Mary” is every bit as groovy as the original by The Association! (by Dusty Groove)

And I guess, Carlos Santana would like this album very much !


Ray Barretto (percussion)
Chick Corea (piano)
Armando Peraza (percussion)
Bobby Rodriguez (bass)
Derek Smith (organ)
Grady Tate (drums)
Cal Tjader (vibraphone)
Carl Burnett (drums on 07. + 10.)
Stan Gilbert (bass on 07. + 10.)
Al Zulaica (piano on 07. + 10.)


01. Quando Quando Que Sera (Farrill/Marak) 2.55
02. Round Midnight (Hanighen/Williams/Monk) 3.10
03. Trick Or Treat (Randazzo/Pike) 2.17
04. Yellow Days (Bernstein/Carrillo) 2.19
05. Our Day Will Come (Hilliard/Garson) 2.37
06. Along Comes Mary (Almer) 3.20
07. Los Bandidos (Tjader) 7.16
08. Similau (Clar/Coleman) 2.49
09. Green Peppers (Lake) 3.25
10. Samba Do Suenho (Tjader) 5.48




“Cal” Tjader, Jr. (July 16, 1925 – May 5, 1982)

Wilson Pickett – The Wicked Pickett (1966)

LPFrontCover1Wilson Pickett (March 18, 1941 – January 19, 2006) was an American singer and songwriter.

A major figure in the development of American soul music, Pickett recorded over 50 songs which made the US R&B charts, many of which crossed over to the Billboard Hot 100. Among his best-known hits are “In the Midnight Hour” (which he co-wrote), “Land of 1,000 Dances”, “Mustang Sally”, and “Funky Broadway”.[2]

Pickett was inducted into the Rock and Roll Hall of Fame in 1991, in recognition of his impact on songwriting and recording. (by wikipedia)

By late 1966 Wilson Pickett had seen plenty of success, having scored three #1 R&B hits. His next big release was a cover of “Mustang Sally”, by fellow singer Mack Rice (whom he had performed with in The Falcons). It was another hit, getting to #6 on the R&B charts and #23 on the pop charts.
His fourth LP was released on the back of the song’s success. It also featured covers of Solomon Burke’s “Everybody Needs Somebody To Love” (which was another Top 20 R&B hit), Gary U.S. Bonds’ “New Orleans”, Eddie Floyd’s “Knock On Wood”, Jerry Ragovoy’s “Time Is On My Side” and several Dan Penn songs. Like all his recordings of that year, it was recorded at Fame Studios in Alabama, and featured among other musicians guitarist Chips Moman, keyboard player Spooner Oldham and drummer Roger Hawkins. The result was another great album of raw and funky southern soul.


A fabulous album, done when Pickett was in the midst of his best period at Atlantic. It had everything — great songs, wonderful production and arrangements, and a hungry, galvanizing Wilson Pickett hollering, screaming, shouting, and soaring on anything he covered, from ballads to uptempo dance and midtempo wailers. It also has been deleted at present. (by Ron Wynn)


Alternate front + back cover from Japan

Ben Cauley (trumpet)
Charles Chalmers (saxophone)
Tommy Cogbill (bass, guitar)
Caple Gilbert (saxophone)
Roger Hawkins (drums)
Jimmy R. Johnson (guitar)
Eddie Logan (saxophone)
Junior Lowe (bass, guitar)
Gene Miller (trumpet)
Chips Moman (guitar)
Floyd Newman (saxophone)
Spooner Oldham (keyboards)
Wilson Pickett (vocals)


01. Mustang Sally (Rice) 3.10
02. New Orleans (Guida) 2.34
03. Sunny (Hebb) 3.13
04. Everybody Needs Somebody To Love (Berns/Wexler/Burke) 2.19
05. Ooh Poo Pah Doo (Hill) 2.36
06. She Ain’t Gonna Do Right (Penn/Oldham) 2.18
07. Knock On Wood (Floyd/Cropper) 2.42
08. Time Is On My Side (Jagger/Richards) 2.37
09. Up Tight Good Woman (Penn/Oldham) 2.33
10. You Left The Water Running (Penn/Hall/Franck) 2.31
11. Three Time Loser (Covay/Miller) 2.23
12. Nothing You Can Do (Womack) 2.13




Wilson Pickett (March 18, 1941 – January 19, 2006)

The Nice – The Thoughts Of Emerlist Davjack (1967)

FrontCover1The Thoughts of Emerlist Davjack is the 1967 debut album by the English psychedelic rock and progressive rock group the Nice. It is considered one of the first albums in the latter genre.

The name Emerlist Davjack is a pseudonym created by combining the last names of the four members of the group; Keith Emerson, David O’List, Brian Davison, and Lee Jackson.

The album was promoted by a sampler (featured on the Castle Communications 2000 box set “Here Come The Nice” (CMETD 055-1)) featuring a commentary by John Peel, which included the following comments:

1967 was a strange year for pop music with groups experimenting with new sounds and bouncing on and off bandwagons with dizzying speed and agility. They were calling themselves ridiculous names and regretting it shortly. The Nice came together in a void and will be here when the others are in pantomime in Wolverhampton.

The cover, photographed by Gered Mankowitz, shows members of the band shirtless, wrapped in cellophane.

The original disc credits all compositions to “Emerlist Davjack”; later releases gave more specific credits.


At the 1967 Windsor Jazz & Blues Festival, lead singer Jackson said the song “Flower King of Flies” was about Beatle Paul McCartney. “The Thoughts of Emerlist Davjack” was used as incidental music for the 1968 children’s television drama “The Tyrant King”, directed by Mike Hodges and written by Trevor Preston for Thames Television, from the London Transport book by Aylmer Hall. The 6-part series also featured music by the Rolling Stones, the Moody Blues and Pink Floyd.

“Rondo” includes a short excerpt from Johann Sebastian Bach’s Toccata & Fugue in D Minor, as well as an extended quote and re-harmonization of the Dave Brubeck Quartet’s “Blue Rondo à la Turk”. “The Cry of Eugene”, which was later re-recorded by Jackson’s group Jackson Heights, refers to “Harlequin & Columbine”.

The album was named as one of Classic Rock magazine’s “50 Albums That Built Prog Rock”.(by wikipedia)


The 1998 Castle Communications reissue (ESM 647) of the only album by the progressive band as a quartet runs circles around every other version of this album on CD, including the material in the 1995 Charly Records box, which was pretty good. Otherwise, the music is a flawed but valiant effort at progressive-type art rock, a little too heavily influenced by spaced-out, druggy psychedelia and suffering severely from the lack of a real singer in the ranks of the band. Keith Emerson’s organ and piano flourishes never sounded crisper, and Davy O’List’s Hendrix-ish guitar is in sharp relief as well. Mostly, though, this record still suffers from the fact that the players had virtually no experience in a recording studio, and seem uncomfortable working without an audience in front of them. (by Bruce Eder)

This album surprised me. The music is a blend of psychedelic and progressive rock, somewhere between The Piper at the Gates of Dawn and Thick as a Brick. Rondo is the centerpiece but inventive and exciting music abounds. The problem is that it is not an instrumental album. The lyrics and vocals are borderline embarrassing. An instrumental version of the album would be a 5* classic. (Jeff Yutzler)


The Nice’s debut album, and the only album released by the band as a quartet, is more of a band-oriented effort than their subsequent works. It shows the group in a more formative stage, playing typically English psychedelic rock with only a few hints of the classical/progressive music they would soon be remembered for. And although this isn’t in the same class as, say, a Pink Floyd or Deep Purple, there is some interesting material here that you’d rarely hear Keith Emerson attempt ever again. Emerson’s keyboard virtuosity manages to peek through in spots here, though he’s not the dominant force in the band quite yet. Regardless, his organ fills in “Flower King of Flies” are bedeviling, dissonant playing in the bluesy “Bonnie K” is unexpected, and pieces like “Rondo” and “War and Peace” rank among his first classical adaptations. He also handles the harpsichord well in the album’s title track.

Music by the Nice even at this stage in Emerson’s career is quite dense and demanding, and is something of an acquired taste, even for prog rock fans. Nevertheless, this album is the band’s most accessible outing, and fans of Emerson, Lake & Palmer may find this album a fascinating piece of history. (Russell Newton)

This is really not the best LP of The Nice (because of the vocals parts), but it was the start of a brilliant career of an organ player called Keith Emerson. And on this album you can hear his first masterpiece … called “Rondo”.


Brian Davison (drums, tubular bells, timpani)
Keith Emerson (keyboards, harpsichord, vocals)
Lee Jackson (bass, guitar, vocals, timpani)
David O’List (guitar, trumpet, flute, vocals)
Billy Nicholls (background vocals on 02.)


01. Flower King Of Flies (Emerson/Jackson) 3.20
02. The Thoughts Of Emerlist Davjack (Emerson/O’List) 2.49
03. Bonnie K (Jackson/O’List) 3.24
04. Rondo (Bach/Brubeck/Emerson/O’List/Davison/Jackson) 8.21
05. War And Peace (Emerson/O’List/Davison/Jackson) 5.13
06. Tantalising Maggie (Emerson/Jackson) 4.35
07. Dawn (Davison/Emerson/Jackson) 5.17
08. The Cry Of Eugene (Emerson/Jackson/O’List) 4.41
09. The Thoughts Of Emerlist Davjack” (Single Version) (Emerson/O’List) 2.49
10. Azrial (Angel of Death)” (Emerson, Jackson) 3.44
11. The Diamond Hard Blue Apples Of The Moon (Davison/Jackson) 2.48



Jimi Hendrix Experience – Axis- Bold As Love (1967)

FrontCover1.jpgAxis: Bold as Love is the second studio album by English-American rock band the Jimi Hendrix Experience. It was recorded to fulfill the Experience’s contract, which stated that they had to produce two records in 1967.Axis: Bold as Love is the second studio album by English-American rock band the Jimi Hendrix Experience. It was recorded to fulfill the Experience’s contract, which stated that they had to produce two records in 1967.
Axis: Bold as Love was first released in the United Kingdom by Track Records in December 1967, as the follow-up to the band’s successful debut Are You Experienced, which had been released in May. Reprise Records chose not to release it in the United States until 1968, because of fears that it might interfere with the sales of the first album. Axis: Bold as Love charted at number five in the UK and number three in the US. The album also peaked at number six on the Billboard R&B chart. (by wikipedia)

Jimi Hendrix’s second album followed up his groundbreaking debut effort with a solid collection of great tunes and great interactive playing between himself, Noel Redding, AdMitch Mitchell, and the recording studio itself. Wisely retaining manager Chas Chandler to produce the album and Eddie Kramer as engineer, Hendrix stretched further musically than the first album, but even more so as a songwriter. He was still quite capable of coming up with spacy rockers like “You Got Me Floating,” “Up from the Skies,” and “Little Miss Lover,” radio-ready to follow on the commercial heels of “Foxey Lady” and “Purple Haze.” But the beautiful, wistful ballads “Little Wing,” “Castles Made of Sand,” “One Rainy Wish,” and the title track set closer show remarkable growth and depth as a tunesmith, harnessing Curtis Mayfield soul guitar to Dylanesque lyrical imagery and Fuzz Face hyperactivity to produce yet another side to his grand psychedelic musical vision. These are tempered with Jimi’s most avant-garde tracks yet, “EXP” and the proto-fusion jazz blowout of “If 6 Was 9.” (by Cub Koda)
This album is all time. Listening to it in the background or superficially, some songs may sound ordinary or be regarded as forgettable. But listening to it intensely, the mind is transported to another plane. It is so psychedelic, so trippy, gets the mind so high, but in a very smooth & refined way. Some ordinary song lyrics, such as Shes So Fine. You Got Me Floating & Ain’t No Telling, are elevated by outstanding music. The song writing/lyrics of the other songs are masterpieces. By the time One Rainy Wishes ends, the mind is so elevated. The final song is so masterful. 5 stars. Easy. (Nicholas Zed)


An absolutely gorgeous collection of songs. Hendrix had the unenviable task of following up one of the most brilliant debut records ever and pulls it off with ease. While there are fewer radio staples on this album, every song is wonderful in its own way. After proving what an innovative and devastating guitar player he was with his 1st record, AXIS is a more mature & relatively laid back album. It contains some of Jimi’s most beautiful ballads and balances his manic fury with more refined sense of finesse in these performances. (Rob Dwyer)


Alternate frontcovers from France and Japan

Jimi Hendrix – vocals, guitar, piano, recorder, glockenspiel on 06.)
Mitch Mitchell – drums, percussion background vocals)
Noel Redding bass, background vocals, vocals on 10.)
footstomping on 07.:
Gary Leeds – Graham Nash
background vocals on 08.:
Graham Nash – Trevor Burton – Roy Wood


01. EXP (Hendrix) 1.55
02. Up From The Skies (Hendrix) 2.55
03. Spanish Castle Magic (Hendrix) 3.05
04. Wait Until Tomorrow (Hendrix) 3.00
05. Ain’t No Telling (Hendrix) 1.46
06. Little Wing (Hendrix) 2.24
07. I Six Was Nine (Hendrix) 5.35
08. You Got Me Floatin’ (Hendrix) 2.45
09. Castles Made Of Sand (Hendrix) 246
10. She’s So Fine (Redding) 2:37
11. One Rainy Wish (Hendrix) 3.40
12. Little Miss Lover (Hendrix) 2.20
13. Bold As Love (Hendrix) 4.11




Attention please:
Don´t forget In six months we celebrate Christmas again !

Manitas de Plata – Same (1967)

FrontCover1.JPGManitas de Plata (born Ricardo Baliardo; 7 August 1921 – 5 November 2014) was a flamenco guitarist born in Southern France. Despite achieving worldwide fame, he was criticized for not following certain rhythmic rules (compás) that are traditional in flamenco.

Ricardo Baliardo was born in a gypsy caravan in Sète in southern France. He became famous by playing each year at the Saintes-Maries-de-la-Mer gypsy pilgrimage in Camargue, where he was recorded live by Deben Bhattacharya.

Manitas de Plata (“Little Hands of Silver” in Spanish) only agreed to play in public ten years after the death of Django Reinhardt, unanimously considered the king of gypsy guitarists. One of his recordings earned him a letter from Jean Cocteau acclaiming him as a creator.

Upon hearing him play at Arles in 1964, Pablo Picasso is said to have exclaimed “that man is of greater worth than I am!” and proceeded to draw on the guitar.

ManitasDePlata01Manitas de Plata garnered fame in the United States only after a photography exhibition in New York, organized by his friend Lucien Clergue. He had recorded his first official album in the chapel of Arles in France, in 1963, for the Phillips label. It was later re-released, in 1967, by the Connoisseur Society label and sold through the Book of the Month Club. This was a popular LP that brought him to the attention of an American audience. An American manager obtained a booking for him to play a concert in Carnegie Hall in New York on November 24, 1965.

He toured the world from 1967, and recorded discs. He played with the dancer Nina Corti. In 1968 he played at the Royal Variety Performance in London.

Manitas de Plata was the father of Jacques, Maurice, and Tonino Baliardo and uncle to Paul, François (Canut), Patchaï, Nicolas and André Reyes (the sons of his cousin, flamenco artist José Reyes (1928-1979), all members of the Catalan Rumba band Gipsy Kings. Australian multi-instrumentalist Chris Freeman, his student in 1971, acknowledged de Plata’s influence and teachings.

Manitas de Plata died in a retirement home in Montpellier on 6 November 2014. The cause of death was not disclosed, although it was reported that de Plata had been in poor health since suffering a severe heart attack in April 2013.

Many members of his own family were also well known flamenco musicians, including his younger brother Hippolyte Baliardo (1928-2009), and his eldest son Manero Baliardo (1940-2012). Another son, Bambo Baliardo, is still an active musician and performer as of 2015. (by wikipedia)

De Plata broke boundaries in traditional flamenco music and became one of the best-known gypsy guitarists—his atypical rhythm patterns were of particular influence upon the style. (by

And here´s one of his very early albums … And I´m really impressed by the intensity of his wonderful guitar playing.


Original front + bak cover

Manitas de Plata (guitar, vocals)


01. Theme Gitan 11.53
02. Espana Mia 3.11
03. Sol De Mi Tierra 3.53
04. Al Son De Mi Guitarra 3.21
05. Sentimiento 4.12
06. Asi Se Toca 2.04
07. Tierra Andaluza 1.50

Music and lyrics written by Manitas de Plata




Manitas de Plata (7 August 1921 – 5 November 2014)