St. Louis Symphony Orchestra (Walter Susskind) – Ma Vlast (Smetana) (2004)

FrontCover1The nation’s second-oldest orchestra, the SLSO traces its roots to 1880 with the founding of the St. Louis Choral Society by Joseph Otten, recognized as the SLSO’s first Music Director. The St. Louis Symphony Society was formed ten years later when, in the spring of 1890, the St. Louis Choral Society absorbed the St. Louis Musical Union, a small symphonic group that was organized in 1881 by August Waldauer. Upon consolidation of these two groups, the name of the Choral Society was changed to St. Louis Choral-Symphony Society. In 1907, when Max Zach assumed the leadership of the orchestra, it became known as the St. Louis Symphony Society. Shortly after this change, musicians were first hired for a 20-week regular season.

The SLSO has performed in five buildings since its founding in 1880: the first concerts took place in the Mercantile Library Hall; the St. Louis Grand Exposition Hall, at Olive and Thirteenth Streets, was its second home; near the turn of the century, the Odeon at Grand and Finney; and in 1934 the orchestra moved to Kiel Auditorium. In 1968, it moved to its first permanent home, Powell Hall in Grand Center, the current home of the orchestra.

Over its 140-year-plus history, the SLSO has had 13 Music Directors. They include Joseph Otten (1880-1894), Alfred Ernst (1894-1907), Max Zach (1907-1921), Rudolph Ganz (1921-1927), Vladimir Golschmann (1931-1958), Eduard van Remoortel (1958-1962), Eleazar de Carvalho (1963-1968), Walter Susskind (1968-1975), Jerzy Semkow (1975-1979), Leonard Slatkin (1979-1996), Hans Vonk (1996-2002), David Robertson (2005-2018), and Stéphane Denève (2019-present). (

Jan Walter Susskind (1 May 1913 – 25 March 1980) was a Czech-born British conductor, teacher and pianist. He began his career in his native Prague, and fled to Britain when Germany invaded the city in 1939. He worked for substantial periods in Australia, Canada and the United States, as a conductor and teacher.

Süsskind was born in Prague. His father was a Viennese music critic and his Czech mother was a piano teacher. At the State Conservatorium he studied under the composer Josef Suk, the son-in-law of Dvořák. He later studied conducting under George Szell, and became Szell’s assistant at the German Opera, Prague, making his conducting debut there with La traviata; early in his career, he was often known as H. W. Süsskind (H for Hans or Hanuš).

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Susskind was conducting a concert in Amsterdam in March 1939 when Germany occupied Czechoslovakia, and his mother advised him not to return home. (She was later interned in Theresienstadt but survived the war). With the help of a British journalist and consular officials, he arrived in Britain as a refugee. He formed the Czech Trio, a chamber ensemble in which he was the pianist. Encouraged by Jan Masaryk, the Czech ambassador in London, the trio obtained many engagements.

In 1942 Susskind joined the Carl Rosa Opera Company as a conductor, working with singers such as Heddle Nash and Joan Hammond, and married (1943-1953) the British cellist Eleanor Catherine Warren. In 1944 he made his first recording for Walter Legge of EMI, conducting Liu’s arias from Turandot with Hammond.

After the war, Susskind became a naturalised British citizen, and though he spent much of his subsequent career outside Britain, he said he would never dream of giving up his British citizenship.

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Susskind’s first appointment as musical director was to the Scottish Orchestra, where he served from 1946 to 1952. He and his wife divorced in 1953. From 1953 to 1955 he was the conductor of the Melbourne Symphony Orchestra (then known as the Victorian Symphony Orchestra). After free-lancing in Israel and South America he was appointed to head the Toronto Symphony Orchestra (TSO) from 1956 to 1965.

In 1960 he founded the National Youth Orchestra of Canada.[1] While with the TSO he taught conducting at The Royal Conservatory of Music where among his pupils were Milton Barnes and Rudy Toth.

From 1968 to 1975 he was conductor of the St. Louis Symphony Orchestra with which he made more than 200 recordings. During his seven-year tenure with St. Louis, he taught across the Mississippi River at Southern Illinois University Edwardsville. He was also closely involved with the Mississippi River Festival, an annually recurring outdoors crossover concert series organised by the local university.

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Susskind served as artistic advisor of the Cincinnati Symphony Orchestra from 1978 until his death in 1980.

On May 3, 1971, Susskind returned to the New York City Opera to conduct Leoš Janáček’s Makropulos Case.

Susskind died in Berkeley, California, at the age of 66. His personal archives document his career as a conductor, piano accompanist and avant-garde composer. The BBC Radio 3 program Music Matters broadcast 29 Jan. 2022 an interview with Susskind’s widow Janis, in the process of transferring these materials to the Exilarte Centre, University of Music and Performing Arts, Vienna. (wikipedia)

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Má vlast (Czech pronunciation: [maː vlast], meaning “My homeland” in the Czech language) is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. While it is often presented as a single work in six movements and – with the exception of Vltava – is almost always recorded that way, the six pieces were conceived as individual works. They had their own separate premieres between 1875 and 1880; the premiere of the complete set took place on 5 November 1882 in Žofín Palace, Prague, under Adolf Čech, who had also conducted two of the individual premieres.

In these works Smetana combined the symphonic poem form pioneered by Franz Liszt with the ideals of nationalistic music which were current in the late nineteenth century. Each poem depicts some aspect of the countryside, history, or legends of Bohemia. (wikipedia)

More about this masterpiece: here.

Bedrich Smetana

Originally issued by Vox/Turnabout in 1975, this performance by Walter Susskind of Bedrich Smetana’s set of descriptive tone poems has remained a favorite recording of many listeners for over thirty-five years. It’s nice to hear it so lovingly remastered by Mo-Fi.

Smetana completed Ma Vlast, “My Country,” in 1874 and dedicated it to the city of Prague. The work is, as most of you know, made up of six interrelated symphonic pictures, the first four, “Vysehrad,” “Vltava” (“The Moldau”), “Sarka,” and “From Bohemia’s Woods and Fields,” describing the sights and sounds of Smetana’s native Czechoslovakia, while the last two, “Tabor” and “Blanik,” celebrate famous military victories in Czech history. Incidentally, the composer requested that “Tabor” and “Blanik” never be played separately; that is, never without the other. Anyway, the complete cycle displays a varied number of moods and actions that have delighted audiences for as long as it’s been around.


Maestro Susskind’s way with the work is elegant and refined, much as we might find a Marriner or a Mackerras approaching the score. Not that the interpretation lacks energy or excitement–it would be hard to deny the music its due, no matter who was conducting it–but it does seem to lack an essential intensity that several other favorite conductors demonstrate.

Among the recordings I compared are the totally committed one with Rafael Kubelik and the Czech Philharmonic on Supraphon, the involving account with Paavo Berglund and the Dresden State Orchestra on EMI Seraphim, the period-instruments version by Roger Norrington and the London Classical Players on Virgin, the stylish production with Vaclav Neumann and the Leipzig Gewandhaus on Berlin Classics, the winning rendition with Libor Pesek and the Royal Liverpool Philharmonic on Virgin, and the wholly involving interpretation with Antal Dorati and the Concertgebouw on Newton Classics. By comparison, Susskind seems a tad lax, content to let the music set its own course, certainly not a bad idea. In any case, Susskind is best in the surging currents of “The Moldau” and the sweeping hills and valleys of the “Bohemia” section. Then again, the two rather bombastic concluding poems have never impressed me as much, so Susskind may not be at fault for not offering them up in a more rousing manner.


The sound, originally made, as I said, by Vox in the mid 70’s, as remastered by Mobile Fidelity on this hybrid SACD issue is ultrasmooth, ultraclean, and uncommonly widespread, even on the stereo layer to which I listened, but by comparison again to the recordings mentioned above, it’s also a tad too warm and soft. Interestingly, it’s the Berglund and Dorati recordings I found sonically superior on my system (VMPS RM40s)–more detailed, transparent, and dynamic than the rest. And the Berglund, at budget price, is also the cheapest of the bunch I auditioned. But for those listeners who have always cherished the Susskind reading, it has undoubtedly never sounded so good. (JJP,


St. Louis Symphony Orchestra conducted by Walter Susskind


01. 1 Vyšehrad 14.34
02. Vltava (The Moldau) 12.10
03. Šárka 9.55
04. Z Český Luhův A Hájů (From Bohemias Woods And Fields) 12.02
05. Tábor 12.45
06. Blanik 14.29

Compose by Bedřich Smetana



The official website:

More from Bedřich Smetana:

Edgar Froese – Epsilon In Malaysian Pale (1975)

GermanLPFrontCover1Edgar Willmar Froese (6 June 1944 – 20 January 2015) was a German musical artist and electronic music pioneer, best known for founding the electronic music group Tangerine Dream in 1967. Froese was the only continuous member of the group until his death. Although his solo and group recordings prior to 2003 name him as “Edgar Froese”, his later solo albums bear the name “Edgar W. Froese”.

Froese was born in Tilsit, East Prussia (now Sovetsk, Russia), on D-Day during World War II; members of his family, including his father, had been killed by the Nazis and after the war his mother and surviving family settled in Berlin. He took piano lessons from the age of 12, and started playing guitar at 15. After showing an early aptitude for art, Froese enrolled at the Academy of the Arts in Berlin to study painting and sculpture.

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One of his most lucrative jobs was to design advertising posters for the Berlin buses. He started an evening degree in psychology and philosophy and received his doctorate on Kant’s categorical imperative.[citation needed] Since his interpretation was not in accordance with the academic way of thinking, he left the college with the remark: “The dust of the universities is like a shroud over the truth.”

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In 1965, he formed a band called The Ones, who played psychedelic rock, and some rock and R&B standards. While playing in Spain, The Ones were invited to perform at Salvador Dalí’s villa in Cadaqués. Froese’s encounter with Dalí was highly influential, inspiring him to pursue more experimental directions with his music. The Ones disbanded in 1967, having released only one single “Lady Greengrass” (b/w “Love of Mine”) on Star Club Records. After returning to Berlin, Froese began recruiting musicians for the free-rock band that would become Tangerine Dream.

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Froese declared himself to be vegetarian, teetotal, and a non-smoker; he also did not take drugs. Froese was married to artist and photographer Monika (Monique) Froese from 1974 until her death in 2000. Their son Jerome Froese was a member of Tangerine Dream from 1990 through 2006. In 2002, Edgar Froese married artist and musician Bianca Froese-Acquaye.

Froese died suddenly in Vienna on 20 January 2015 from a pulmonary embolism. He was posthumously awarded the Schallwelle Honorary Award for Lifetime Achievement in 2015. He was quoted by the BBC as having once said: “there is no death, there is just a change of our cosmic address”.

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Froese was a friend of such artists as David Bowie, Brian Eno, Iggy Pop, George Moorse, Volker Schlöndorff, Alexander Hacke and Friedrich Gulda.[10] Pop and Bowie lived with Froese and his family at their home in Schöneberg before moving to their apartment on Hauptstraße. Froese also helped Bowie with his recovery and introduced him to the Berlin underground scene. Bowie named Froese’s solo album Epsilon in Malaysian Pale as a big influence and a soundtrack to his life in Berlin.

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If you are familiar with Tangerine Dream’s typical sound developed during the “Phaedra”, “Rubycon” period you will be very enthusiastic by this second Edgar Froese’s solo album. The electronic / synth explorations are also clearly similar to “Aqua”. This record announces the colour with concrete sounds taken from ambient samples of monkeys. “Concrete” experiences were also delivered on the previous “Aqua” with aquatic, airplane sounds. Next to this brief and original introduction we fall into a hypnotic and contemplative electronic adventure, dominated by Mellotron parts, sometimes experimenting acoustic elements as the flute (already used in the sad, melancholic TD’s track “sequent C”).” Rubycon” & “Ricochet” fans will enjoy all the old analog synth melodic parts accompanied by heavy / rhythmic electronic arpeggios. Froese’s best effort in solo, a landmark and a memorable album of experimental / electronic prog music. (Philippe)

In other words: a masterpiece !


Edgar Froese (electronics, all instruments)

01. Epsilon In Malaysian Pale 16.27
02. Maroubra Bay 16.57

Music: Edgar Froese



The UK Labels:

The official website:

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Todd Rundgren’s Utopia – Another Live (1975)

FrontCover1Todd Rundgren´s Utopia was an American rock band formed in 1973 by Todd Rundgren. During its first three years, the group was a progressive rock band with a somewhat fluid membership known as Todd Rundgren’s Utopia. Most of the members in this early incarnation also played on Rundgren’s solo albums of the period up to 1975.

By 1976, the group was known simply as Utopia and featured a stable quartet of Rundgren, Kasim Sulton, Roger Powell and John “Willie” Wilcox. This version of the group gradually abandoned progressive rock for more straightforward rock and pop.

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In 1980, they had a top 40 hit with “Set Me Free”. Though often thought of as a Rundgren-oriented project, all four members of Utopia wrote, sang, produced and performed on their albums; “Set Me Free”, for example, was sung by Sulton. The group broke up in 1986, but reunited briefly in 1992. More recently, beginning in 2011 the earlier prog-rock incarnation known as Todd Rundgren’s Utopia was revived for a series of live shows. In 2018 Rundgren, Sulton, and Wilcox reunited for a tour with new keyboardist Gil Assayas under the moniker Todd Rundgren’s Utopia.

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Another Live is a live album by the progressive rock band Utopia. It was recorded in August 1975 and released in 1975 on Bearsville.

The record was the band’s first fully live album, the first Utopia album to include future mainstays Powell and Wilcox, and the last to feature founding members Schuckett and Klingman. The trio of backing singers Arnold McCuller, David Lasley and Phil Ballou were also new to the group and toured the summer tour, being replaced that September with future star Luther Vandross and Anthony Hinton, who had toured the UK with Utopia later that year.

Side one contains three new songs that had not been previously issued, and which were either never recorded or not released as studio versions. (Live 1975 versions of Powell’s “Mister Triscuits” and Rundgren’s “The Wheel” can also be heard on the album Todd Rundgren’s Utopia Live at Hammersmith Odeon ’75). (Shout Music, 2012).

UK front + backcover:

Side two is a mix of live cover versions of songs by band members and other artists. Jeff Lynne’s “Do Ya” was a B-side to The Move’s “California Man” single (1972) which had a double-track B-side also featuring the song “Ella James”.

As well as referring to the fact the album was recorded live, the title is an obvious paraphrase of the phrase “Another Life,” referencing the Eastern philosophical concept of reincarnation, as alluded to in the first track on Side One. The printed title of Powell’s instrumental “Mister Triscuits” was reportedly the result of Powell’s publisher mistranscribing its original full title, “The Emerald Tablet of Hermes Trismegistus”.

With no singles released to push it higher, the album peaked at #66 on the Billboard 200 charts.(wikipedia)

UK inlets:

It’s hard to say exactly why Another Live works better than either Todd Rundgren’s Utopia or Initiation, Rundgren’s two previous excursions into synth-heavy prog-rock. It’s not that the music is more energetic or focused, since it isn’t. Neither is the music more challenging or ambitious — it’s simply better. It’s true that the second half is devoted to covers (West Side Story’s “Something’s Coming,” the Move’s “Do Ya”) or Rundgren classics (“Heavy Metal Kids,” “Just One Victory”), all of which are more song-oriented than anything on the first half, or anything on either TR’s Utopia or Initiation. That said, the prog-rock epics that comprise the first half of the album cut deeper than before, possibly because the band has worked out the kinks in its style, developing a unified, provocative sound. It still tends to be a little excessive and impenetrable, but intriguing moments float to the surface alarmingly often. Too bad the hideous cover will prevent anyone but the most devoted Rundgren/Utopia fan from discovering that… (by Stephen Thomas Erlewine)


Once you can get past the cover (“Can you make my ass any look tighter?”), this is a great live-if-over-dubbed album; great playing by excellent musicians, well recorded and well conceived. Great mix of originals and covers, with the best live version of West Side Story’s Something’s Coming I ever heard, and it was a live staple for many years. Another Life and Intro/Mr Triscuits are obscure and just burn; hell, the whole album burns. I still play my original copy on a regular basis.
I’m admittedly biased (Todd Is Godd), and still resentful; I had tickets to see this tour at Cape Cod Coliseum but I had just turned 17 and I got grounded for borrowing someone’s car/driving without a license, so.
Just close your eyes when you pull the album out, or put it in a brown paper bag or something; you’ll be fine, I promise. (by Bertha DeCool)


Mark “Moogy” Klingman (keyboards, synthesizer, harmonica, glockenspiel, background vocals)
Roger Powell (synthesizer, trumpet, vocals)
Todd Rundgren (guitar, vocals)
Ralph Schuckett (keyboards, vocals, clavinet, accordion)
John Siegler (bass, vocals)
John “Willie” Wilcox (drums)
background vocals:
David Lasley – Arnold McCuller – Phillip Ballou
Ric E.(vocal shouting “Hey Todd!” during The Wheel – introduction)


01. Another Life (Cape Cod Coliseum, Cape Cod Massachusetts 8-23-75) (Rundgren/ Shuckett 7.26
02. The Wheel (Wollman Rink, Central Park NYC 8-25-75) (Rundgren) 7.17
03. The Seven Rays (Cape Cod Coliseum, Cape Cod Massachusetts 8-23-75) Rundgren/ Siegler) 8.53
04. Intro/Mister Triscuits (Wollman Rink, Central Park NYC 8-25-75) (Edited for time) (Powell) 5.27
05. Something’s Coming (Wollman Rink, Central Park NYC 8-25-75) /Bernstein/Sondheim) 2.53
06. Heavy Metal Kids (Wollman Rink, Central Park NYC 8-25-75) (Rundgren) 4.18
07. Do Ya (Lynne) 4.20
08. Just One Victory (Rundgren) 5.32




More from Todd Rundgren:

The official website:

Jack Bruce – Live ’75 (2003)

FrontCover1John Symon Asher Bruce (14 May 1943 – 25 October 2014) was a Scottish bassist, singer-songwriter, musician and composer. He gained popularity as the co-lead vocalist and ‍bassist ‍of British rock band Cream. After the group disbanded in 1968, he pursued a solo career and also played with several bands.

In the early 1960s Bruce joined the Graham Bond Organisation (GBO), where he met his future bandmate Ginger Baker. After leaving the band, he joined with John Mayall & the Bluesbreakers, where he met Eric Clapton, who also became his future bandmate.


His time with the band was brief. In 1966, he formed Cream with lead guitarist Clapton and drummer Baker; he co-wrote many of their songs (including “Sunshine of Your Love”, “White Room” and “I Feel Free”) with poet/lyricist Pete Brown. After the group disbanded in the late 1960s he began recording solo albums. His first solo album, Songs for a Tailor, released in 1969, was a worldwide hit. Bruce formed his own band to perform the material live, and subsequently formed a blues-rock band West, Bruce and Laing in 1972, with guitarist Leslie West and drummer Corky Laing. His solo career spanned several decades. From the 1970s to the 1990s he played with several groups as a touring member. He reunited with Cream in 2005 for concerts at the Royal Albert Hall and at Madison Square Garden in New York.


Bruce is considered to be one of the most important and influential ‍bassists ‍of all time. ‍Rolling Stone magazine readers ranked him number eight on their list of “10 ‍Greatest ‍Bassists ‍Of All Time”. He was inducted in the Rock and Roll Hall of Fame in 1993,[2] and was awarded the Grammy Lifetime Achievement Award in 2006,[3] both as a member of Cream.


Live at Manchester Free Trade Hall ’75 is a live album by the Jack Bruce Band released in 2003. It was compiled from a rough mix of a recording of a performance at Manchester Free Trade Hall in June 1975, the only surviving remnant of an abandoned live album project. Bruce’s bass guitar is not very prominent in the mix. (wikipedia)


This double-CD set was one of the unexpected bonuses of the 2001/2002 remastering of Jack Bruce’s RSO/Polydor catalog — amid a search of the vaults, a tape of this performance, the only official live recording of the Jack Bruce Band, was unearthed. They were news to Bruce at the time of their discovery, rough mixes done in contemplation of a concert album that was abandoned. It has its technical problems, but it was possible to clean up most of the sound to a fully professional modern standard, except for a couple of spots where extraneous noise does intrude, especially on the opening of disc two. But those are insignificant flaws in relation to the overall content of these tapes, which capture the band in fine form, especially Bruce, lead guitarist Mick Taylor, and keyboardist Carla Bley — Ronnie Leahy fills out the keyboard sound and Bruce Gary handles the drumming. Their sound is surprisingly tight and their playing rich and crisp, doing a mix of progressive rock and blues-rock in which there are at least four potential lead instruments beyond Bruce’s voice, which is extremely powerful throughout and, indeed, more expressive on-stage than it ever seemed amid the cacophony of Cream’s concerts.


The repertory is drawn almost entirely from his solo catalog (though they do close with an extended version of “Sunshine of Your Love”), with a special emphasis on songs from Out of the Storm. Though Carla Bley gets a lot of the spotlight for her work on piano, organ, Mellotron, and various other keyboard instruments, Leahy gets an extended featured spot on the piano for the medley of “Tickets to Waterfalls”/”Weird of Hermiston”/”Post War.” Although there are a few standard-length songs here, this was a band that mostly preferred to stretch out, a fact illustrated by the presence of only four numbers on the second CD, which runs the better part of an hour. What made it work was that they had enough to say to fill that length, even on the 23-minute “Smiles and Grins,” and the otherwise familiar “Sunshine of Your Love,” here flexed out to over 13 minutes. They switch gears effortlessly between vocal numbers like “One” and instrumental-driven jams such as “You Burned the Tables on Me,” without skipping a beat or letting the listener go.


It’s difficult to imagine how RSO would have released this recording reasonably intact in its own time — there are too many tracks here that would have taken up a full side of an LP, and while Leon Russell and a few others had made the triple-live album a reality in rock, one is hard-put to imagine RSO springing for that with Bruce, whose critical notices were fantastic but whose sales — especially in England — had never matched his reviews. So perhaps it’s just as well that this recording was forgotten but not lost, to show up today. The mix of blues, jazz elements, and hard rock, all in a free-form jam format, now seems all the more bracing and the CD market allows it to be kept intact. It’s also doubly fortunate that this show was recorded during the period in which technology had finally mastered the art of capturing the sound of various electronic keyboard devices on-stage intact — it’s a small matter, but fans of the Mellotron will probably love this release.(by Bruce Eder [-])


Carla Bley (keyboard, clavinet, synthesizer)
Jack Bruce (vocals, bass piano)
Bruce Gary (drums)
Ronnie Leahy (piano, synthesizer)
Mick Taylor (guitar)



CD 1:
01. Can You Follow? (Bruce/Brown) 1.45
02. Morning Story (Bruce/Brown) 7.55
03. Keep It Down (Bruce/Brown) 5.44
04. Pieces Of Mind (Bruce/Brown) 5.55
05. Tickets To Waterfalls/Weird Of Hermiston/Post War (Bruce/Brown) 25.05
06. Spirit (Williams) 10.43

CD 2:
01. One/You Burned the Tables On Me (Bruce/Brown) 16.59
02. Smiles and Grins(Bruce/Brown) 24.36
03. Sunshine Of Your Love (Brown/Bruce/Clapton) 12.06



More from Jack Bruce:

The official website:

Golden Earring – Switch (1975)

FrontCover1Golden Earring was a Dutch rock band, founded in 1961 in The Hague as The Golden Earrings. They achieved worldwide fame with their international hit songs “Radar Love” in 1973, which went to number one on the Dutch charts, reached the top ten in the United Kingdom, and went to number thirteen on the United States charts, “Twilight Zone” in 1982, and “When the Lady Smiles” in 1984.

During their career they had nearly 30 top-ten singles on the Dutch charts and released 25 studio albums.


The band went through a number of early line-up changes, though the band reached a stable line-up in 1970, consisting of Rinus Gerritsen (bass and keyboards), George Kooymans (vocals and guitar), Barry Hay (vocals, guitar, flute and saxophone), and Cesar Zuiderwijk (drums and percussion), which remained unchanged until the band broke up in 2021 following the diagnosis of Kooymans with ALS. A number of other musicians also appeared in short stints with the band over its history as well. (wikipedia)


Switch is the tenth album by Dutch rock band Golden Earring, released in 1975.

After the success of Moontan, Golden Earring could have easily parlayed its success into international stardom by continuing to play up that album’s commercial elements. Instead, the group did an about-face, pursuing uncommercial song themes and pushing the prog rock side of its sound to the fore (this move included the addition of Dutch prog rock keyboardist Robert Jan Stips, formerly of Supersister, to the lineup). The band even lampooned the sexy cover art of its recent hit album with a similar cover that replaced the gorgeous showgirl on Moontan with a marionette. The result is an album that lacks the consistent sound and coherence of Moontan, but makes up for it with an adventurous spirit and plenty of instrumental firepower.


Highlights include “Love Is a Rodeo,” a tune that starts as a thrilling guitar rocker before taking a sudden left turn into a finger-snapping instrumental coda dominated by synthesizer, and “Kill Me (Ce Soir),” a mystical epic that starts with a pulsating bassline and builds to a thunderous, orchestrated climax as its lyrics present a surprisingly incisive portrait of how society inevitably destroys its idols. A downside is that, by encompassing so many different styles, the songs lack the logical flow that would allow Switch to feel like a full, cohesive album. Another problem is that the lyrics have a bitter and defensive tinge (especially on “The Switch,” a hard-edged explanation of the group’s artistic rationale) that sometimes sits at odds with the exciting quality of the music. Despite these problems, Switch remains a solid album that Golden Earring’s fan base will enjoy; the disc might also appeal to adventurous fans of prog and hard rock. (by Donald A. Guarisco)

And: on “Daddy’s Gonna Save My Soul” we hear a brilliant saxophone solo by the great Bertus Borgers !


Rinus Gerritsen (bass, keyboards)
Barry Hay (flute, vocals)
George Kooymans (guitar, vocals)
Robert Jan Stips (keyboards)
Cesar Zuiderwijk (drums)
Bertus Borgers (saxophone)
Eelco Gelling (guitar)


01. Intro: Plus Minus Absurdio 3.08
02. Love Is A Rodeo 3.37
03. The Switch 5.27
04. Kill Me (Ce Soir) 6.23
05. Tons Of Time 4.21
06. Daddy’s Gonna Save My Soul 4.16
07. Troubles And Hassles 4.21
08. Lonesome D.J. 4.38

All songs written by Barry Hay and George Kooymans
except 04. written by Barry Hay, George Kooymans & John Fenton




More from Golden Earring:

The official website:

Mike Oldfield – Ommadawn (Deluxe Edition) (1975)

LPFrontCover1Michael Gordon Oldfield (born 15 May 1953) is a British musician, songwriter, and producer best known for his debut studio album Tubular Bells (1973), which became an unexpected critical and commercial success. He is regarded as one of the greatest multi-instrumentalists of all time. Though primarily a guitarist, Oldfield plays a range of instruments, which includes keyboards, percussion, and vocals. He has adopted a range of musical styles throughout his career, including progressive rock, world, folk, classical, electronic, ambient, and new age music.

Oldfield took up the guitar at age ten and left school in his teens to embark on a music career. From 1967 to 1970, he and his sister Sally Oldfield were a folk duo The Sallyangie, Mike Oldfield02after which he performed with Kevin Ayers. In 1971, Oldfield started work on Tubular Bells which caught the attention of Richard Branson, who agreed to release it on his new label, Virgin Records. Its opening was used in the horror film The Exorcist and the album went on to sell over 2.7 million copies in the UK. Oldfield followed it with Hergest Ridge (1974), Ommadawn (1975), and Incantations (1978), all of which feature longform and mostly instrumental pieces.

In the late 1970s, Oldfield began to tour and release more commercial and song-based music, beginning with Platinum (1979), QE2 (1980), and Five Miles Out (1982). His most successful album of this period was Crises (1983), which features the worldwide hit single “Moonlight Shadow” with vocalist Maggie Reilly. After signing with WEA in the early 1990s, Oldfield’s most significant album of the decade was Tubular Bells II (1992) and experimented with virtual reality and gaming content with his MusicVR project. In 2012, he performed at the opening ceremony for the 2012 Olympic Games held in London. Oldfield’s discography includes 26 studio albums, nine of which have reached the UK top-ten. His most recent album is Return to Ommadawn.

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Ommadawn is the third studio album by English musician, multi-instrumentalist and songwriter Mike Oldfield, released on 25 October 1975 on Virgin Records.

Ommadawn peaked at No. 4 on the UK Albums Chart, No. 74 in Canada,[3] and No. 146 on the US Billboard 200. The song that concludes “Ommadawn (Part Two)”, entitled “On Horseback”, was released as a single in November 1975 with Oldfield’s non-album track “In Dulci Jubilo”. The album reached gold certification by the British Phonographic Industry within two months, signifying 100,000 copies sold. In 2010, Mercury Records issued a remastered edition containing new stereo and 5.1 surround sound mixes by Oldfield and extra material. Oldfield had wanted to make Amarok (1990) a sequel album to Ommadawn, but the idea was not realised until he released Return to Ommadawn (2017).


By the end of 1974, Oldfield had been propelled to worldwide fame due to the unexpected critical and commercial success of his debut studio album, Tubular Bells (1973). He followed it with Hergest Ridge (1974), which generated a more negative critical reaction in comparison, which disappointed him but led to a creative period as he vowed to deliver a follow-up that was “worthwhile and successful”, proving he was not a one-hit wonder with the success of Tubular Bells. When Oldfield started to work on new music for Ommadawn, he wanted to avoid professional studios and persuaded his label, Virgin Records, to install a 24-track studio at The Beacon, his home in Kington, Herefordshire. Oldfield recorded Ommadawn at The Beacon between January and September 1975; the African drums were recorded at The Manor in Shipton-on-Cherwell, Oxfordshire, where Oldfield had recorded Tubular Bells and Hergest Ridge. The Manor was chosen as there was insufficient space at The Beacon to accommodate the instruments and equipment. Oldfield is credited as the album’s sole producer and engineer.

Booklet 05A

Shortly after Oldfield started to record, his mother died. He later recalled that working on his new music provided the only source of comfort for him at the time.[4] He faced further problems several months in when he had almost finished recording side one, when the recording tape started to shed its oxide layer, causing irreparable damage. Virgin delivered a machine so that copies of the master tape could be made and Oldfield could carry on working, but the same problem occurred on the new tape. This left Oldfield no choice but to start again using a new brand of tape. He believed that the many overdubs he had put down on the track had worn it out. Oldfield felt depressed to start over at first, but he then noticed that “something clicked inside of me” and realised that his previous takes had become good practice for the final ones. “All the musical pieces fell into place and the results sounded marvellous.” The original version of side one was released on the 2010 remaster as “Ommadawn (Lost Version)”. Excerpts from the scrapped version were previously used in Oldfield’s interview on Tony Palmer’s documentary series All You Need is Love and the 1977 film Reflection.

Booklet 09A

The cover photograph was taken by David Bailey. The album’s title came about at the end of its production. Oldfield spotted a collection of words that Irish musician Clodagh Simonds had made up, one of them being ommadawn, and decided to use it. Oldfield in 1975 rejected a claim that the title comes from the Irish Gaelic word amadán or omadhaun, meaning “fool”. Later, however, he said it did mean “idiot.”

Booklet 03A

As with Oldfield’s first two albums, Ommadawn is a single same-titled composition divided into Part One and Part Two, each designated to a single side of the LP. “Ommadawn (Part One)” has a length of 19:23 and “Ommadawn (Part Two)” runs for 17:17. The latter ends with a song entitled “On Horseback”, written by Oldfield and lyrics by Oldfield and William Murray and, while it was banded separately on vinyl from “Ommadawn (Part Two)”, it was only referred to as “the horse song” in the liner notes, only properly credited by name on it accompanying single and on remastered copies of the album released from the 2010s onward. The song relates to Oldfield, Murray, and Leslie Penning’s time riding ponies around Hergest Ridge.

Most of the instruments that Oldfield played on the album are shown in a photograph featured on his compilation set Boxed (1976).

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In his autobiography, Changeling, Oldfield states that he just wanted “sounds”, not “sensible” lyrics. He asked Clodagh Simonds, an Irish musician with whom he was working, to come up with something in Irish. She wrote down the first words that came into her head:

Daddy’s in bed, The cat’s drinking milk, I’m an idiot, And I’m laughing.

Oldfield states that Simonds had telephoned a relative or friend to translate these words into Irish for the song. The final lyrics included with the album are:

Ab yul ann idyad awt
En yab na log a toc na awd
Taw may on omma dawn ekyowl
Omma dawn ekyowl

These lyrics are written in an English-based respelling system, but all four lines are easily recognisable as an Irish translation of the English words, although the first two lines have undergone a process of partial scrambler: combinations of vowel + semivowel are kept intact, but otherwise the lines are written backwards (so, e.g., idyad awt corresponds to taw daydi) and some word spaces have been changed. In standard Irish orthography, the lyrics are (with English translation, since the translation does not match the original exactly):

Tá daidí ‘na leaba
Tá an cat ag ól an bainne
Tá mé an amadán ag ceol
Amadán ag ceol Daddy’s in his bed
The cat’s drinking the milk
I’m the idiot singing (or the singing idiot)
Idiot singing (or singing idiot)

The word idiot (amadán in Irish) was Anglicised into Ommadawn and used as the title of the album. Prior to his autobiography, Oldfield had denied this meaning of ommadawn, calling it a nonsense word, apparently as a ruse to enhance the mystery of his music.


Ommadawn was released on 25 October 1975.

In November 1975, Oldfield’s non-album track “In Dulci Jubilo” was released with “On Horseback” on the B-side. It went on to peak at No. 4 on the UK Singles Chart in January 1976.

In 1976, a SQ quadraphonic mix of Ommadawn was released on Oldfield’s compilation album Boxed.

In May 1977, the Liffey Light Orchestra performed the album live at Trinity College in Dublin. Oldfield did not tour until 1979; he started to perform excerpts from the album from 1980 onwards.

Paul Stump, in his 1997 History of Progressive Rock, said that “the technically and emotionally polymathic Ommadawn operates on several levels at once, not least because Oldfield states two themes rather than one near the beginning and doesn’t try to develop them sequentially over fifty minutes but allows each its space to breathe and display itself, both singularly and with the other.” He also praised the album’s harmonics and greater economy of expression as compared to Oldfield’s first two albums.

Booklet 08A

Excerpts from Ommadawn appeared in the NASA film The Space Movie (1979). A small portion of Part One was used as the theme to the children’s TV show Jackanory on occasions when John Grant narrated his Littlenose stories.

Oldfield had initial ideas to make his later album Amarok (1990) as a sequel to Ommadawn, but the idea fell through. He did not revisit the idea until 2015 when he started recording a true sequel, Return to Ommadawn

In June 2010, Ommadawn was reissued as Deluxe Edition by Mercury Records as part of Oldfield’s remastered album series for the label. The set includes a restored cover artwork, new stereo and 5.1 surround sound mixes completed by Oldfield and bonus material, including the early version of Part One that was scrapped and “In Dulci Jubilo”, “First Excursion”, “Argiers”, and “Portsmouth”.


Also in 2010, a limited edition 180-gram vinyl was released as a part of the Back to Black series.[20] The digital edition contains the content from the two CDs of the Deluxe Edition. The Japanese release features the Super High Material CD format.

A limited edition box set of the album was also released in 2010, containing the Deluxe Edition set, a vinyl pressing, and a numbered and signed print of the artwork. The set saw 250 copies made and sold through Oldfield’s official website. (wikipedia)


Although it features the beautiful recorder of Leslie Penny and the Chieftains’ Paddy Maloney playing the uilean pipe, Ommadawn didn’t gain Mike Oldfield the success he was looking for. The album was released in the same year as the David Bedford-arranged Orchestral Tubular Bells and nine months after Oldfield picked up a Grammy award for the original Tubular Bells album. The most pleasing attribute of Ommadawn is its incorporation of both African and Irish music in its symphonic rock & roll mainframe. Boosted by a hearty amount of different horns, piano, cello, trumpet, and synthesizer, the album has its moments of rising action, but the whole of Ommadawn fails to keep its lovely segments around long enough, and there are some rather lengthy instances that include bland runs of unvaried music. Another plus is Oldfield’s use of a choir, giving the album a soft, humanistic feel when contrasted against the keyboards or synthesizer. While it does include flashes of Mike Oldfield’s brilliance, the entire album may seem a little anticlimactic when compared to some of his other releases. (by Mike DeGagne)


Mike Oldfield (guitar. bass, mandolin, bouzouki, banjo, harp, keyboards,  spinet, synthesizer, glockenspiel, bodhran, percussion)
Don Blakeson (trumpet)
Christopher Herbert (northumbrian smallpipes
Pierre Moerlen (timpani)
Paddy Moloney (uilleann pipes)
William Murray (percussion)
Terry Oldfield (panpipes)
Leslie Penning (recorder)
David Strange (cello)
vocals on 02.:
The Penrhos Kids (Abigail, Briony, Ivan, and Jason Griffiths)
The Hereford City Band conducted by Leslie Penning  (brass section)
background vocals:
Clodagh Simonds – Bridget St John – Sally Oldfield
african drums:
Julian Bahula – Ernest Mothle – Lucky Ranku – Eddie Tatane



CD 1:
01. Ommadawn (Part One) (Oldfield) 19.05
02. Ommadawn (Part Two) / On Horseback (Oldfield/Muray) 17.20
03. In Dulce Jubilo (Single A-side) (de Pearsall) 2.51
04. First Excursion (Bedford/Oldfield) 5.54
05. Argiers (Tradtional/Oldfield) 3.59
06. Portsmouth (Single A-side) (Oldfield) 2.01

CD 2:
01. Ommadawn (Part One) (Original 1975 Stereo Mixes) (Oldfield) 19.10
02. Ommadawn (Part Two) / On Horseback (Original 1975 Stereo Mixes) Oldfield/Muray) 17.11
03. Ommadawn (lost version) (Oldfield) 17.10



The official website:

Humble Pie – Joint Effort (2019)

FrontCover1A showcase for former Small Faces’ frontman Steve Marriott and one-time Herd guitar virtuoso Peter Frampton, the hard rock outfit Humble Pie formed in Essex, England in 1969. Also featuring ex-Spooky Tooth bassist Greg Ridley along with drummer Jerry Shirley, the fledgling group spent the first several months of its existence locked away in Marriott’s Essex cottage, maintaining a relentless practice schedule. Signed to the Immediate label, Humble Pie soon issued their debut single “Natural Born Boogie,” which hit the British Top Ten and paved the way for the group’s premiere LP, As Safe as Yesterday Is.


After touring the U.S. in support of 1969’s Town and Country, Humble Pie returned home only to discover that Immediate had declared bankruptcy. The band recruited a new manager, Dee Anthony, who helped land them a new deal with A&M; behind closed doors, Anthony encouraged Marriott to direct the group towards a harder-edged, grittier sound far removed from the acoustic melodies favored by Frampton. As Marriott’s raw blues shouting began to dominate subsequent LPs like 1970’s eponymous effort and 1971’s Rock On, Frampton’s role in the band he co-founded gradually diminished; finally, after a highly charged U.S. tour which yielded 1971’s commercial breakthrough Performance: Rockin’ the Fillmore, Frampton exited Humble Pie to embark on a solo career.


After enlisting former Colosseum guitarist Dave “Clem” Clempson to fill the void, Humble Pie grew even heavier for 1972’s Smokin’, their most successful album to date. However, while 1973’s ambitious double studio/live set Eat It fell just shy of the Top Ten, its 1974 follow-up Thunderbox failed to crack the Top 40. After 1975’s Street Rats reached only number 100 before disappearing from the charts, Humble Pie disbanded; while Shirley formed Natural Gas with Badfinger alum Joey Molland, and Clempson and Ridley teamed with Cozy Powell in Strange Brew, Marriott led Steve Marriott’s All-Stars before joining a reunited Small Faces in 1977.


In 1980, Marriott and Shirley re-formed Humble Pie with ex-Jeff Beck Group vocalist Bobby Tench and bassist Anthony Jones. After a pair of LPs, 1980’s On to Victory and the following year’s Go for the Throat, the group mounted a troubled tour of America: after one injury-related interruption brought on when Marriott mangled his hand in a hotel door, the schedule was again derailed when the frontman fell victim to an ulcer. Soon, Humble Pie again dissolved; while Shirley joined Fastway, Marriott went into seclusion. At the dawn of the 1990s, he and Frampton made tentative plans to begin working together once more, but on April 20, 1991, Marriott died in the fire which destroyed his 16th century Arkesden cottage. He was 44 years old. (by Jason Ankeny)


And here´s a Humble Pie album that’s remained in the vaults since 1975.

Joint Effort comes out on Feb. 8, and finds the band recording in its own Clear Sounds studio between 1974 and 1975. But the album was ultimately rejected by their label at the time, A&M.

The LP’s title reflects the work made by Steve Marriott and bassist Greg Ridley on a project outside of the band at the time. But after a stretch where Marriott unsuccessfully lobbied to be Mick Taylor’s replacement in the Rolling Stones and the group saw its U.S. profile raised due to Eat It and Smokin’, they reconvened with guitarist Dave Clempson and drummer Jerry Shirley.

In addition to never-before-heard originals, Joint Effort contains covers of songs recorded by the Beatles (“Rain”), Betty Wright (“Let Me Be Your Lovemaker”) and James Brown (“Think”). The first two tracks eventually made their way onto Street Rats, the last album Humble Pie made with the classic lineup.

“Everything was so self-destructive at that point,” Shirley recalled of that period. “Everybody was doing everything in a dozen different directions and nothing was getting done. … Steve’s way of dealing with things was buying an ounce of coke every other day and burying himself in his studio. When you’ve got nothing but carte blanche studio time and all the coke in the world, all you do is record.” (Dave Lifton)


As someone who has always been a huge fan of Humble Pie and all things Steve Marriott the news that a new album that had “remained in the vaults since 1975 will finally be released next month” was like several Christmases coming all at once. ‘Joint Effort’ duly arrived for review and as I tend to do when I review, I read nothing about it and did not research anything until I’d had a few spins and got my initial thoughts down.

Recorded in their own Clear Sounds Studio between 1974 and 1975, the album we have here contains the music put together by Steve Marriott and Greg Ridley as a side project before Pie gained momentum again due to the classic albums ‘Eat It’ and ‘Smokin” taking hold in the U.S. As a result Pie regrouped with Dave ‘Clem’ Clempson and Jerry Shirley and the recordings were ultimately rejected by A&M.

Sounded great, but even glancing at the tracklisting that first time made me wonder if maybe this collection of “never-before-heard originals, (and) covers of songs recorded by the Beatles (“Rain”), Betty Wright (“Let Me Be Your Lovemaker”) and James Brown (“Think”)” was indeed something new.


I mean re=recorded versions of ‘Rain’ and “Let Me Be Your Lovemaker’ were both on the bands 1975 album ‘Street Rats’ then as soon as the metaphorical ‘needle hit the groove’ I realised that this album hasn’t exactly languished in the vaults since 1975 – I already had a copy of it titled ‘Running With the Pack’ which saw release on Alchemy Entertainment a mere 20 years ago in 1999! Not only that the Alchemy release also contained four live tracks from what was then at the time Humble Pie’s last show in the States in 1973.

Of course if you’re a ‘Pie’ fan then you’ll still be interested if you haven’t picked up that prior release (or the limited edition reissue on the same label in 2003). The sessions (or demos as Alchemy perhaps more correctly called them) feature the line-up of Steve Marriott, Greg Ridley, Dave ‘Clem’ Clempson, and Jerry Shirley, and do see the band focussing more on the Rhythm and Blues and Soul aspects of their sound than the harder edged Rock.

The one and only Dave  Clempson:
Dave Clempson

Notwithstanding the fact that these sessions are 50% covers (and you have to remember that Pie were the masters of taking a song and twisting it to make it their own), there is some great material here.

After the blazin’ funk of ‘Think’ which to me just reconfirms that Marriott had one of the best soul voices out there come the soulful ‘This Ol’ World’ and ‘Midnight Of My Life’ which do suggest a more soulful future for the Pie. But it’s Betty Wright’s ‘Let Me Be Your Lovemaker’ that really outshines here – all blues fueled hard rocking bluster that sees Ridley take lead vocal (‘Street Rats’ sees and even heavier version of the song).


The Beatles ‘Rain’ gets the party treatment and the best original here – ‘Snakes & Ladders’ returns to the hard rock, and ‘Good Thing’ adds more blues, before the emotion, piano and blues of the again Ridley sung ‘A Minute Of Your Time.’ We close with a funky rocker from Marriott ‘Charlene’ and an instrumental take on the song that kicked us off in ‘Think 2.’

Oddly despite the line-up at the time the cover shot of this ‘re-issue’ prominently features Peter Frampton (who left the band four years before this album was recorded) rather than ‘Clem’ Clempson who replaced him in the band, it’s rather poor form from the label.

The big mystery of course is why this album was shelved in the first place as it’s just as good as the albums that followed it. (Mark Diggins)

And … I just can’t understand why they used pictures from the Peter Framptron period for the cover and the booklet.


Dave Clempson (guitar)
Steve Marriott (guitar, vocals, keyboards, harmonica)
Greg Ridley (bass, vocals)
Jerry Shirley (drums, percussion)
unknown brass section

01. Think (Brown) 3.47
02. This Ol’ World (Ridley/Marriott) 3.28
03. Midnight Of My Life (Marriott) 4.04
04. Let Me Be Your Lovemaker (Wright/Reid/Clarke) 4.49
05. Rain (Lennon/McCartney) 5.55
06. Snakes & Ladders (Marriott) 3.59
07. Good Thing (Ridley/Marriott) 1.56
08. A Minute Of Your Time (Ridley) 3.47
09. Charlene (Marriott) 4.14
10. Think 2 (Brown) 3.35



More from Humble Pie:

Eberhard Weber – Yellow Fields (1975)

FrontCover1Eberhard Weber (born 22 January 1940, in Stuttgart, Germany) is a German double bassist and composer. As a bass player, he is known for his highly distinctive tone and phrasing. Weber’s compositions blend chamber jazz, European classical music, minimalism and ambient music, and are regarded as characteristic examples of the ECM Records sound.

Weber began recording in the early 1960s, and released The Colours of Chloë (ECM 1042), his first record under his own name, in 1973. In addition to his career as a musician, he also worked for many years as a television and theater director. He has designed an electric-acoustic bass with an additional string tuned to C.

Weber’s music, often in a melancholic tone, frequently utilizes ostinatos, yet is highly organized in its colouring and attention to detail. He was an early proponent of the solid-body electric double bass, which he has played regularly since the early 1970s.


From the early 1960s to the early 1970s, Weber’s closest musical association was with pianist Wolfgang Dauner. Their many mutual projects were diverse, from mainstream jazz to jazz-rock fusion to avant-garde sound experiments. During this period, Weber also played and recorded with pianists Hampton Hawes and Mal Waldron, guitarists Baden Powell de Aquino and Joe Pass, The Mike Gibbs Orchestra, violinist Stephane Grappelli, and many others.

Starting with The Colours of Chloë, Weber has released 13 more records under his own name, all on ECM. The ECM association also led to collaborations with other ECM recording artists such as Gary Burton (Ring, 1974; Passengers, 1976), Ralph Towner (Solstice, 1975; Solstice/Sound and Shadows, 1977), Pat Metheny (Watercolors, 1977), and Jan Garbarek (10 recordings between 1978 and 1998).

EberhardWeber06In the mid-1970s Weber formed his own group, Colours, with Charlie Mariano (soprano saxophone, flutes), Rainer Brüninghaus (piano, synthesizer) and Jon Christensen (drums). After their first recording, Yellow Fields (1975), Christensen left and was replaced by John Marshall. The group toured extensively and recorded two further records, Silent Feet (1977) and Little Movements (1980), before disbanding.

Since the early 1980s, Weber has regularly collaborated with the British singer-songwriter Kate Bush, playing on four of her last six studio albums (The Dreaming, 1982; Hounds of Love, 1985; The Sensual World, 1989; Aerial, 2005).

During the 1980s, Weber toured with Barbara Thompson’s jazz ensemble Paraphernalia.

Since 1990, Weber’s touring has been limited, and he has had only two new recordings under his own name: The 2001 release Endless Days is an elemental fusion of jazz and classical music flavors, fitting well the moniker chamber jazz. His main touring activity during that period was as a regular member of the Jan Garbarek Group. On the occasion of his 65th birthday, in March, 2005 he recorded Stages of a Long Journey, a live concert with the Stuttgart Radio Symphony Orchestra and featuring Gary Burton, Wolfgang Dauner and Jan Garbarek. In 2009 ECM also re-released his albums Yellow Fields, Silent Feet and Little Movements as a 3-CD collection titled “Colours”.


In 2007, Weber suffered a stroke and was subsequently unable to perform.[3] In a January 2010 interview with Die Welt, he spoke about his medical condition and future projects.[4]

Weber was awarded the prestigious Albert Mangelsdorff-Preis in November 2009. A box set of his 1970s works was released by ECM Records the same month.

Weber’s latest albums, Résumé (2012) and Encore (2015) comprise solos from his performances worldwide with The Jan Garbarek Group, overdubbed with keyboards/treatments by Weber, sax by Garbarek, and flügelhorn by Ack Van Rooyen.

His autobiography, Résumé, was published in 2015. An English translation by Heidi Kirk – Eberhard Weber: A German Jazz Story – is due to be published in October 2021.


Yellow Fields is the second solo album by German double bassist and composer Eberhard Weber recorded in 1975 and released on the ECM label.

The Allmusic review awarded the album four out of five stars.[2] The Penguin Guide to Jazz awarded it the maximum four stars and placed it in their Core Collection, writing “Weber’s masterpiece is essentially a period piece which nevertheless still seems modern. The sound of it is almost absurdly opulent: bass passages and swimming keyboard textures that reverberate from the speakers, chords that seem to hum with huge overtones. The keyboard textures in particular are of a kind that will probably never be heard on record again.” (wikipedia)


Since the 1970s when I first bought my copy of this LP, it has been my favorite Eberhard Weber recording, especially the second song on side one, ‘Sand-Glass’. That song casts a spell, especially Weber’s solos. Mariano’s playing is also magical. This LP is a must for Eberhard Weber fans. (by Charles Freeland)


Rainer Brüninghaus (keyboards)
Jon Christensen (drums)
Charlie Mariano (saxophone, shenai, nagaswaram)
Eberhard Weber (bass)

01. Touch 5.00
02. Sand-Glass 15.31
03. Yellow Fields 10.05
04. Left Lane 13.37

Music composed by Eberhard Weber




Vienna Philharmonic & Willi Boskovsky – New Year´s Concert 1975 (1975)

FrontCover1The Vienna New Year’s Concert (Neujahrskonzert der Wiener Philharmoniker) is an annual concert of classical music performed by the Vienna Philharmonic on the morning of New Year’s Day in Vienna, Austria. The concert occurs at the Musikverein at 11:15. The orchestra performs the same concert programme on 30 December, 31 December, and 1 January but only the last concert is regularly broadcast on radio and television.

The concert programmes always include pieces from the Strauss family—Johann Strauss I, Johann Strauss II, Josef Strauss and Eduard Strauss. On occasion, music principally of other Austrian composers, including Joseph Hellmesberger Jr., Joseph Lanner, Wolfgang Amadeus Mozart, Otto Nicolai (the Vienna Philharmonic’s founder), Emil von Reznicek, Franz Schubert, Franz von Suppé, and Carl Michael Ziehrer has featured in the programmes. In 2009, music by Joseph Haydn was played for the first time, where the 4th movement of his “Farewell” Symphony marked the 200th anniversary of his death. Other European composers such as Hans Christian Lumbye, Jacques Offenbach, Émile Waldteufel, Richard Strauss, Verdi, and Tchaikovsky have been featured in recent programmes. (wikipedia)

You can find more informations about the Vienna New Year’s Concert here.

Musikverein concert hall, Vienna

Willibald Karl Boskovsky (16 June 1909 – 21 April 1991) was an Austrian violinist and conductor, best known as the long-standing conductor of the Vienna New Year’s Concert.

Boskovsky was born in Vienna, and joined the Vienna Academy of music at the age of nine. He was the concertmaster of the Vienna Philharmonic from 1939 to 1971. He was also, from 1955, the conductor of the Vienna New Year’s Concert, which is mostly devoted to the music of Johann Strauss II and his contemporaries. Along with the Vienna Philharmonic, he was also the chief conductor of the Wiener Johann Strauss Orchester up until his death. A forerunner of this ensemble was the 19th-century Strauss Orchestra founded by Johann Strauss I in 1835. He died in Visp, Switzerland.

Willi Boskovsky02

In chamber ensemble he led the Boskovsky Quartet with Philipp Matheis (2nd violin), Gunther Breitenbach (viola) and Nikolaus Hübner (violoncello). The Boskovsky Quartet, together with Johann Krump (double-bass), Alfred Boskovsky (clarinet), Josef Veleba (horn) and Rudolf Hanzl (bassoon) formed the Vienna Octet.

Boskovsky was also a Mozart performer: he recorded all the sonatas for violin and piano, with pianist Lili Kraus, and the complete trios for violin, piano and cello, with Kraus and Nikolaus Hübner for Les Discophiles Français. He played in Brahms’ Double Concerto in A minor, Op.102, with Wilhelm Furtwängler conducting the Vienna Philharmonic.

A month after his last New Year’s Concert, after having already agreed with Alfred Altenburger to conduct again in 1980, on January 30, 1979, he was hit by a stroke, which caused him a slight paralysis on the right side. In October 1979, the convalescence being too slow, he communicated his decision to give up and the orchestra asked Lorin Maazel, designated director of the Wiener Staatsoper, to carry on the tradition of these concerts.

He died in Visp, Valais (Switzerland) at the age of 81. (wikipedia)

Willi Boskovsky01

So, whoever likes it … into the fun with all these waltzes and polkas, which even I occasionally let myself be enchanted by.


Vienna Philharmonic conducted by Willi Boskovsky

The German edition:
German Edition

01. Ouverture zur Operette „Waldmeister“ 9.34
02. Bei uns z’Haus (Walzer. Op. 361) 7.52
03. Stadt und Land (Polka Mazurka. Op. 322) 3.13
04. Liebeslieder (Walzer. Op. 114) 7.19
05. Explosions-Polka (Op. 43) 2.02
06. Annen-Polka (Op. 117) 3.50
07. Leichtes Blut (Polka schnell. Op. 319) 2.29
08. Auf der Jagd (Schnell-Polka Op. 373) 2.10
09. Csárdás (from the opera „Ritter Pázmán“. Op. 441) 4.09
10. Perpetuum Mobile (Musikalischer Scherz. Op. 257) 2.47
11. Vergnügungszug (Polka schnell. Op. 281) 2.55
12. Radetzky-Marsch (Op. 228) 3.16
13. New Year´s Concert 1975 (uncut version) 54.42

music composed by Johann Strauß jun.
except on 12.: composed by Johann Strauß sen.


  • (coming soon)

More from the Vienna Philharmonic:

Johnny Cash – Deutschlandhalle, Berlin, Germany (1975)

FrontCover1John R. Cash (born J. R. Cash; February 26, 1932 – September 12, 2003) was an American singer, songwriter, musician, and actor. Much of Cash’s music contained themes of sorrow, moral tribulation, and redemption, especially in the later stages of his career. He was known for his deep, calm bass-baritone voice, the distinctive sound of his Tennessee Three backing band characterized by train-like chugging guitar rhythms, a rebelliousnesscoupled with an increasingly somber and humble demeanor, free prison concerts, and a trademark all-black stage wardrobe which earned him the nickname “The Man in Black”.


Born to poor cotton farmers in Kingsland, Arkansas, Cash rose to fame in the burgeoning rockabilly scene in Memphis, Tennessee, after four years in the Air Force. He traditionally began his concerts by simply introducing himself, “Hello, I’m Johnny Cash”,[c] followed by “Folsom Prison Blues”, one of his signature songs. Alongside “Folsom Prison Blues”, his other signature songs include “I Walk the Line”, “Ring of Fire”, “Get Rhythm”, and “Man in Black”. He also recorded humorous numbers like “One Piece at a Time” and “A Boy Named Sue”, a duet with his future wife June called “Jackson” (followed by many further duets after their wedding), and railroad songs such as “Hey, Porter”, “Orange Blossom Special”, and “Rock Island Line”. During the last stage of his career, he covered songs by contemporary rock artists of the time; his most notable covers were “Hurt” by Nine Inch Nails, “Rusty Cage” by Soundgarden and, “Personal Jesus” by Depeche Mode.


Cash is one of the best-selling music artists of all time, having sold more than 90 million records worldwide. His genre-spanning music embraced country, rock and roll, rockabilly, blues, folk, and gospel sounds. This crossover appeal earned him the rare honor of being inducted into the Country Music, Rock and Roll, and Gospel Music Halls of Fame. His music career was dramatised in the 2005 biopic Walk the Line. (wikipedia)


And here´s a pretty good bootleg from a concert in 1975 and Johnny Cash sings all his fevoite songs and many of his hits.

A must for every Johnny Cash fan !

Recorded live at the Deutschlandhalle, Berlin, Germany; September 15, 1975
Very good soundboard recording


Johnny Cash (vocals, guitar)
The Tennessee Three:
Marshall Grant (bass)
W.S. Holland (drums)
Bob Wootton (guitar)
June Carter (vocals on
background vocals:
Rosanne Cash – Anita Carter


01. Ring Of Fire (Carter/Kilgore) 3.18
02. Interlude 0.38
03. Man In Black (Cash) 2.22
04. Big River (Cash) 2.46
05. The Lady Came From Baltimore (Hardin) 2.15
06. Sunday Morning Coming Down (Kristofferson) 4.09
07. These Hands (Noack) 3.25
08. Five Feet High And Rising (Cash) 1.47
09. Pickin’ Time (Cash) 1.48
10. I Got Stripes (Willims/Cash) 2.10
11. Doin’ My Time (Skinner) 2.23
12. Cocaine Blues (Arnall) 3.18
13. Give My Love To Rose (Cash) 2.51
14. A Boy Named Sue (Silverstein) 3.34
15. The Night They Drove Old Dixie Down (Robertson) 3.56
16. The City Of New Orleans (Goodman) 4.14
17. Hey Porter (Cash) 1.13
18. Folsom Prison Blues (Cash) 1.30
19. Wreck Of The Old 97 (Cash/Johnson/Blake) 1.33
20. Orange Blossom Special (Rouse) 3.56
21. I Still Miss Someone (J.Cash/R.Cash) 2.19
22. Jackson (Wheeler/Leiber) 2:59
23. If I Were A Carpenter (Hardin) 2.28
24. It Ain’t Me, Babe (Dylan) 3.28
25. Will The Circle Be Unbroken (Habershon/Gabriel/Carter) 2.44
26. Help Me (Gatlin) 2.54
27. I Walk The Line (Cash) 4.02



Front + backcover of another bootleg edition:

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