Muddy Waters – Hard Again (1977)

FrontCover1.jpgHard Again is the twelfth studio album by American blues singer Muddy Waters. It was recorded by producer Johnny Winter.

Released on January 10, 1977, Hard Again was Muddy’s first album on the Blue Sky label after leaving Chess Records, and was well received by critics.

In August 1975, Chess Records was sold to All Platinum Records and became a reissue label only. It was sometime after this when Muddy Waters left the label and he did not record any new studio material until he signed with Johnny Winter’s Blue Sky label in October 1976.

The sessions for Hard Again were recorded across the space of three days. Producing the session was Johnny Winter and engineering the sessions was Dave Still – who previously engineered Johnny’s brother Edgar, Foghat, and Alan Merrill. For the recordings Muddy used his then current touring band of guitarist Bob Margolin, pianist Pinetop Perkins, and drummer Willie “Big Eyes” Smith. Other backing members during the sessions were harmonicist James Cotton, who performed with Muddy at the Newport Jazz Festival in 1960, and bassist Charles Calmese, who performed with both Johnny Winter and James Cotton in the past.

Three of the songs on the album – “Mannish Boy”, “I Want to Be Loved”, and “I Can’t Be Satisfied” – were re-recordings of songs that were previously recorded for Chess Records. One of the songs recorded, “The Blues Had a Baby and They Named It Rock and Roll, Pt. 2”, was co-written by Brownie McGhee and another song, “Bus Driver”, was co-written by T. Abrahamson.

Hard Again peaked at #143 on the Billboard 200, which was his first appearance on the chart since Fathers and Sons in 1969. The album won the Grammy Award for Best Ethnic or Traditional Folk Recording the year of its release. (by wikipedia)

After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977’s Hard Again, a startling comeback and a gritty demonstration of the master’s powers. Fronting a band that includes such luminaries as James Cotton and “Pine Top” Perkins, Waters is not only at the top of his game, but is having the time of his life while he’s at it. The bits of studio chatter that close “Mannish Boy” and open “Bus Driver” show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn’t have it any other way. There is something so incredibly gratifying about hearing Waters shout out for different soloists, about the band missing hits or messing with the tempos. Hey this isn’t pop music, it’s the blues, and a little dirt never hurt anybody. The unsung star of this session is drummer Willie “Big Eyes” Smith, whose deep grooves make this record come alive. The five-minute, one-chord “Mannish Boy” wouldn’t be nearly as compelling as it is if it weren’t for Smith’s colossal pocket. Great blues from one of the dominant voices of the genre. (by Daniel Gioffre)


Charles Calmese (bass)
James Cotton (harmonica)
Bob Margolin (guitar)
Pinetop Perkins (piano)
Willie “Big Eyes” Smith (drums)
Muddy Waters (vocals, guitar)
Johnny Winter (guitar, miscellaneous screaming)

01. Mannish Boy (Morganfield/McDaniel/London) 5.24
02. Bus Driver (Morganfield/Abrahamson) 7.48
03. I Want To Be Loved (Dixon) 2.21
04. Jealous Hearted Man (Morganfield) 4.25
05. I Can’t Be Satisfied (Morganfield) 3.31
06. The Blues Had A Baby and They Named It Rock And Roll, Pt. 2 (Morganfield/McGhee) 3.36
07. Deep Down In Florida (Morganfield) 5.27
08. Crosseyed Cat (Morganfield) 6.01
09. Little Girl (Morganfield) 7.07



More Muddy Waters:




McKinley “Muddy Waters” Morganfield (April 4, 1913 or 1915 – April 30, 1983)

Outlaws – Lady In Waiting (1976)

FrontCover1.jpgIt’s not easy following up a creatively and commercially successful debut album, but Florida-based Southern rockers the Outlaws did just fine with their sophomore effort, 1976’s Lady in Waiting, the follow-up to their 1975 self-titled, gold-selling release. Although Lady in Waiting doesn’t have all-time knockouts like “There Goes Another Love Song” or “Green Grass & High Tides,” it does include a handful of Outlaws classics, including the minor hit “Breaker-Breaker” and “Stick Around for Rock & Roll.” Vocalists/guitarists Hughie Thomasson, Henry Paul, and Billy Jones; bass guitarist Frank O’Keefe (who was fired after this album); and drummer Monte Yoho collaborated once more with producer Paul A. Rothchild to create a textured album that managed to fuse intricate guitar arrangements and frame them within Thomasson’s rock & roll, Paul’s pure country, and Jones’ intensely personal songwriting styles. And don’t forget the splendid three-part vocal harmonies either. “Breaker-Breaker” is bright, easygoing country-rock; lyrically, it piggybacked on the mid-’70s CB radio craze.


The tempo changes and distinctly different guitar tones on “South Carolina” add extra dimensions to what would otherwise be straightforward, up-tempo country. Jones’ “Ain’t So Bad” is mid-tempo pop/rock with ironic lyrics about life and death, especially since he committed suicide two decades later in 1995 around the time of O’Keefe’s death. The tough country-rock, rockabilly-flavored number “Freeborn Man” was, unbelievably, co-written by Paul Revere and the Raiders vocalist Mark Lindsey and guitarist Keith Allison; the guitar solos provide the punch, but O’Keefe’s walking bassline adds a nice, loping rhythm. Paul’s country-inflected “Girl From Ohio” is rife with gorgeous harmonies. “Prisoner” is a sensitive Jones song with occasional jazz-pop tendencies. The hard-rocking “Stick Around for Rock & Roll” is a rowdy guitar jam. Lady in Waiting was reissued on CD by Buddha Records in 2001. (by Bret Adams)


Bill Jones (guitar, vocals)
Frank O’Keefe (bass)
Henry Paul (guitar, vocals)
Hughie Thomasson (guitar, vocals)
Monte Yoho (drums)
Joe Lala (percussion)


01. Breaker-Breaker (Thomasson) 2.57
02. South Carolina (Paul) 3.04
03. Ain’t So Bad (Jones) 3.47
04. Freeborn Man (Allison/Lindsey) 4.48
05. Girl From Ohio (Paul) 5.01
06. Lover Boy (Thomasson) 3.57
07. Just For You (Thomasson) 3.15
08. Prisoner (Jones) 3.56
09. Stick Around For Rock & Roll (Thomasson) 6.38




Santana – Amigos (1976)

FrontCover1Amigos is the seventh studio album by Santana. It generated a minor U.S. hit single in “Let It Shine” and was the band’s first album to hit the top ten on the Billboard charts since Caravanserai in 1972 (it ultimately reached gold record status). In Europe, the song “Europa” was released as a single and became a top ten hit in several countries.

New vocalist Greg Walker joined the group. It would be the last Santana album to include original bassist David Brown.

This album has been mixed and released in stereo and quadraphonic.^(by wikipedia)

By the release of Amigos, the Santana band’s seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. “Let It Shine” (number 77), an R&B-tinged tune, became the group’s first chart single in four years, and the album returned Santana to Top Ten status. by William Ruhlmann)


Amigos is the first Santana album that doesn’t attempt to break new ground. The several styles Carlos Santana has delved into over the past decade have been consolidated into a varied, multidimensional album. The early days of happy Latin rhythms, congas and catchy vocal hooks and choruses are represented not only by the not-quite-hidden picture of the band’s first album on the cover, but also by the very first strains of “Dance Sister Dance (Baila Mi Hermana),” which opens the album. If you’re more taken by the harder, brasher rock of Abraxas and Santana, “Take Me with You” and “Let Me” will suit you better. And the dreamlike, moody intensity of Caravanserai is evoked by “Europa (Earth’s Cry Heaven’s Smile).”

Throughout, Carlos Santana’s guitar wizardry remains as impressive as ever. He constantly darts in, out and through the dense rhythm section, displaying a mastery of lean rock, hot jazz and an occasional dash of quiet beauty. Most guitarists are hard pressed to come up with a single style; Carlos Santana has at least three of which he is master.

I hesitate to call this a safe album, but in a way, that’s what it is. Amigos is Santana at its most consistent — perhaps in an effort to win back listeners disaffected by the long delay between albums. For fans, it is indispensable. For new listeners, a treat. (by Alan Niester)


The inlets

David Brown (bass)
Leon “Ndugu” Chancler (drums, percussion, background vocals)
Tom Coster (keyboards, synthesizer, background vocals)
Armando Peraza (percussion, background vocals, vocal on 04.)
Carlos Santana (guitar, background vocals, percussion)
Greg Walker (vocals)
background vocals:
Ivory Stone – Julia Tillman Waters – Maxine Willard Waters

01. Dance Sister Dance (Baila Mi Hermana) (Chancler/Coster/Rubinson) 8.15
02. Take Me With You (Chancler/Coster) 5.27
03. Let Me (Coster/C.Santana) 4.51
04. Gitano (Peraza) 6.13
05. Tell Me Are You Tired (Chancler/Coster) 5.42
06. Europa (Earth’s Cry Heaven’s Smile) (Coster(C.Santana) 5.06
07. Let It Shine (Brown/Gardner) 5.43




This was tha last album with David Brown on bass:

David Brown

David Brown (February 15, 1947 – September 4, 2000)
He died on due to liver and kidney failure.

Danny Kirwan – Midnight In San Juan (1976)

FrontCover1.jpgDanny Kirwan, former Fleetwood Mac guitarist, dies aged 68

Kirwan joined in 1968 as a teenager, and played on five albums before being fired during a struggle with alcoholism

Danny Kirwan, who played guitar in Fleetwood Mac from 1968 to 1972, has died aged 68.

“Danny was a huge force in our early years,” said Mick Fleetwood from the band in a tribute on Facebook. “Danny’s true legacy, in my mind, will forever live on in the music he wrote and played so beautifully as a part of the foundation of Fleetwood Mac, that has now endured for over 50 years. Thank you, Danny Kirwan. You will forever be missed!”

At 18, Kirwan joined the band in their blues-rock era shortly after the release of second album Mr Wonderful. He became the band’s third guitarist alongside Peter Green and Jeremy Spencer, and performed on their next five albums.

DannyKirwan03It was a period of flux for the band – Green left in 1970, followed in 1971 by Spencer, who joined the Children of God cult, while Christine McVie joined the band in 1969. Kirwan developed an alcohol problem, and was eventually fired from the band in 1972, ushering in an even more unstable period before the arrival of Stevie Nicks and Lindsey Buckingham, which led to their period of greatest success.

After leaving the band, Kirwan went solo and released four albums in the 70s, featuring self-penned originals and idiosyncratic covers such as his reggae take on the Beatles’ Let It Be. His studio band once included Kirby Gregory from the bogus version of Fleetwood Mac, who briefly formed amid a battle over the rights to the band name in 1974.

DannyKirwan01But Kirwan became homeless, and in 1993 Fleetwood used the Missing Persons Bureau to trace him. Kirwan said he had been living a hermitic existence in a Brixton basement flat for years, followed by four years at a St Mungo’s shelter in central London, living off social security and small royalty payments. “I’ve been through a bit of a rough patch but I’m not too bad,” he told the Independent at the time. “I get by and I suppose I am homeless, but then I’ve never really had a home since our early days on tour. I couldn’t handle it all mentally and I had to get out. I can’t settle.”

No cause of death has been given. (by Ben Beaumont-Thomas)

And here´s his second solo album:

Midnight in San Juan is the second solo album by British blues rock musician Danny Kirwan, who was a member of Fleetwood Mac from 1968–72. Released in 1976, this was his second of three solo albums with the DJM Records label.Midnight in San Juan is the second solo album by British blues rock musician Danny Kirwan, who was a member of Fleetwood Mac from 1968–72. Released in 1976, this was his second of three solo albums with the DJM Records label.
This album was released in the USA and Canada in May 1977 under the title Danny Kirwan, with a different sleeve (front and back) and a biography / review written by Michael Hogan. The recorded material is identical to the UK release. It was released for the first time on CD, only in Japan, in February 2006.

Apart from the self-penned tracks, Kirwan includes a reggae-style cover of The Beatles’ “Let It Be”, which was a single in the United States. The other single from this album was “Misty River”. Another cover version was “Look Around You”, written by Dave Walker, himself an ex-Fleetwood Mac member.
Kirwan’s backing band on the album was made up of members of Stretch; an earlier incarnation of Stretch had briefly toured as a bogus version of Fleetwood Mac in 1974. (by wikipedia)


On his follow-up to 1975’s Second Chapter, his first solo disc after being such an important element of Fleetwood Mac, Danny Kirwan gives fans another taste of Bare Trees with the lovely song “Castaway,” which ends the album, and the instrumental “Rolling Hills,” which could be a sequel to the sublime “Sunny Side of Heaven,” a treat both when Fleetwood Mac performed it live and when it appeared on Bare Trees. Kirwan’s personality shines on those tracks, and this album is chock-full of quality material — there isn’t a bad track on it musically. Where followers of this artist might have a problem is that it seems to be a conscious effort to go off in the commercial direction taken by the folk band America, of all people. Both tracks which open side one and two, “I Can Tell” and “Misty River” respectively, would have perfectly fit in America’s “Sister Golden Hair,” “Don’t Cross the River,” and “Ventura Highway” set list.


This is decidedly different music from the slick pop of 1979’s Hello There Big Boy, which retained only pianist John Cook from these sessions. That episode had him sounding more like his ex-Fleetwood Mac mate Bob Welch, no surprise since Welch actually charted in 1977 with his Bare Trees track “Sentimental Lady.” “Life Machine” on this disc actually sounds like a Bob Welch track, and it is too bad the two artists didn’t join forces at this point in time. The strange one here is a reggae version of “Let It Be,” which, in its brashness, becomes a nice turning point for the disc, showing real personality. Too many artists cover the Beatles note for note while Kirwan gives the world ten new originals and a creative reworking of a classic hit by “the Fab Four.” This album was titled Danny Kirwan in North America, while the British release took its name from the other instrumental track, a synthesized journey called “Midnight in San Juan.” “Angel’s Delight” and “Windy Autumn Day” sound like Fleetwood Mac meets the band America, a very saleable commodity if you think about it, the Beatles-style ending to “Windy Autumn Day” driving the point home. Dick James Records really should have gotten more solidly behind this artist — there’s no doubt the talent for Top 40 success here was enormous. (by Joe Viglione)

This is a very quiete, calm and sympathic album … recorded by a tragic looser.

AlernateFront+BackCover.jpgAlternate US front + back cover

John Cook (piano)
Steve Emery (bass)
Danny Kirwan (guitar, vocals)
Jeff Rich (drums)


01. I Can Tell (Kirwan) – 3:02
02. Life Machine (Kirwan) – 2:26
03. Midnight In San Juan” – 2:38
04. Let It Be (Lennon/McCartney) – 2:28
05. Angel’s Delight – 2:47
06. Windy Autumn Day” – 2:38
07. Misty River” – 3:59
08. Rolling Hills – 2:25
09. I Can’t Let You Go – 2:42
10. Look Around You (Walker) – 3:09
11. Castaway  – 3:47




Danny Kirwan May 13, 1950 – June 8, 2018

Former Fleetwood Mac guitarist Danny Kirwan has died. His death was reported by Mick Fleetwood via Facebook.In a tribute headed “Danny Kirwan May 13, 1950 – June 8, 2018”, Fleetwood wrote, “Today was greeted by the sad news of the passing of Danny Kirwan in London, England.

Danny was a huge force in our early years. His love for the Blues led him to being asked to join Fleetwood Mac in 1968, where he made his musical home for many years.

“Danny’s true legacy, in my mind, will forever live on in the music he wrote and played so beautifully as a part of the foundation of Fleetwood Mac that has now endured for over fifty years.

“Thank you, Danny Kirwan. You will forever be missed! (Mick Fleetwood)

Nils Lofgren – Back It Up! – Live (An Authorised Bootleg) (1976)

FrontCover2Back It Up!! is a promotional “live” album from Nils Lofgren initially released 1975. The title of the original vinyl LP was Back It Up!! – Nils Lofgren Live – An Authorized Bootleg. Although the recording was officially released by A&M Records, the artwork was designed to give the appearance of a live bootleg recording, similar to Decca Records’ original vinyl release of the Who’s Live at Leeds in 1970, which was a legitimate live album designed to look like a bootleg. Back It Up!! was not officially available to the public until it was issued on CD in 2007, 32 years after its original release.

The songs were recorded at the Record Plant in Sausalito, California, on October 31, 1975, and primarily features material from Lofgren’s first solo album which had been released earlier in the year. At the time of the recording, Lofgren had recently signed with A&M and had just begun a solo career following the dissolution of his previous group, Grin. Despite its limited release, songs from Back It Up!! were featured on FM radio broadcasts during the 1970s and had been generally praised by the musical press as worthy of a proper release.

The CD re-release includes the same seven songs from the original vinyl release in 1975. An additional song, “Rock and Roll Crook”, was also performed at the concert (following “Goin’ Back”), but was not included on the 1975 vinyl release or the CD reissue. Currently, all of the songs from Back It Up!!, along with “Rock and Roll Crook”, are available as a digital download from the Wolfgang’s Vault website. (by wikipedia)


Finally available on wide release 32 years after it was a limited-edition, and much coveted, vinyl release sent to 1,000 radio stations and critics (each one with a sticker hand-glued to the cover), this 44-minute live radio station concert is half as long and more than twice as exciting as Nils Lofgren’s official live concert souvenir, 1977’s disappointing and bloated Night After Night. Al Kooper, who was then doing pre-production on Lofgren’s second solo effort, sits in on keyboards and the stripped-down band also featuring Nils’ brother Tommy on second guitar and a bassist and drummer keeps the sound lean and mean. There are only seven tracks, with five grabbed from Lofgren’s then recently released debut, along with two tunes from Grin, the band he recorded four albums with that also included his brother. In retrospect, the sound is a little dry and the 2007 CD reissue doesn’t remix it or add any additional tracks (there may not have been any), but this is nevertheless a classic album, arguably Lofgren’s finest, whose belated presence on CD is most welcome.


The singer and guitarist also plays decent piano on a stunning version of the Goffin & King nugget “Goin’ Back,” rearranged substantially from the Byrds’ more popular cover. The only real rockers are the opening title track and the closing “Beggar’s Day”; the latter tune, dedicated to Crazy Horse’s Danny Whitten (Lofgren was a member of that band for a brief period), is a highlight of Lofgren’s catalog. The rest display his pop roots that are often obscured on later discs where he flirted with R&B, disco, and hard rock to various degrees of success. Any Nils collection is unthinkable without this, so its appearance, even three decades after its original release, should be greeted with enthusiasm by anyone even vaguely interested in Lofgren’s career. (by Hal Horowitz)


CD front + back cover

Scotty Ball (bass)
Nils Lofgren (guitar, piano, vocals)
Tom Lofgren (guitar, background vocals)
Michael Zak (drums)
Al Kooper (pianoYear Of Rec)

01. Take You To The Movies Tonight (N.Lofgren) 1.01
02. Back It Up (N.Lofgren) 5.58
03. Keith Don’t Go (Ode to the Glimmer Twin) (N.Lofgren) 6.26
04. I Don’t Want To Know (N.Lofgren) 3.48
05. Nils talks to the audience 0.30
06. The Sun Hasn’t Set On This Boy (N.Lofgren) 3.13
07. Goin’ Back (Goffin/King) 6.03
08. Band intro 0.42
09. Like Rain (N.Lofgren) 5.49
10. Nils thanks crew 0.30
11. Beggar’s Day (N.Lofgren) 7.52
12. Soft Fun (N.Lofgren) 2.45





Various Artists – Concert Of The Century (1976)

FrontCover1.JPGI guess this was a very special night at the Carnegie Hall, New York. This concert should celebrate the 85th anniversary of this legendary concert hall.

My uncle bought this double LP as a Christmas present for my father back when it first came out. It was recorded in celebration of the 85th anniversary of Carnegie Hall. That concert night featured Leonard Bernstein and members of the NYP, Isaac Stern, Rostropovich, Yehudi Menuhin, and of course, Dieskau and Horowitz! Bach’s double violin concerto in D minor is unpolished with Stern and Menuhin and the entire cast singing Handel’s “Hallelujah” from the Massiah at the end is a bit much and over the top.

Still, it was indeed a historical night and Dieskau and Horowitz’ performance of Schumann’s Dichterliebe made it so. A must have for anyone who loves this piece or wishes to fall in love with it. (Peter Chordas)


The performance of the slow movement of the rachmaninoff cello sonata is among the most touching recordings that have ever been made. (Joerg)

The performance of the slow movement of the rachmaninoff cello sonata is among the most touching recordings that have ever been made. (Pete)

All lovers of Lieder seem to have a certain passion and veneration for Fischer-Dieskau’s interpretation of Schumann’s Dichterliebe. It is appearant that this singer’s understanding of the music, his vocal capacity, his beautiful phrasing, clear diction, and his general (outstanding) musicianship enable him to communicate these Lieder in a way nobody else has done before (save maybe Hotter) or since.
In this live-recording he is supported by no other than Vladimir Horowitz! And the inspiration between these two artists works wonders. Horowitz’ playing in crucial moments of the cycle fx “Ich Grolle Nicht” adds a spiritual dimension to the interpretation that you do not get from Moore, Brendel or Demus. We are dealing with the best interpretation of this cycle ever conveyed to disc. (Tommy Nielsen)

And … listen to “Pater Noster” … unbelieveable music … I call this music … spiritual music, even I don´t believe in god !

What a night !


Leonard Bernstein (harpsichord on 05.)
Dietrich Fischer-Dieskau (vocals on 04. + 07.)
Vladimir Horowitz (piano on 02. – 04. + 07.)
Yehudi Menuhin (violin on 05. + 07.)
Mstislav Rostropovich (cello on 02., 03. + 07.)
Isaac Stern (violin on 02., 05. + 07.)

Members Of The New York Philharmonic conducted by Leonard Bernstein (on 01., 05. + 07.)
The Oratorio Society Orchestra conducted by Lyndon Woodside (o6. + 07.)


01. Leonore – Overture No3/Ouvertüre Nr3/Ouverture Nº3 Op.72a (Beethoven) 14.34
02. Piano Trio In A Minor/Klaviertrio, A-moll/Trio Pour Piano En La Mineur – Op.50, I – Pezzo Elegiaco (Tchaikovsky) 18.18
03. Sonata For Cello & Piano In G Minor/Sonate Für Violoncello & Klavier G-moll/Sonate Pour Violoncelle & Piano En Sol Mineur – Op.19, III Andante (Rachmaninoff) 5.47
04. Dichterliebe, Op.48 (Schumann/Heine) 29.30
05. Concerto In D Minor For Two Violins/Konzert Für Zwei Violinen, D-moll/Concerto Pour Deux Violons En Ré-mineur BWV 1043 (Bach) 15.29
06. Pater Noster (Tchaikovsky) 3.53
07. The Messiah/Hallelujah Chorus (Händel) 4.04




Harry Chapin – Greatest Stories Live (1976)

FrontCover1.JPGGreatest Stories Live is the first live album by the American singer/songwriter Harry Chapin, recorded over three nights at three California venues, and released in 1976. Certain elements had to be re-recorded in the studio due to technical problems with the live recordings. The original LP release featured three new studio tracks, two of which (“She Is Always Seventeen” and “Love Is Just Another Word”) were excluded from the CD release. “A Better Place to Be” was released as a single, and did manage to crack the Billboard Hot 100 chart.

The album is popular for its extended cut of “30,000 Pounds of Bananas”, infamous for Chapin’s recounting of his brothers’ remarks after hearing the original ending: “Harry…it sucks.” The quote became so popular with Harry Chapin fans that concert shirts were sold with the quotation on it. (by wikipedia)


Recorded in November 1975, Greatest Stories Live showcases the legendary live performance styles of acoustic troubadour and noted activist Harry Chapin. Recorded over three nights on-stage in California, the double-LP set features all the hits as well as a few notable album cuts that put the musician’s musical and personal skills out on the line for all to see. There are the obvious inclusions of touching hits, like “W*O*L*D,” “Taxi,” and of course the father-son anthem “Cats in the Cradle.” “Mr. Tanner” and the heartfelt “I Wanna Learn a Love Song” also come across great in the live environment, a setting that was clearly the singer/songwriter’s forte. Chapin has a fantastic rapport with the audience throughout the set, and it comes through with incredible results on his humorous banter before and during the rousing and set-highlighting “30,000 Pounds of Bananas,” a great track about Scranton, PA, and a runaway fruit truck. Sure it may sound a little hokey, but Chapin is a true showman and the fun he has on-stage transfers directly into the joy of listening to the record. A fine musician and individual, Chapin’s Greatest Stories Live comes close to living up to its name and is a fitting document of a man whose boundless joy and insight shined through in his music. (by Peter J. D’Angelo)


Ed Bednarski (carinet)
Ron Bacchiocchi (snthesizer, percussion, clavinet)
Harry Chapin (uhtar, vocals)
Stephen Chapin (ynthesizer, piano, vocals)
Tom Chapin (guitar, banjo, vocals)
Howie Fields (drums)
Paul Leka -(piano, clavinet)
Michael Masters (cello)
Tim Moore (piano)
Ronald Palmer (guitar, vocals)
Don Payne (bass)
Tim Scott (cello)
Ken Smith (percussion)
Bob Springer (percussion)
Allan Schwartzberg (drums)
John Tropea (guitar)
Doug Walker (bass, guitar, vocals)
Doug Walker (bass, guitar, vocals)
John Wallace (bass, vocals)
ackground vocals:
Christine Faith – Cheryl Ferrio – David Kondziela – Mark Mundy – Kathy Ramos – Frank Simms – George Simms – Betsy Wager – Sue White 


01. Dreams Go By (H.Chapin) 4.54
02. W·O·L·D (H.Chapin) 5.01
03. Saturday Morning (T.Chapin) 3.05
04. I Wanna Learn A Love Song (H.Chapin) 5.04
05. Mr. Tanner (H.Chapin) 5.17
06. A Better Place To Be (Chapin) 9.58
07. Let Time Go Lightly (S.Chapin) 4.56
08. Cat´s In The Craddle (H.Chapin) 4.04
09. Taxi (H.Chapin) 6.52
10. Circle (H.Chapin) 7.21
11. 30,000 Pounds of Bananas (H.Chapin) 11.27
12. The Shortest Story (Studio track) (H.Chapin) 2.25


Two different Labels

Harry Chapin (December 7, 1942 – July 16, 1981)