Maurizio Pollini – Chopin (1970)

FrontCover1.JPGMaurizio Pollini (Born: January 5, 1942 – Milan, Italy):

The famous Italian pianist and conductor, Maurizio Pollini, was born in Milan. His father was the architect Gino Pollini, one of the leading representatives of Italian rationalism and also an expert violinist. His mother, Renata Melotti, studied piano and singing and was the sister of the well-known sculptor Fausto Melotti, who had a lasting influence on the young Pollini. Maurizio Pollini, a precocious child, received his first piano lessons in 1948 from Carlo Lonati. He made his debut at 9. From 1955 to 1959 he continued his studies with Carlo Vidusso at the Milan Conservatory and in 1958 he began to study composition with Bruno Bettinelli. After sharing 2nd prize at the Geneva Competition in 1958, he took his diploma in piano at the Milan Conservatory in 1959. He also studied with Arturo Benedetti Michelangeli. In 1960 he was awarded the first prize at the International Chopin Competition in Warsaw and appeared at La Scala, Milan, playing Frédéric Chopin’s First Piano Concerto under Sergiu Celibidache.

Since then Maurizio Pollini has become one of the most admired and respected pianists Maurizio Pollini01of our time and has appeared all over the world with leading orchestras and conductors and as a recitalist. In later years, he made appearances as a conductor, leading concerts from the keyboard and also mounting the podium and taking charge in the opera pit.

Maurizio Pollini is a foremost master of the keyboard. He has won deserved renown for making his phenomenal technical resources a means of exploring a vast repertoire, ranging from J.S. Bach to the cosmopolitan avant-garde. He is particularly renowned for his innovative concert programmes, which champion works by contemporary composers, and contrasts these with those of the Classical and Romantic eras. (bach-cantatas.com)

And here´s one of his many albums with music from Frédéric Chopin:

Frédéric François Chopin (1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose “poetic genius was based on a professional technique that was without equal in his generation.”

Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter—in the last 18 years of his life—he gave only 30 Frédéric Chopin01public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries (including Robert Schumann). In 1835, Chopin obtained French citizenship. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Majorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.

All of Chopin’s compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument: his own performances were noted for their nuance and sensitivity. Chopin invented the concept of the instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J.S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.

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Chopin’s music, his status as one of music’s earliest superstars, his (indirect) association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity. (by wikipedia)

Enjoy this very special and often very intimate piano music !

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Personnel:
Maurizio Pollini (piano)

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Tracklist:
01. Polonaise No. 5 in F sharp minor, Op. 44 / 10.32
02. Nocturne No. 7 in C sharp minor, Op. 27 No. 1 / 4.31
03. Nocturne No. 8 in D flat major, Op. 27 No. 2 / 5.35
04. Ballade No. 1 in G minor, Op. 23 / 8.57
05. Nocturne No. 4 in F major, Op. 15 No. 1 / 4.07
06. Nocturne No. 5 in F sharp major, Op. 15 No. 2 / 3.25
07. Polonaise No. 6 in A flat major, Op. 53 “Heroic” / 6.55

Music composed by Frédéric Chopin

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Neil Young – After The Gold Rush (1970)

FrontCover1.jpgAfter the Gold Rush is the third studio album by Canadian musician Neil Young, released in September 1970 on Reprise Records. It is one of four high-profile albums released by each member of folk rock collective Crosby, Stills, Nash & Young in the wake of their chart-topping 1970 album Déjà Vu. Gold Rush consists mainly of country folk music, along with the rocking “Southern Man”,[6] inspired by the Dean Stockwell-Herb Bermann screenplay After the Gold Rush.

After the Gold Rush peaked at number eight on the Billboard Top Pop Albums chart; the two singles taken from the album, “Only Love Can Break Your Heart” and “When You Dance I Can Really Love”, made it to number 33 and number 93 respectively on the Billboard Hot 100. Despite a mixed initial reaction, it has since appeared on a number of “greatest albums” lists.

Initial sessions were conducted with backing band Crazy Horse at Sunset Sound Studios in Los Angeles amid a short winter 1970 tour that included a well-received engagement with Steve Miller and Miles Davis at the Fillmore East. Despite the deteriorating health of rhythm guitarist Danny Whitten, the sessions yielded two released tracks, “I Believe In You” and “Oh, Lonesome Me.”

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Most of the album was recorded at a makeshift basement studio in Young’s Topanga Canyon home during the spring with Crosby, Stills, Nash, & Young bassist Greg Reeves, Crazy Horse drummer Ralph Molina and burgeoning eighteen-year-old musical prodigy Nils Lofgren of the Washington, D.C.-based band Grin on piano. The incorporation of Lofgren was a characteristically idiosyncratic decision by Young: Lofgren had not played keyboards on a regular basis prior to the sessions. (Along with Jack Nitzsche, Lofgren would join an augmented Crazy Horse sans Young before enjoying success with his own group, solo cult success and a 25-year membership in Bruce Springsteen’s E Street Band). The Young biography Shakey[8] claims Young was intentionally trying to combine Crazy Horse and CSNY on this release, with members of the former band appearing alongside Stephen Stills (who contributed backing vocals to “Only Love Can Break Your Heart”) and Reeves. The cover art is a solarized image of Young, walking past the New York University School of Law campus, passing an old woman. The picture was taken by photographer Joel Bernstein and was reportedly out of focus. It was because of this he decided to mask the blurred face by solarizing the image. The photo is cropped; the original image included Young’s friend and CSNY bandmate Graham Nash.

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Songs on the album were inspired by the Dean Stockwell-Herb Bermann screenplay for the unmade film After the Gold Rush. Young had read the screenplay and asked Stockwell if he could produce the soundtrack. Tracks that Young recalls as being written specifically for the film are “After the Gold Rush” and “Cripple Creek Ferry.”[11] The script has since been lost, though has been described as “sort of an end-of-the-world movie.” Stockwell said of it, “I was gonna write a movie that was personal, a Jungian self-discovery of the gnosis… it involved the Kabala (sic), it involved a lot of arcane stuff.” Graham Nash claims that “Only Love Can Break Your Heart” was written for him about the pains he was going through with his break up from Joni Mitchell.

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According to the Neil Young Archives, After the Gold Rush was released on September 19, 1970. One month later, on October 24, the lead single “Only Love Can Break Your Heart” entered the Billboard Hot 100 chart.

It was voted number 62 in Colin Larkin’s All Time Top 1000 Albums 3rd Edition (2000). (by wikipedia)

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In the 15 months between the release of Everybody Knows This Is Nowhere and After the Gold Rush, Neil Young issued a series of recordings in different styles that could have prepared his listeners for the differences between the two LPs. His two compositions on the Crosby, Stills, Nash & Young album Déjà Vu, “Helpless” and “Country Girl,” returned him to the folk and country styles he had pursued before delving into the hard rock of Everybody Knows; two other singles, “Sugar Mountain” and “Oh, Lonesome Me,” also emphasized those roots. But “Ohio,” a CSNY single, rocked as hard as anything on the second album. After the Gold Rush was recorded with the aid of Nils Lofgren, a 17-year-old unknown whose piano was a major instrument, turning one of the few real rockers, “Southern Man” (which had unsparing protest lyrics typical of Phil Ochs), into a more stately effort than anything on the previous album and giving a classic tone to the title track, a mystical ballad that featured some of Young’s most imaginative lyrics and became one of his most memorable songs. But much of After the Gold Rush consisted of country-folk love songs, which consolidated the audience Young had earned through his tours and recordings with CSNY; its dark yet hopeful tone matched the tenor of the times in 1970, making it one of the definitive singer/songwriter albums, and it has remained among Young’s major achievements. (by William Ruhlmann)

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Personnel:
Jack Nitzsche (piano)
Nils Lofgren (guitar, piano, vocals)
Ralph Molina (drums, vocals)
Greg Reeves (bass)
Billy Talbot (bass)
Danny Whitten (guitar, vocals)
Neil Young (vocals, guitar, piano, harmonica, vibraphone)
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Bill Peterson (flugelhorn)
Stephen Stills (vocals)

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Tracklist:
01. Tell Me Why (Young) 2.58
02. After The Gold Rush (Young) 3.45
03. Only Love Can Break Your Heart (Young) 3.07
04. Southern Man (Young) 5.30
05. Till The Morning Comes (Young) 1.15
06. Oh, Lonesome Me (Gibson) 3.50
07. Don’t Let It Bring You Down (Young) 2.57
08. Birds (Young) 2.33
09. When You Dance I Can Really Love (Young) 4.03
10. I Believe In You (Young) 3.25
11. Cripple Creek Ferry (Young) 1.31

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Well I dreamed I saw the knights in armor comin’
Sayin’ something about a queen
There were peasants singin’ and drummers drummin’
And the archer split the tree
There was a fanfare blowin’ to the sun
That was floating on the breeze
Look at Mother Nature on the run
In the 1970s
Look at Mother Nature on the run
In the 1970s

I was lyin’ in a burned out basement
With the full moon in my eyes
I was hopin’ for replacement
When the sun burst though the sky
There was a band playin’ in my head
And I felt like getting high
I was thinkin’ about what a friend had said
I was hopin’ it was a lie
Thinkin’ about what a friend had said
I was hopin’ it was a lie

Well, I dreamed I saw the silver space ships flyin’
In the yellow haze of the sun
There were children cryin’ and colors flyin’
All around the chosen ones
All in a dream, all in a dream
The loadin’ had begun
Flying Mother Nature’s silver seed
To a new home in the sun

Supersister – Present From Nancy (1970)

FrontCover1.jpgwas a Dutch band from The Hague, Netherlands, active during 1970–1974, 2000–2001 and 2010–2011. They played progressive rock ranging from jazz to pop, and although Dutch, they are generally considered to be part of the Canterbury scene due to their playfulness and complicated sound. The most predominant band members were Robert Jan Stips (keyboards, vocals), Sacha van Geest (flute), Ron van Eck (bass) and Marco Vrolijk (drums).

The band started in 1967 as Sweet OK Supersister as a school band with singer and songwriter Rob Douw, who soon thereafter left. The remaining members continued as a more serious musical quartet under the name Supersister. Their style was progressive rock in which Stips’ keyboards played a dominant role.

Their debut was the 1970 album, Present from Nancy, with charting singles such as “She Was Naked”, “A Girl Named You”, and “Radio”. In that year they also played on the main stage of the famous Kralingen Music Festival, “the Dutch Woodstock”. After the three albums Present from Nancy (1970), To the Highest Bidder (1971), and Pudding en Gisteren (1972), Van Geest and Vrolijk quit. The remaining crew, together with new members Charlie Mariano (wind instruments) and Herman van Boeyen (drums) released the album Iskander in 1973, which is a jazz-rock oriented concept album based upon the life of Alexander the Great.

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In 1974, Stips and van Geest released a final studio album, Spiral Staircase [nl], using the band name Sweet Okay Supersister. This marked the end of the band.

The band reunited in 2000, after a request by the Progfest festival for a performance in Los Angeles. The four 1970–1973 period band members decided to accept and the result was the requested performance, as well as a short tour through the Netherlands in late 2000 and early 2001. To mark the occasion a rarities album was released, called Memories Are New – M.A.N. (2000) featuring live and studio recordings from 1969–1973. The reunion abruptly came to an end when van Geest unexpectedly died of heart failure in the summer of 2001. The reunion concert at the Paradiso in Amsterdam was recorded and later released on CD (Supersisterious, 2001) and DVD (Sweet OK Supersister, 2006), which also featured several old and new documentaries, photographs and unreleased audio tracks.

The band reunited once more, as a three piece, in 2010 for two songs in a televised celebration concert for 50 years of Dutch pop music. After this the band was scheduled to play at NEARfest 2011. Rehearsals were started, but the appearance at the festival had to be cancelled when Ron van Eck became seriously ill (he was already battling leukemia for a while) and eventually died in July 2011. (by wikipedia)

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There are few bands who have managed to record such a strong, fully developed first album after only two years of existence. Supersister’s debut effort remains one of Holland’s best progressive rock albums and a classic of the genre worldwide, even though the group garnered only fringe interest outside of Europe. All the elements of the group’s sound are already firmly in place: Sacha VanGeest’s soothing flute lines, Robert Jan Stips’ far-out keyboard sounds, and the group’s wacky humor. The recipe has yet to reach its full, unique potential — one too easily detects specific influences, mostly that of Soft Machine (the fuzz bass in “Metamorphosis”), Caravan (“Memories Are New” and the multi-part, suite-like structure of some songs), and the Mothers of Invention (the comic relief 90 seconds of “Corporation Combo Boys,” concluding with the following lyric sung in four-part harmony: “We listen with attention to the Mothers of Invention”).

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The title track is the jazziest song of the set and features one of VanGeest’s most memorable flute lines. “Memories Are New” and “Metamorphosis” are both Canterbury-esque prog rockers, with Dave Sinclair-like organ sounds, complex rhythms, and dry English humor. One thinks of Egg’s first album or Caravan circa If I Could Do It All Over Again…. With its choral organ/vibes theme, “Dona Nobis Pacem” illustrates a more classically inclined side of the band. After the raucous experiments and craziness of the previous tracks, this delicate, carefully built piece can seem slightly out of character — at least until Stips breaks out into a circus-like calliope motive, reaffirming one last time that Supersister shall be known for their serious lack of seriousness. (by François Couture)

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Personnel:
Ron van Eck (bass)
Sacha van Geest (flute, vocals)
Robert Jan Stips (keyboards, vibraphone, vocals)
Marco Vrolijk (drums, percussion, vocals)

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Tracklist:

Present From Nancy (8.02):
01. Introductions (Stips/v.Eck) 2.57
02. Present From Nancy (Stips/v.Eck) 5.12

Memories Are New (Boomchick) (9.49)
03. Memories Are New (Stips/v.Eck) 3.47
04. 11/8 (Stips/v.Eck) 3.16
05. Dreaming Wheelwhile (Stips/v.Eck)

06. Corporation Combo Boys (Stips) 1.21

Metamorphosis (8:03)
07. Mexico (Stips) 4.21
08. Metamorphosis (Stips) 3.27
09. Eight Miles High (Stips) 0.19

10. Dona Nobis Pacem (Oosterhout/v.Eck/v.Geest/Stips/Vrolijk) 6.33
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11. She Was Naked (single A-side) (Stips) 3.44
12. Spiral Staircase  (single-B-side) (Stips/v.Eck) 3.04
13. Fancy Nancy (single A-side) (Stips) 1.46
14. Gonna Take Easy (single-B-side) (Oosterhout/v.Eck/v.Geest/Stips/Vrolijk) 2.43

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Euclid – Heavy Equipment (1970)

OriginalFrontCover1Euclid’s “Heavy Equipment”(“Flying Dutchman Amsterdam” AMS-12005) is perhaps the best example of the merging of the 60’s Psychedelic with Hard-Rock.

“The Euclid” ‘s musicians themselves were of an excellent caliber and very experienced; “Ralph Mazzota” who plays guitar coming from “Lazy Smoke” and the other members, “Gary Leavitt” (rhythm guitar, lead vocals), “Jay Leavitt” (drums, vocals) coming from “The Cobras” and “Maris Neibergers” (bass guitar).

This Maine – based group contained the Leavitt brothers who had previously led the Cobras and Ralph Mazzota from Lazy Smoke. Pedigree aside, this is a powerful and inventive psychedelic heavy rock album(!) that stands on its own as a great work. With its backwards bits and oddly-effected vocals, the album, which was produced by Bobby Hearne, stands with one foot in the 1960s and one in the 1970s – leaning into the tracks with a heavy – handed metallic attitude. The album is recommended. Gary Leavitt was killed in 1975, which effectively ended the band – a popular live attraction in the Northeast through 1974. Jay Leavitt still performs with his group Bluesberry Jam in the Maine area.

“Jay and Gary Leavitt, along with Bobby Herne, made their first musical rumblings in 1966 as the Cobras, releasing the New England garage classic ‘I Wanna Be Your Lover’/’Instant Heartache.’ Fast-forward to 1970 and the brothers, joined by Ralph Mazotta (ex-Lazy Smoke) and Harold Perino Jr. (aka ‘Maris’), transformed into the hard psychedelic aggro Euclid, signed to Bob Thiele’s Flying Dutchman subsidiary Amsterdam and were one of the few (only?) ‘rock’ releases on either label (a notable exception being the rare Minx soundtrack by The Cyrkle). Herne, manning the producer’s chair (a role he would later repeat for The Shaggs’ Philosophy Of The World LP), created a ‘bad trip’ spiked with backwards tape effects, darkly-phrased vocals, all instruments set to ‘pummel’ and an album title certainly eligible for the ‘truth in advertising’ award! Tread carefully dear listener, as Gary, Bobby, Maris and Bob have all passed on due to various circumstances over the years…” (by ChrisGoesRock)

(More informations in the file)

A real heavy rarity from this period of Rock Music !

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Personnel:
Jay Leavitt (drums, vocals)
Gary Leavitt (guitar, vocals)
Ralph Mazzota (vocals, guitar)
Maris Neibergers (bass)

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Tracklist:
01.1. Shadows Of Life (G.Leavitt) 3.02
01.2.On The Way (Mazotta) 4.37
01.3. Bye Bye Baby (G.Leavitt) 4.38
02. Gimme Some Lovin’ (Davis/Winwood) 3.43
03. First Time Last Time (G.Leavitt) 2.56
04. Lazy Livin (G.Leavitt) 6.02
05. 97 Days  3.15
06. She’s Gone (G.Leavitt) 2.53
07. It’s All Over Now  (B.Womack/S,Womack) 3.24

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Ginger Baker´s Airforce – Same (1970)

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Ginger Baker, wild and brilliant Cream drummer, dies aged 80

Drummer who straddled jazz, blues and rock ‘passed away peacefully’

Ginger Baker, one of the most brilliant, versatile and turbulent drummers in the history of British music, has died aged 80.

His family had previously made it public that he was critically ill and asked fans to “please keep him in your prayers”. His Facebook page said he “passed away peacefully” on Sunday morning.

Paul McCartney was among those paying tribute, writing on Twitter: “Great drummer, wild and lovely guy … Sad to hear that he died but the memories never will.”

Baker was born in 1939 in Lewisham, south London, and grew up amid the blitz; his father was killed in action in 1943. He began drumming in his mid-teens, remembering in 2009: “I’d never sat behind a kit before, but I sat down – and I could play! One of the musicians turned round and said, ‘Bloody hell, we’ve got a drummer’, and I thought, ‘Bloody hell, I’m a drummer!’”

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Early work came with the jazz guitarist Diz Disley – which ended when an 18-year-old Baker set fire to a hotel while on tour in Europe – and with bandleader Terry Lightfoot. He played blues in Blues Incorporated – including guest appearances with an early incarnation of the Rolling Stones – and US R&B with the Graham Bond Organisation, both alongside Jack Bruce on bass guitar.

Despite considerable friction between Baker and Bruce, the pair in 1966 formed Cream with Eric Clapton, who had previously played with the Yardbirds and John Mayall. Cream helped define the psychedelic rock sound of the decade, with Baker bringing both a jazz sensibility – Toad, from debut album Fresh Cream, features one of the first ever drum solos in rock – and a hard-hitting style, using two bass drums, that pointed towards heavy metal.

Cream sold more than 15m records worldwide and had hits including Sunshine of Your Love, Strange Brew and White Room; three of their four albums reached both the US and UK top five.

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The band split in 1968, releasing a final album in 1969. A reunion in 2005 ended in animosity, with Baker and Bruce shouting at each other on stage in New York. In 1969, Baker and Clapton formed the short-lived band Blind Faith with Steve Winwood and Ric Grech, and the latter pair joined Baker in his next project, jazz-rock band Ginger Baker’s Air Force.

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Baker moved to Nigeria in 1971 and set up the Batakota recording studio in Lagos, which hosted local musicians as well as established stars (McCartney’s band Wings recorded part of Band on the Run there). He performed with Nigerian star Fela Kuti – “he understands the African beat more than any other westerner,” said Kuti’s drummer Tony Allen – and went on to collaborate or perform with a hugely varied array of musicians: Public Image Ltd, Hawkwind, hard rock band Baker Gurvitz Army, and jazz performers Max Roach, Art Blakey and Elvin Jones. In 1994, he formed a jazz trio with Charlie Haden and Bill Frisell.

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He had spells living in Italy, California, Colorado and South Africa, and developed a passion for polo. In 2008, when living in South Africa, he was defrauded of more than £30,000 by a bank clerk he had hired as a personal assistant. He also suffered from various health issues, including respiratory illness and osteoarthritis, and underwent open heart surgery in 2016. “God is punishing me for my past wickedness by keeping me alive and in as much pain as he can,” he said in 2009.

That wickedness perhaps included his notorious temper – “I used to be mean – I’d deliberately mess up recording sessions with my temper and go mad at the slightest thing,” he said in 1970. He was married four times – “If a plane went down and there was one survivor, it would be Ginger. The devil takes care of his own,” first wife Elizabeth Ann Baker said in 2009 – and used heroin on and off since the mid-60s: he told the Guardian in 2013 that he relapsed “something like 29 times”.

A documentary, Beware of Mr Baker, was made about his life in 2012. He is survived by his three children, Kofi, Leda and Ginette.(by Ben Beaumont-Thomas, The Guardian)

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To hnor this great drummr, here´s his first album wih his “Air Force” group:

Ginger Baker’s Air Force is the eponymous debut album by Ginger Baker’s Air Force, released in 1970. This album is a recording of a sold-out live show at the Royal Albert Hall, on 15 January 1970, with the original 10-piece line up. The gatefold LP cover was designed left-handed; i.e. the front cover artwork was on what traditionally would be considered the back and vice versa. (by wikipedia)

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For a change, the late 1960s yielded up a supergroup that lived up to its hype and then some. Ginger Baker’s Air Force was recorded live at Royal Albert Hall in January of 1970 — in fact, this may be the best-sounding live album ever to come out of that notoriously difficult venue — at a show that must have been a wonder to watch, as the ten-piece band blazed away in sheets of sound, projected delicate flute parts behind multi-layered African percussion, or built their songs up Bolero-like, out of rhythms from a single instrument into huge jazz-cum-R&B crescendos. Considering that this was only their second gig, the group sounds astonishingly tight, which greatly reduces the level of self-indulgence that one would expect to find on an album where five of the eight tracks run in excess of ten minutes. There aren’t too many wasted notes or phrases in the 78 minutes of music included here, and Steve Winwood’s organ, Baker, Phil Seamen, and Remi Kabaka’s drums, and the sax playing by Chris Wood, Graham Bond (on alto), and Harold McNair, all stand out, especially the sax trio’s interwoven playing on “Don’t Care.”

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Additionally, Denny Laine plays louder, flashier, more virtuoso-level guitar than he ever got to turn in with the Moody Blues, bending notes in exquisite fashion in the opening of Air Force’s rendition of the Cream standard “Toad,” crunching away on rhythm elsewhere, and indulging in some more introspective blues for “Man of Constant Sorrow.” The original CD reissue, which sounded pretty good, was deleted in the early ’90s, but this album has been remastered again and repackaged as part of the Ginger Baker retrospective Do What You Like on Polygram’s Chronicles series. It’s a must-own for jazz-rock, Afro-fusion, blues-rock, or percussion fans. (by Bruce Eder)

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Personnel:
Ginger Baker (drums, percussion, vocals)
Graham Bond (organ, saxophone, vocals)
Ric Grech (bass, violin on 06.)
Jeanette Jacobs (vocals)
Remi Kabaka (drums, percussion)
Denny Laine – guitars, vocals on 06.)
Harold McNair (saxophones, flute)
Phil Seamen (drums, percussion)
Steve Winwood (organ, bass on 06., vocals on 03. + 07.)
Chris Wood (saxophone, flute)

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Tracklist:
01. Da Da Man (McNair) 7.14
02. Early in the Morning (Traditional) 11.17
03. Don’t Care (Baker/Winwood) 12.29
04. Toad (Baker) 13.00
05. Aiko Biaye (Kabaka/Osei) 13.01
06. Man Of Constant Sorrow (Traditional) 3.55
07. Do What You Like (Baker) 11.39
08. Doin’ It (Baker/Grech) 5.29

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Peter Edward “Ginger” Baker (19 August 1939 – 6 October 2019)

REST IN PEACE !

Brownsville Station – No BS (1970)

FrontCoverA1.jpgBrownsville Station is an American rock band from Michigan that was popular in the 1970s. Original members included Cub Koda (guitarist/vocalist), Mike Lutz (guitarist/vocalist), T.J. Cronley (drummer), and Tony Driggins (bassist/vocals). Later members included Henry “H-Bomb” Weck (drummer) and Bruce Nazarian (guitarist/vocalist).

They are remembered for the top-10 hit single “Smokin’ in the Boys Room” (1973).

Brownsville Station was formed in Ann Arbor, Michigan in 1969. Brownsville Station’s early albums included song covers from bands which had inspired them.[2] In 1970, they released their debut studio album, No BS, on a Warners Bros. label. Their biggest hit, “Smokin’ in the Boys Room”, written by Michael Lutz & Cub Koda, from their 1973 album Yeah!, reached No. 3 on U.S. Billboard Hot 100 chart and No. 27 in the UK Singles Chart. The track sold over two million copies and was awarded a gold disc status by the RIAA on 15 January 1974.

In 1977, Brownsville Station recorded “Martian Boogie”, one of their seven singles to chart on the Hot 100.[4] The song was also a feature on Dr. Demento’s radio show. “(Lady) Put The Light On”, their penultimate single, also charted in the Hot 100, at 46.

After drummer Cronley left the band, Van Wert, Ohio native Henry “H-Bomb” Weck was called on to fill the position left by Cronley.

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The band’s second-highest Billboard charting single was “Kings of the Party” which topped out at No. 31 in 1974.

Original members of Brownsville Station disbanded in 1979 and their final studio album together, Air Special, was released by Epic in 1978.

Cub Koda was the most visible Brownsville Station member after their break up. He recorded a number of solo albums and toured with his own group The Points as well as blues man Hound Dog Taylor’s backing band The Houserockers. His solo repertoire included the albums Cub Koda and the Points, It’s the Blues, Box Lunch and the career spanning compilation Welcome to My Job. In addition, Koda, a rabid collector of rockabilly, doo wop and blues, wrote liner notes for numerous retro releases (including Jimmy Reed, Freddy Cannon and The Kingsmen) and countless music reviews for the All Music Guide series of books and website. He also wrote a popular column (“The Vinyl Junkie”) for Goldmine magazine and co-authored the book Blues For Dummies. In addition, he hosted The Cub Koda Crazy Show for Massachusetts radio station WCGY during a period in the early 80s. Koda died of kidney disease in July 2000 at the age of 51.

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Mike Lutz went on to produce many bands, including Ted Nugent’s Spirit of the Wild album, and toured in the 1990s with Nugent. Lutz still resides in Ann Arbor, teaches guitar and bass at a local music store called Oz’s Music, writes and produces many acts.

While still in Brownsville Station, Henry Weck engineered and co-produced the Strikes album for Blackfoot, which produced two hit singles, Highway Song and Train Train (on which Koda played harmonica). Weck continues to record and produce in Memphis, in Ann Arbor at Lutz’s Tazmania Studios and is the co-driving force of the re-united Brownsville Station.

After T. J. Cronley left Brownsville Station, he spent a career in the U.S. Marine Corps as a Marine aviator, and retired as a lieutenant colonel in 1992. He is currently a pilot for FedEx and resides in Yuma, Arizona. He is also an artist.

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Bruce Nazarian went on to produce, engineer and perform with his band “The Automatix”, who released their debut LP on MCA in 1983. He was the CEO of Digital Media Consulting Group and ran a popular digital media website “TheDigitalGuy.com”. Nazarian also produced and hosted The Digital Guy radio show in addition to being a music producer, concert impresario and artist manager. His last band, “The Brotherhood” is slated to release their debut CD “(It’s) All About The Groove” in early 2016. Nazarian died in October 2015.

In 2008, Brownsville Station was inducted into the Michigan Rock and Roll Legends Hall of Fame.

Through the band’s early days, Weck captured over 500 hours of Brownsville demos, rehearsals, live shows and even some special events. In 2012, Lutz and Weck began sorting through the recordings in Lutz’s Tazmania Studio. The result is Still Smokin’, featuring new songs and updated versions of the band’s “My Friend Jack” and “Smokin’ In The Boys Room”.

Augmented by new players Billy Craig, Arlen Viecelli and Brad Johnson, Brownsville Station returned to the road in 2013.

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In the television series King of the Hill, Brownsville Station is part of the subplot in Episode 10 Season 10 entitled Hank Fixes Everything. The band is a favorite of the character Lucky, who camps outside the ticket booth to purchase seats for prime viewing of Mike Lutz playing guitar.

Brownsville Station’s early influences included Chuck Berry, Bo Diddley, Jerry Lee Lewis, and other 1950s rock and roll musicians. Koda’s onstage antics influenced many rockers including Peter Wolf and Alice Cooper (by wikipedia)

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1969 saw Brownsville Station signed to Punch Andrew’s Detroit-based Palladium label where the made their label debut with the single:

– 1969’s ‘Be-Bop Confidential’ b/w ‘City Life’ (Palladium catalog number H 1075)

The single sold well locally, leading Palladium to finance a supporting album – 1970’s “No BS”. Curiously. anyone whose knowledge of Brownsville Station was limited to their hit ‘Smokin’ In the Boys’ Room’ was liable to be a bit confused and perhaps disappointed by their debut collection. Mind you, it wasn’t a bad album, but unless you lived in Detroit and saw some of the band’s live shows, as the band’s ‘roots’ album, the collection’s heavy reliance on covers of popular 1950s rock and R&B chestnuts was probably going to prove somewhat unexpected. So here’s the god news; the album served as a pretty good representation of the band’s Marshall amp powered live shows. Yeah there were plenty of covers, but the performances were uniformly enthusiastic (these guys were foremost fans of these musical genre) and while remaining true to the spirit of the originals, most of their arrangements were at least somewhat updated and more rock oriented (back to those towering stacks of Marshall speakers that Cubby Koda would apparently climb and jump off of). (by RDTEN1)

But this was only the start of a real underrated band from Michigan !

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ROCKS LIKE A MOTHERFUCKA DOING 75 ON THE FREEWAY
This album rocks like a MOTHERFUCKER. it’s one of the best sounding (recording) hard rock albums of its era that i have ever heard (i have a wlp promo copy, so i dunno if it has any sonic variations from the original Palladium pressing, or the retail Warner Bros pressing).

the drummer is INSANE. great guitar sound, the whole thing is straight up “live band in the studio,” tape rolling. no overdubs. (vocals probably). I love this album and always have.

and it’s got the BEST Roadrunner kickass version like ever. E V E R! (mike_in_oakland)

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Personnel:
Tony Driggins (bass)
T.J. Cronley (drums)
Cubby Koda (vocals, guitar, harmonica)
Michael Lutz (vocals, guitar, clarinet)
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Big Jim Bruzzese (percussion)
Pat McCaffrey (keyboards)
Al Nali, Sr. (accordion)
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The Applesaucettes (background vocals)

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Tracklist:
01. Be-Bop Confidential (Vincent/Hargrave/Davis) 2.24
02. Guitar Train (Lutz) 2.06
03. Rockin’ Robin (Byrd) 2.46
04. Blue Eyed Girl (Lutz) 2.46
05. City Life (Lutz/Driggins) 3.02
06. Do The Bosco (Koda/Lutz) 2.37
07. Roadrunner (McDaniels) 2.38
08. Hello, Mary Lou (Pitney) 3.06
09. Cadillac Express (Koda) 2.30
10. My Boy Flat-Top (Bennett/Young) 2.02
11. Rumble (Wray) 3.04

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Pentangle – Sister Cruel (1970)

FrontCover1.jpgCruel Sister was an album recorded in 1970 by folk-rock band Pentangle. It was the most folk-based of the albums recorded by the band, with all the tracks being versions of traditional songs. Whereas their previous album had been produced by Shel Talmy, and featured quite a heavily produced, commercial sound, Cruel Sister was produced by Bill Leader, noted for his recordings of folk musicians.

“Lord Franklin” is a version of the traditional ballad, also known as “Lady Franklin’s Lament”, which describes Sir John Franklin’s ill-fated expedition to discover the Northwest Passage. John Renbourn sings the lead vocal and plays both acoustic and electric guitar.

“Cruel sister”, the song which provides the title for the album, is a traditional ballad (known in some versions as The Twa Sisters), telling the story of the violent rivalry between two sisters for the love of a knight.

The whole of side two of the album is taken up with an extended version of the ballad “Jack Orion”, previously recorded by Jansch on his own Jack Orion album. “Jack Orion” is a version of the Child ballad “Glasgerion”. The arrangement on Cruel Sister develops through several sections with different rhythms and instrumentation.

The album cover features engravings by Albrecht Dürer. The front cover displays his “The Men’s Bath” (Das Männerbad) (date unknown). The picture on the back cover is his The Sea Monster (Das Meerwunder), dating from 1498. (by wikipedia)

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Originally released in 1970, this was the fourth release from the British folk-rock group Pentangle and may qualify as their swan song. With only five songs, Jacqui McShee, Bert Jansch, John Renbourn, Terry Cox, and Danny Thompson create a dense, layered sound that is woven within the fabric of each song like a tapestry. Although known for their eclectic approach and love of jazz, here the group concentrates on traditional material like “A Maid That’s Deep in Love” and the 18-minute “Jack Orion.” A Pentangle fan will immediately note that John Renbourn is playing an electric guitar on “A Maid That’s Deep in Love.” This departure from purely acoustic doesn’t create a bigger Fairport Convention or Steeleye Span sound but is imbedded quietly into the song.

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What really sets both this song and “When I Was in My Prime” apart is McShee’s clear, vibrant vocals. On “When I Was in My Prime,” she sings unaccompanied, proving that her talent runs as deep as the better-known Jansch and Renbourn. The seven-minute title cut also features McShee singing an absolutely lovely ballad with darker undertones. Renbourn sings the enjoyable though straightforward “Lord Franklin.” The crowning jewel of this masterpiece is the epic “Jack Orion,” though one has difficulty imagining what possessed Pentangle to record a folk song that took up an entire side of an album. Jansch shares vocals with McShee on this multiple part song, and generous time is left for Renbourn to turn in a bluesy, then jazzy, electric solo. Cruel Sister shows Pentangle at their artistic height, combining all of their skill and inspiration to create a vital and enduring album. (by Ronnie D. Lankford, Jr.)

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Personnel:
Terry Cox (drums, percussion, dulcitone, vocals)
Bert Jansch (guitar, dulcimer, concertina, recorder, vocals)
Jacqui McShee (vocals)
John Renbourn (guitar, sitar, recorder, vocals)
Danny Thompson – double bass (1, 4, 5)

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Tracklist:
01. A Maid That’s Deep In Love 5.27
02. When I Was In My Prime 2.53
03. Lord Franklin 3.28
04. Cruel Sister 7.00
05. Jack Orion 18.36

All songs: Traditionals

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German labels