Monty Alexander feat. Ernest Ranglin – Cobilimbo (1978)

FrontCover1.jpgMontgomery Bernard “Monty” Alexander (born 6 June 1944) is a Jamaican jazz pianist. His playing has a Caribbean influence and bright swinging feeling, with a strong vocabulary of bebop jazz and blues rooted melodies. He was influenced by Louis Armstrong, Duke Ellington, Nat King Cole, Oscar Peterson, and Frank Sinatra. Alexander also sings and plays the melodica. He is known for his surprising musical twists, bright rhythmic sense, and intense dramatic musical climaxes. Monty’s recording career has covered many of the well known American songbook standards, jazz standards, pop hits, and Jamaican songs from his original homeland. Alexander has resided in New York City for many years and performs frequently throughout the world at jazz festivals and clubs.

Alexander was born on 6 June 1944 in Kingston, Jamaica. He discovered the piano when he was four years old and seemed to have a knack for picking melodies out by ear. His mother sent him to classical music lessons at the age of six and became interested in jazz piano at the age of 14, and began playing in clubs, and on recording sessions by Clue Monty Alexander02J & His Blues Blasters, subbing for Aubrey Adams, whom he describes as his hero, when he was unable to play. Two years later, he directed a dance orchestra (Monty and the Cyclones) and played in the local clubs covering much of the 1960s early rock and pop dance hits. Performances at the Carib Theater in Jamaica by Louis Armstrong and Nat King Cole left a strong impression on the young pianist.

Alexander and his family moved to Miami, Florida, in 1961, where he played in various nightclubs. One night Monty was brought to the attention of Frank Sinatra and Frank’s friend Jilly Rizzo. They were there to see the act in the next room, a Sinatra imitator. Somebody suggested they also check out the kid playing piano in the front room bar, “He’s swinging the room pretty good” they said. Thus, Monty was invited to New York City in 1962 to become the house pianist for Jilly Rizzo’s night club and restaurant simply called “Jilly’s.” In addition to performing with Frank Sinatra there, Alexander also met and became friends with bassist Ray Brown and vibist Milt Jackson. He also became friendly with Miles Davis, both men sharing a love of watching boxing matches.

In Los Angeles, in 1964, Alexander recorded his first album, Alexander the Great, for Pacific Jazz at the age of 20. The album was very energetic and upbeat with the climax tune being “Blues for Jilly”.

Monty Alexander at the 50th Montreux Jazz Festival, (c)2016 FFJM - Marc Ducrest

Alexander recorded with Milt Jackson in 1969, with Ernest Ranglin in 1974 and in Europe the same year with Ed Thigpen. He toured regularly in Europe and recorded there, mostly with his classic trio for MPS Records. He also toured around 1976 with the steelpan player Othello Molineaux. Alexander has also played with several singers such as Ernestine Anderson, Mary Stallings and other important leaders (Dizzy Gillespie, Benny Golson, Jimmy Griffin and Frank Morgan). In his successive trios, he has played frequently with musicians associated with Oscar Peterson: Herb Ellis, Ray Brown, Mads Vinding, Ed Thigpen and Niels-Henning Ørsted Pedersen.

In the mid-1970s he formed a group consisting of John Clayton on bass and Jeff Hamilton on drums, creating a stir on the jazz-scene in Europe. Their most famous collaboration is Montreux Alexander, recorded during the Montreux Jazz Festival in July 1976.

Monty Alexander04

Alexander formed a reggae band in the 1990s, featuring all Jamaican musicians. He has released several reggae albums, including Yard Movement (1996), Stir It Up (1999, a collection of Bob Marley songs), Monty Meets Sly & Robbie (2000), and Goin’ Yard (2001). He collaborated again with Ranglin in 2004 on the album Rocksteady.[3]

Alexander married the American jazz guitarist Emily Remler in 1981. They divorced in 1985. Alexander is currently married to Italian jazz singer Caterina Zapponi. (by wikipedia)

And here is his 19th album for the legendaray German jazz label MPS Records:

“Cobilimbo” is one of Monty Alexander’s more creative sets of the 70s, recorded Sept. 8.-9.,1977, at MPS Studio Villingen/Germany, with a strong Caribbean groove overall and with guitar from Ernest Ranglin and steel drums from Vincent Taylor.

Monty Alexander01

Monty Alexander (piano)
Charles Campbell (congas)
Frank Gant (drums)
Ernest Ranglin (guitar)
Andy Simpkins (bass)
Vincent Taylor (steel-drums)


01. Out Of Many People, One (Alexander) 5.22
02. Muko (Alexander/Taylor) 6.24
03. Many Rivers To Cross (Cliff) 4.25
04. Cobilimbo (Alexander) 7.06
05. Ripe Banana (Clayton) 5.41
06. Jammin’ (Malik) 6.15
07. Tropical Breeze (Nasser) 5.00
08. Caribea (Alexander) 5.04



Rory Gallagher – Notes From San Francisco (2011)

FrontCover1.jpgNotes from San Francisco is a posthumous album by Irish musician Rory Gallagher. Released in 2011, It consists of two CDs. The first disc is a never released album that Gallagher recorded in San Francisco in December 1977. The album was to be a major shift for Gallagher. Rather than producing it himself, he worked with Elliot Mazer a successful producer who had a long track record with artists such as Bob Dylan, Janis Joplin and The Band. At the last minute — causing great distress to his manager and brother Dónal and to his record company — Gallagher decided to just pull the record. In an interview, Gallagher stated “it wasn’t because of the material or the musicians or anything like that. It was a song thing that I didn’t think on the technical side everything worked. So I scrapped the thing” After scrapping the album Gallagher reworked his band firing all the musicians except the bass player and hiring a new drummer. This new Gallagher power trio re-recorded the San Francisco songs with Gallagher producing and released them as Photo-Finish.  Shortly before his death, Rory reportedly gave Dónal permission to eventually release the original San Francisco versions of the songs if they were remixed. Dónal had his son Daniel remix the songs in 2011. The second disc is a live performance also recorded in San Francisco in December 1979.  Peter Notes from San Francisco is a posthumous album by Irish musician Rory Gallagher. Released in 2011, It consists of two CDs. The first disc is a never released album that Gallagher recorded in San Francisco in December 1977. The album was to be a major shift for Gallagher. Rather than producing it himself, he worked with Elliot Mazer a successful producer who had a long track record with artists such as Bob Dylan, Janis Joplin and The Band.


At the last minute — causing great distress to his manager and brother Dónal and to his record company — Gallagher decided to just pull the record. In an interview, Gallagher stated “it wasn’t because of the material or the musicians or anything like that. It was a song thing that I didn’t think on the technical side everything worked. So I scrapped the thing” After scrapping the album Gallagher reworked his band firing all the musicians except the bass player and hiring a new drummer. This new Gallagher power trio re-recorded the San Francisco songs with Gallagher producing and released them as Photo-Finish. [1] Shortly before his death, Rory reportedly gave Dónal permission to eventually release the original San Francisco versions of the songs if they were remixed. Dónal had his son Daniel remix the songs in 2011. The second disc is a live performance also recorded in San Francisco in December 1979.


It’s surprising, considering the interesting back story on the studio portion of this posthumous Rory Gallagher release, that there are no notes on the actual packaging to chronicle its eventual appearance in 2011, nearly 33 years after being recorded in December 1977. According to the press release though, Gallagher clashed with producer Elliot Mazer about the mix on these dozen tunes and not only shelved the tapes, but broke up his longtime band after the San Francisco session ended. Out went keyboardist Lou Martin and drummer Rod de’Ath, replaced by skinsman Ted McKenna (bassist Gerry McAvoy remained) to strip down the sound for his next phase. About half these songs, such as “Mississippi Sheiks,” “Fuel to the Fire,” “Brute Force & Ignorance,” “Cruise on Out,” and “Overnight Bag” appeared on 1978’s Photo Finish in different performances. Some, like the closing “Out on the Tiles” and “B Girl,” will be new to all but the most ardent Gallagher followers. Shortly before his death, the guitarist apparently mentioned to his brother Donald that he’d like the tapes to be released someday if they were remixed, which is exactly what Donald’s son Daniel did in 2011, resulting in these long-lost tracks finally seeing the light of day.

Rory Gallagher01

Despite Gallagher’s reservations, everything here is up to his usual high standard, and he obviously respected the material enough to re-record the bulk of it with a different band and producer later that year. The electric violin on “Mississippi Sheiks” is a new twist on both Gallagher’s blues-rock style and the song, which helps differentiate this version from the more famous one that appeared on Photo Finish. Saxophone, played by Martin Fiero, enhances two cuts, also bringing a unique groove, especially to the lumbering “Brute Force and Ignorance.” The package includes a December 1979 live show, also recorded in San Francisco, that finds Gallagher and his two-piece in typically fine fettle. They revisit the Taste-era chestnut “Bullfrog Blues” and tear into the rarity “I’m Leavin'” with their notorious paint-peeling approach. He digs back some years for a tough take on “Tattoo’d Lady,” but most of the set is derived from his mid- to late-’70s albums Top Priority, Photo Finish, and Calling Card. A breathless “Sea Cruise” closes the set, and is probably a nod to Jerry Lee Lewis, on whose album Gallagher guested. It caps off a roaring, electrifying show that, along with the studio disc, makes a worthwhile addition to any Gallagher lover’s collection. Even lacking detailed liner notes, this is a keeper and an important historical document in Rory Gallagher’s short but eventful career. (by Hal Horowitz)

Rory Gallagher02

Rod de’Ath (drums on CD 1)
Rory Gallagher (guitar, vocals, harmonica)
Lou Martin (keyboards)
Gerry McAvoy (bass)
Ted McKenna (drums on CD 2)
Martin Fiero (saxophone on CD 1 – 01.)
Joe O’Donnell (violin on CD 1 – 08.)


CD 1 (studio recordings):
01. Rue The Day 4.26
02. Persuasion 4.45
03. B Girl 4.42
04. Mississippi Sheiks 5.56
05. Wheels Within Wheels 3.40
06. Overnight Bag 4.46
07. Cruise On Out 5.19
08. Brute Force & Ignorance 5.45
09. Fuel To The Fire 5.43
10. Wheels Within Wheels (alternate version) 3.55
11. Cut A Dash 3.49
12. Out On The Tiles 4.22

CD 2 (live recordings):
01. Follow Me (from Top Priority) 6.25
02. Shinkicker (from Photo-Finish) 3.42
03. Off The Handle (from Top Priority) 7.01
04. Bought And Sold (from Against the Grain) 4.43
05. I’m Leavin’ 4.35
06. Tattoo’d Lady (from Tattoo) 6.49
07. Do You Read Me (from Calling Card) 6.11
08. Country Mile (from Calling Card) 3.51
09. Calling Card (from Calling Card) 5.51
10. Shadow Play (from Photo-Finish) 5.11
11. Bullfrog Blues  (from Live in Europe) (Traditiional) 5.38
12. Sea Cruise 3.29

All songs written by Rory Gallagher except as indicate


Rory Gallagher03

Rory Gallagher (2 March 1948 – 14 June 1995)

Chris Barber With John Lewis & Trummy Young – Swing Is Here (1978)

FrontCover1.jpgTaken from the original liner notes:

The only surprising thing about Chris Barber – according to BBC jazz presenter Peter Clayton – would be if he failed to surprise. “Surprise” puts mildly the initial reaction of many people when Eumig’s “Swing Is Here” package was first announced. After all, The MJQ, The Louis Armstrong All-Stars and “British trad Jazz” are still, in the minds of many so-called jazz fans as musically removed from each other as any three galaxies you may care to name.

Trummy Young does not live exactly a galaxy away from Britain – but he was persuaded away from his haven in Hawaii to join the tour – his first visit to Europe since touring with Louis in 1964. That he had turned down all previous offers of work in Europe is no small compliment to Chris and the Band. John Lewis has for many years been a confessed admirer of the Chris Barber Band – even before they recorded his “Golden Striker” in 1960. The suite that he composed specially for this tour was written with the sound of the original six-piece Chris Barber Band in mind. These days, of course, the Barber Band has evolved to an eight man line-up but the additional reed and string instruments have, naturally, been written into the suite.

In the year that Chris Barber was to form his first amateur band (1949) John Lewis was forming the MJQ and Trummy Young was embarking upon his marathon stint with the Louis Armstrong All-Stars. The backgrounds of John and Trummy in music prior to that time (Swing, be-bop, blues) make their coming together with the Chris Barber Band far less of a surprise than may at first sight appear to be the case.


The biggest surprise during the tour was to learn from John Lewis that when the package played at Southport we were just down the road from a venue where he had played his first ever gig in England: it was a Saturday night hop with a local dance band during the war! The pearls such as “Yes we have no Bananas” and “The Palais Glide” that John played in that Lancashire ballroom are NOT featured on this album! (Vic Gibbons)

The catalyst of Jazz and Jazz based popular music in Europe over the last fifteen years has been Chris Barber and his band. He has discovered that wonderful and rare experience of Jazz ensemble playing which can only be achieved by long time association (I know it from my years with the MJQ), and has also developed into one of the great and unique trombone soloists in Jazz. I enjoyed and appreciated the experience of performing with his great institution the Chris Barber Band. (John Lewis)

Recorded live during the “Swing Is Here” European tour


Chris Barber (trombone, vocals)
John Crocker (saxophone, clarinet)
Pat Halcox (trumpet)
Roger Hill (guitar)
Johnny McCallum (banjo, guitar)
Vic Pitt (bass)
Sammy Rimmington (saxophone, clarinet)
Pete York (drums)
John Lewis (piano)
Trummy Young (trombone, vocals)


01.  Home Folks (Lewis)
02. Time (Lewis)
03. Mood Indigo (Bigard/Ellington)
04.  ‘Tain’t What You Do (Oliver/Young)
05. Georgia (Carmichael)
06. Some Say You’ll Be Sorry (Armstrong)
07. Muskrat Ramble (Ory)
08. When The Saints Go Marchin’ In (Traditional)
09. Outro
10. Swing Is Here (part one)
11. Swing Is Here (part one)




Alternate frontcover

Albert Collins + Barrelhouse – Live (1978)

FrontCover1.jpgNot really an introduction nessecary:

Albert Gene Drewery, known as Albert Collins and the Ice Man (October 1, 1932 – November 24, 1993),[1] was an American electric blues guitarist and singer with a distinctive guitar style. He was noted for his powerful playing and his use of altered tunings and a capo. His long association with the Fender Telecaster led to the title “The Master of the Telecaster”. (by wikipedia)

A leading Dutch pop journalist, the well respected Jip Golsteyn,once wrote that Barrelhouse is and has been for a long time, the leading rhythm & blues group in the Low Countries.The band started in 1974, released 10 albums in as many years, among them a live album with the legendary Albert Collins from Texas.

After some changes in personnel during their acclaimed existence, the band split up in 1986, individual members finding new ways in different groups. But in spite of leadsinger Tineke Schoemaker’s chart success with One Two, a longing for the supple and solid band that once was theirs crept into the minds of the Barrelhouse members while time passed. In 1993 Barrelhouse hit the road again with their original line-up. It was an instant success, not in the least because of the flexibility with which the band renewed its repertoire. This renewed sound and approach was highlighted on the CD’s that followed: Fortune Changes (1993) and Time Frames (1998). By the end of the Summer of 2002 the third CD since the split was released: Walking in Time.

VideoClipTaken from the video clip

Some say that Barrelhouse is ‘magic’, a lucky combination of musicians that blends into an energetic and solidly lubricated piece of rhythm & blues, all at once catching the eye, forcing you to dance. The most obvious element is the powerful voice of the lead singer Tineke Schoemaker. She doesn’t need to imitate: her soul and sound are original, her range and timing touches the audience immediately. But where would she be without the band featuring bass player Jan Willem Sligting and drummer Bob Dros who make up the very solid rhythm section always leaving room for the soloist to perform on top with their very characteristic Barrelhouse groove. Both guitar players Johnny and Guus LaPorte prove that excellent guitar-solos and strong and inspired rhythm guitar go hand in hand. The brothers excel in both. The band is completed by the technical prowess of piano player Han van Dam, who adds to the solidity of the rhythm section both during solos or in accompaniment. Barrelhouse is dynamic in their slow blues and medium tempo, but even more so when they get worked up with an energetic number which they perform with a kind of enthusiasm that puts a spell on any audience lucky enough to catch a show.


The band has appeared on Dutch television on several occasions and played on major European festivals like Breminale (Bremen – Germany), Moulin Blues (Ospel, The Netherlands), The R&B Festival Peer (Belgium), Blue Balls Festival (Luzern, Switzerland) and North Sea Jazz Festival (The Hague, The Netherlands).

And here´s a very fine live album from the early days of Barrelhouse (the band is still active !).

Collins is backed by a Dutch band on this recording of a December 1978 show in Alkmaar, Holland. Dividing his attention between originals and covers of tunes by the likes of Lowell Fulson and Guitar Slim, it’s a typically energetic set with long solos, the backup musicians playing competently, and female singer Tineke Schoemaker taking the vocals on “Blue River Rising.” (by Richie Unterberger)

I include a very rare video-clip from Dutch TV: Alber Collins & Barrelhouse the song “Conversation With Collins” … including a rely runny guitar-solo by Albert Collins … watch !


Alternate CD frontcover

Albert Collins (guitar, vocals)

with Barrelhouse:
Han van Dam (piano)
Bob Dros (drums)
Guus Laporte (guitar)
Johnny Laporte (guitar)
Jan Willem Sligting (bass)
Tineke Schoemaker (vocals)
Tony Vos (saxophone)


01. Frosty (A.Collins) 4.44
02. Honey Hush (Fulson) 5.47
03. I’ve Got A Mind To Travel (G.Collins) 7.31
04. Don’t Loose Your Cool (A. Collins) 5.37
05. Blue River Rising (Shuler/Bonner) 6.32
06. Cock It On The Wall (Traditional) 3.04
07. Conversation With Collins (A. Collins) 9.28
08. Keep Your Business Straight (G. Collins) 9.27
09. Things I Used To Do (Slim) 4.54
10. Conversation With Collins (video-clip) (A. Collins) 6.19



Chris Hinze, Lala Kovacev, Sigi Schwab + Eberhard Weber – Wide and Blue (1978)

FrontCover1Branislav Lala Kovačev (Serbian Cyrillic: Бранислав „Лала“ Ковачев; November 19, 1939 in Kikinda, Serbia – September 2, 2012 in Hvar, Croatia) was a Yugoslavian-Serbian jazz musician, drummer, bandleader and composer. Widely considered a key figure in the history of Balkan Ethno jazz. As a leader of European Jazz Consensus, International Jazz Consensus and Lala Kovacev Group, he developed a distinguished fusion style by integrating complex rhythmic structures from Balkan folk music into jazz.

He showed interest in music at a young age, playing trumpet first and soon turning to drums. Largely self-taught, Lala Kovačev began his professional career as a member of the Dixieland Ensemble Dinamo when he was 17, and within two years he became the youngest member of the Radio Belgrade Jazz Orchestra led by Vojislav Simić. He moved to Germany in the mid-1960s and spent six years performing with Horst Jankowski internationally. From 1974 to 1975 he played with Max Greger in Munich and with the North German Radio Orchestra in Hanover. During this period he was collaborating with Chick Corea, Hans Koller, Albert Mangelsdorff, Wolfgang Dauner, Alan Skidmore, Boško Petrović, Michal Urbaniak, Duško Gojković and Benny Bailey.

In the early-1970s Kovačev formed European Jazz Consensus with Alan Skidmore, Gerd Dudek and Adelhard Roidinger. This avant-garde jazz group released two albums: Four for Slavia (1977) and Morning Rise (1977). International Jazz Consensus came as continuation of the first quartet and released one album Beak To Beak (1981) featuring Allan Praskin, Adelhard Roidinger and John Thomas. Lala Kovacev Group was created following year and released three albums: Balkan Impressions (1982), Balkan Impressions Vol.2 (1983) and Izvorni Folklor i Jazz (1985) (by wikipedia)

Lala Kovacev03

Is it possible to get tired of virtuoso flautist Chris Hinze? Not for me… here is an outing from 1976 featuring the amazing guitarist Sigi we have seen before, Eberhard Weber performing his customary ECM-style electric bass smooth melodiousness, and Lala Kovacev on percussion. Oddly enough most of the compositions are from Mladen Gunesha, with only the 5th track (sampled here below) by Hinze. The former is not a name familiar to me though I note he has a german wikipedia entry, he is clearly a european composer and arranger from former yugoslavia. (by an unknown person)

In other words: Another hightlight in this blog !

Recorded February 1976 at Studio Barbarossa Munich

Lala Kovacev02

Chris Hinze (flute)
Lala Kovacev (drums, percussion)
Sigi Schwab (guitar)
Eberhard Weber (bass)



01. Danielle (Kovacev) 5.50
02. Fatima (Kovacev) 7.05
03. Wide And Blue (Kovacev) 6.25
04. Tales From Nowhere (Kovacev) 10.30
05. Thanks For Being Being (Hinze) 5.05
06. Do It Nice For Me (Kovacev) 5.35



Lala Kovacev01Lala Kovačev
(November 19, 1939 in Kikinda, Serbia – September 2, 2012 in Hvar, Croatia)

Dr. Feelgood – Down At The BBC In Concert 1977 – 78 (2002)

FrontCover1Dr. Feelgood was the ultimate working band. From their formation in 1971 to lead vocalist Lee Brilleaux’s untimely death in 1994, the band never left the road, playing hundreds of gigs every year. Throughout their entire career, Dr. Feelgood never left simple, hard-driving rock & roll behind, and their devotion to the blues and R&B earned them a devoted fan base. That following first emerged in the mid-’70s, when Dr. Feelgood became the leader of the second wave of pub rockers. Unlike Brinsley Schwarz, the laid-back leaders of the pub rock scene, Dr. Feelgood was devoted to edgy, Stonesy rock & roll, and their sweaty live shows — powered by Brilleaux’s intense singing and guitarist Wilko Johnson’s muscular leads — became legendary. While the group’s stripped-down, energetic sound paved the way for English punk rock in the late ’70s, their back-to-basics style was overshadowed by the dominance of punk and new wave, and the group had retreated to cult status by the early ’80s.


Brilleaux (vocals, harmonica), Johnson (guitar), and John B. Sparks (bass) had all played in several blues-based bar bands around Canvey Island, England before forming Dr. Feelgood in 1971. Taking their name from a Johnny Kidd & the Pirates song, the group was dedicated to playing old-fashioned R&B and rock & roll, including both covers and originals by Johnson. John Martin (drums), a former member of Finian’s Rainbow, was added to the lineup, and the group began playing the pub rock circuit. By the end of 1973, Dr. Feelgood’s dynamic live act had made them the most popular group on the pub rock circuit, and several labels were interested in signing them. They settled for United Artists, and they released their debut album, Down by the Jetty, in 1974.

DrFeelgood02According to legend, Down by the Jetty was recorded in mono and consisted almost entirely of first takes. While it was in fact recorded in stereo, the rumor added significantly to Dr. Feelgood’s purist image, and the album became a cult hit. The following year, the group released Malpractice — also their first U.S. release — which climbed into the U.K. Top 20 on the strength of the band’s live performances and positive reviews. In 1976, the band released the live album Stupidity, which became a smash hit in Britain, topping the album charts. Despite its thriving British success, Dr. Feelgood was unable to find an audience in the States. One other American album, Sneakin’ Suspicion, followed in 1977 before the band gave up on the States; they never released another record in the U.S.

Sneakin’ Suspicion didn’t replicate the success of Stupidity, partially because of its slick production, but mainly because the flourishing punk rock movement overshadowed Dr. Feelgood’s edgy roots rock. Wilko Johnson left the band at the end of 1977 to form the Solid Senders; he later joined Ian Dury’s Blockheads. Henry McCullough played on Feelgood’s 1977 tour before John “Gypie” Mayo became the group’s full-time lead guitarist. Nick Lowe produced 1978’s Be Seeing You, Mayo’s full-length debut with Dr. Feelgood. The album generated the 1979 Top Ten hit “Milk and Alcohol,” as well as the Top 40 hit “As Long as the Price Is Right.” Two albums, As It Happens and Let It Roll, followed in 1979, and Mayo left the band in 1980. He was replaced by Johnny Guitar in 1980, who debuted on A Case of the Shakes, which was also produced by Nick Lowe.


During their first decade together, Dr. Feelgood never left the road, which was part of the reason founding members John Martin and John Sparks left the band in 1982. Lee Brilleaux replaced them with Buzz Barwell and Pat McMullen, and continued touring. Throughout the ’80s, Brilleaux continued to lead various incarnations of Dr. Feelgood, settling on the rhythm section of bassist Phil Mitchell and drummer Kevin Morris in the mid-’80s. The band occasionally made records — including Brilleaux, one of the last albums on Stiff Records, in 1976 — but concentrated primarily on live performances. Dr. Feelgood continued to perform to large audiences into the early ’90s, when Brilleaux was struck by cancer. He died in April of 1994, three months after he recorded the band’s final album, Down at the Doctor’s. The remaining members of Dr. Feelgood hired vocalist Pete Gage and continued to tour under the band’s name. Former Feelgoods Gypie Mayo, John Sparks, and John Martin formed the Practice in the mid-’80s, and they occasionally performed under the name Dr. Feelgood’s Practice. (by Stephen Thomas Erlewine)


With 20 years having elapsed since the firestorm of punk first set hippie beards a-blazing, the late 1990s saw history finally get around to some serious re-evaluation: the realization that the bands which started the whole ball rolling were not American proto-snots from some vast Midwestern garage; that theStooges and the Velvets were unknown to most of the kids who were forming bands (you can’t afford imports when you’re young and on the dole); and that Dr. Feelgood kicked harder ass than all those Yankee squealers put together. (Russ Garrett)

Wow, what a treat! I’ve recently started listening to the Feelgoods again as I enter middle age (don’t go there), and I invested in this. it’s NOT just another hodge podge dragged out of the vaults, but a couple of great gigs, well recorded, with fantastic atmosphere. I remember, when the official ive albums As it Happens and On the Job were released, thinking they were a bit muted-sounding. Not this one. These live recordings capture the energy of a Feelgood show as well as anything else I’ve heard. (by Angry bluesman)

Tracks 1 to 11 recorded at Queen Mary College, Mile End Road, London on 1.12.77.Broadcast on BBC TV and Radio 1’s
“Sight And Sound In Concert” programme on 10.12.77.

Tracks 12 to 22 recorded at The Paris Theatre, Lower Regent Street, London on 1.11.78.Broadcast on BBC TV and Radio 1’s “In Concert” programme on 18.11.78.


Lee Brilleaux (vocals, guitar, harmonica)
Gypie Mayo (guitar)
John B. Sparks (bass, background vocals)
John “The Big Figure” Martin (drums, background vocals)


01. Looking Back (Watson) 2.17
02. Stupidity (Burke) 2.23
03. You’ll Be Mine (Dixon) 2.57
04. You Upset Me Baby (King/Josea/Davis)  4.03
05. Homework (Perkins/Clark) 2.19
06. Baby Jane (Simmonds/Reed/Bishop/Wilson/Nesbitt) 2.56
07. The Blues Had A Baby, And They Named It Rock’N’Roll (#2) (Morganfield/McGhee) 2.21
08. That’s It I Quit (Lowe) 2.46
09. Lucky Seven (Lewis) 2.31
10. She’s A Windup (Brilleaux/Mayo/Sparks/Martin) 2.11
11. Lights Out (David/Rebennack) 2.33
12. Looking Back (Watson) 2.03
13. Sugar Shaker (Brilleaux/Mayo/Sparks) 3.58
14. I Thought I Had It Made (Brilleaux/Mayo) 2.34
15. Ninety-Nine And Half (Won’t Do) (Cropper/Pickett/Floyd) 2.52
16. Milk And Alcohol (Lowe/Mayo) 2.38
17. Night Time (Gottehrer/Fieldman/Goldstein) 3.59
18. Shotgun Blues (Brilleaux/Mayo/Sparks/Martin) 4.50
19. You Upset Me Baby (King/Josea/Davis) 3.39
20. Down At The Doctors (Jupp) 3.06
21. She’s A Windup (Brilleaux/Mayo/Sparks/Martin) 1.50
22. Lights Out (David/Rebennack) 2.23




Cheers !

Lee Brilleaux (born Lee John Collinson: 10 May 1952 – 7 April 1994

Gypie Mayo (born John Phillip Cawthra; 24 July 1951 − 23 October 2013)

France Gall – Live (Au Theatre des Champs Elysées) (1978)

FrontCover1France Gall (born Isabelle Geneviève Marie Anne Gall on 9 October, 1947 in Paris, France – died 7 January 2018) was an influential singer who performed for many decades. She notably represented Luxembourg in the 1965 Eurovision Song Contest with “Poupée de Cire, Poupée de Son”; that winning song was just one of many that she performed which had been written by Serge Gainsbourg. Her career spanned roughly forty years, primarily in France, but she was best known over the world for the songs she that performed in the 60s, many of them a part of the ye-ye style. She sang in both French and English.

Besides the highly successful “Poupée de Cire, Poupée de Son”, she also notably sung “Les Sucettes” and “Baby Pop”. In France, she was perhaps more known for the chanson songs she sang in the late-70s through the mid-80s, many of them written by her husband, Michel Berger, who died in 1992. In 1987, she had some additional international success with her Ella Fitzgerald tribute “Ella, elle l’a”. She still recorded music into the new millennium.

France Gall died on 7 january 2018 at age 70 in a hospital in Paris. (by

PosterGall was seduced by Michel Berger’s music when she heard his song “Attends-moi” (“Wait for Me”) one day in 1973. During a later radio broadcast, she asked him for his opinion on songs which her then producer wanted her to record. Although he was disconcerted by the quality of the songs, there would be no question of collaboration.

Only six months later, in 1974, after she sang vocals on the song “Mon fils rira du rock’n’roll” on Berger’s new album, Gall’s publisher asked him, at her behest, to write for her. Gall had already made her mind up that “It will be him and nobody else”. In 1974, “La Déclaration d’amour” was to be the first in a long line of hits which marked a turning point in Gall’s career. Meanwhile, the two artists, whose affinities became more than musical, married on 22 June 1976. Since their marriage, Gall has only sung songs written by Berger.[15] They remained married until his death in 1992.

And here´s a good live-Album from 1978 with songs from Michel Berger … a typical Seventies production a perfect shwo with very good musisians and …  … what a beautiful voice !

Gall died of an infection complicated from cancer at the American Hospital of Paris, in Neuilly-sur-Seine, on 7 January 2018 at the age of 70


Michel Berger & France Gall

Mary Lou Benoit (percussion)
France Gall (vocals)
Bonnie Johnson (drums)
Peggy Mitchell (bass)
Patti Quatro (guitar)
Colleen Stewart (piano)
Gail Thompson (saxophone)
Melissa Vardey (keyboards)
Background vocals:

Florence Bertoux – Lisa Deluxe – Stella Vander
Anne Etevenon – Béatrice Crenne – Marie-Rose Dumonteil – Sophie Cuvillier


01. Musique 4.55
02. Samba Mambo 3.24
03. Si Maman Si 3:05
04- Comment Lui Dire 3.20
05. Ce Soir Je Ne Dors Pas 3.02
06. La Déclaration 3.20
07. Ce Garçon Qui Danse 3.20
08. Je L’aimais 4.48
09. Chanson D’une Terrienne 6.20
10. Chanson Pour Consoler 2.20
11. La Chanson De Maggie 3.00
12. Ça Balance Pas Mal A Paris 2.30
13. Le Meilleur De Soi-même 3.55
14. Mais Aime-la 9.30
15. Présentation Des Musiciennes 5.40
16. Viens Je T’emmène 4.55
17. Quand On Est Enfant 1.47

All Songs written by MIchel Berger




France Gall (9 October 1947 – 7 January 2018)