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 www.last.fm)

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

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Michel Berger & France Gall

Personnel:
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)
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Background vocals:

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

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Tracklist:
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

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France Gall (9 October 1947 – 7 January 2018)

 

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Flora Purim – Every Day, Every Nidht (1978)

FrontCover1Influenced by both traditional Brazilian singers and the improvisations of American jazz divas like Ella Fitzgerald and Sarah Vaughan, Flora Purim was one of the most adventurous singers of the 1970s. After meeting and marrying her husband, percussionist Airto Moreira, in their native Brazil, Purim moved with him to the U.S. in the late ’60s. Though she worked with Stan Getz and pianist Duke Pearson before the decade ended, it wasn’t until joining Chick Corea, Joe Farrell, Stanley Clarke, and Moreira in the original Return to Forever in 1972 that she became well known in the States. Purim showed considerable promise on Forever classics like “500 Miles High” and “Light As a Feather” and lived up to it when she went solo with 1973’s Butterfly Dreams. Ranging from superb to passably decent, Purim’s Milestone dates of the mid- to late ’70s kept her quite visible in the jazz world. Purim’s work grew erratic and uneven in the 1980s, and she wasn’t recording as often (though she did provide one album for Virgin and three with Moreira for Concord’s Crossover label). Purim didn’t record very often in the early to mid-’90s either, but she continued to be highly regarded in Brazilian jazz circles. (by Alex Henderson)

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On this project, singer Flora Purim is backed by a large string orchestra and a countless number of top studio and jazz players, playing arrangements by Michel Colombier. Although some of the musicians are quite notable (including Michael Brecker, Randy Brecker, David Sanborn, Oscar Neves, Jaco Pastorius and even Herbie Hancock), the overall music is generally forgettable. Most of the playing sounds planned in advance, and not much spontaneity occurs, certainly not from the London Symphony Orchestra. Purim’s voice is fine, but none of the 11 songs (eight by Colombier) were destined to catch on. (by Scott Yanow)

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Personnel:
Michael Boddicker (Synthesizer, piano)
Michel Colombier (synthesizer)
Harvey Mason (drums)
Airto Moreira (drums, percussion)
Laudir de Oliveira (percussion)
Jaco Pastorius (bass)
Flora Purim (vocals)
Lee Ritenour (guitar)
David Sanborn (saxophone)
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Randy Brecker (trumpet on 01. + 05.)
Michael Brecker (saxophone on 01. + 05.)
Al Ciner (guitar on 07.)
George Duke (piano on 02. + 07., vocals on 07.)
David Foster (piano on 04.)
Jay Graydon (guitar on 02.)
Herbie Hancock (piano on 08., 09. + 11.)
Alphonso Johnson (bass on 01.)
Byron Miller (bass on 02. + 07.)
Oscar Neves (guitar on 02. + 07.)
George Sopuch (guitar on 07.)
Raul de Souza (trombone on 01. + 02.)
Chester Thompson (drums on 02. + 07.)

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Tracklist:
10 . Everyday, Everynight (Colombier/Moreira/Purim) 4.58
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2.  Samba Michel (Colombier/Moreira/Purim) 4.10
03. 
The Hope (Colombier/Moreira/Purim) 3.40
04.
Five-Four (Colombier) 3.34
05.
Walking Away (Colombier) 4.56
06. 
I Just Don’t Know (Colombier/Moreira/Purim)  3.59
07.
In Brasil (Sopuch) 3.52
08.
Las Olas (Pastorius) 4.22
09.
Blues Ballad (Colombier/Purim) 1.57
10.
Overture (Colombier/Neto) 2.58
11.
Why I’m Alone (Hancock) 4.39

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Dave Pike – On A Gentle Note (1978)

FrontCover1Dave Pike is a class act, unafraid to try any style, at least for an album, and usually succeeding wildly at it. His earliest LPs and session work are classics and mostly hard to find. Then as he “freaked out” in the late 1960s and early 1970s, he laid down some monster cuts of psychedelic soul jazz, James Brown covers, funky-sitar beats, and more that still enjoy new favor in the nightclubs of the subsequent century. There are not that many soul-jazz and funk vibraphonists of great note, but Dave Pike is the first name in hip vibe records.

Born in 1938 Detroit, he first played piano and drums, even joining the Detroit Junior Symphony Orchestra at age eleven. Having moved to Los Angeles, Pike in 1954 discovered the vibraphone at a drum shop. This became his chief instrument, seconded by the marimba, which he played early on with Mexican bands and later on his albums. He played rock and Latin in his early days, and later this experience lent his music great versatility as well as popular appeal. Playing always with great earnestness, humor, and even earthiness, he can be heard chanting along with the tunes on several LPs.

Pike began to gig with such jazz stars as Elmo Hope, Buddy DeFranco, and Paul Bley by 1956. By 1958 Pike had moved to San Francisco to be closer to New York musicians, and in 1960 he made the move to New York. Siz years of stints with globetrotting Herbie Mann exposed him to some of the world’s farther-flung music. In 1966 he moved to Germany, where the newly formed Dave Pike Set quickly became the leading jazz act. Pike’s usually thematic albums are recognized as seminal jazz and soul-jazz classics, and at least one cut has reached immortal status among disc jockeys.

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He returned to the United States in the mid 1970s and talked the owner of Hungry Joe’s, a tiny Huntington Beach hangout for bikers and surfers, to let him play there. With pianist Tom Ranier, guitarist Ron Eschete and bassist Luther Hughes, Pike and his group became regulars and turned the establishment into a lively jazz club.

And here´s one of his unique solo-albums … Another brilliant trip with his band and his vibraphone.

Noted jazz historian Leonard Feather wrote in 1973 that Pike played the amplified vibraphone with “ingenuity, dynamism and improvisational energy,” extracting from it “a resonance on top of resonance, to which at certain points he adds a grating but sometimes attractive fuzz tone.”

 AlternateFrontCovers

Alternate frontcovers

Personnel:
Ron Eschete (guitar)
Ted Hawke (drums, percussion)
Luther Hughes (bass)
Rudolph Johnson (saxophone)
Dave Pike (vibraphone)
Tom Ranier (piano, saxophone)

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Tracklist:
01. Lazy Afternoon (Moross/Latouche) 9.30
02. Gigi (Lerner/Loewe) 2.58
03. Regards From Freddie Horowitz (Pike) 8.00
04. Secret Mystery Of Hensch (Pike/Kriegel) 9.30
05. Everytime We Say Goodbye (Porter) 2.22
06. Scrapple From The Apple (Parker) 5:23
07. Visions Of Spain (Pike) 1.58

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David Samuel Pike (March 23, 1938 – October 3, 2015)

 

Willie Nelson – Stardust (1978)

FrontCover1Stardust is the 23rd studio album by Willie Nelson that spans the genres of pop, jazz, and country music. Its ten songs consist entirely of pop standards that Nelson picked from among his favorites. Nelson asked Booker T. Jones, who was his neighbor in Malibu at the time, to arrange a version of “Moonlight in Vermont”. Impressed with Jones’s work, Nelson asked him to produce the entire album. Nelson’s decision to record such well-known tracks was controversial among Columbia executives because he had distinguished himself in the outlaw country genre. Recording of the album took only ten days.

Released in April, Stardust was met with high sales and near-universal positive reviews. It peaked at number one in Billboard’s Top Country Albums and number thirty in the Billboard 200. Meanwhile, it charted at number one in Canadian RPM’s Country Albums and number twenty-eight in RPM’s Top Albums. The singles “Blue Skies” and “All of Me” peaked respectively at numbers one and three in Billboard’s Hot Country Singles.

In 1979, Nelson won a Grammy Award for Best Male Country Vocal Performance for the song “Georgia on My Mind”. Stardust was on the Billboard’s Country Album charts for ten years—from its release until 1988. The album also reached number one in New WillieNelsonZealand and number five in Australia in 1980. In 2003, the album was ranked number 257 on Rolling Stone magazine’s list of the 500 greatest albums of all time. It was originally certified platinum by the Recording Industry Association of America in December 1978. In 1984, when it was certified triple platinum, Nelson was the highest-grossing concert act in the United States. In 2002, the album was certified quintuple platinum, and it was later inducted in the Grammy Hall of Fame class of 2015. (by wikipedia)

At the height of outlaw country, Willie Nelson pulled off perhaps the riskiest move of the entire bunch. He set aside originals, country, and folk and recorded Stardust, a collection of pop standards produced by Booker T. Jones. Well, it’s not entirely accurate to say that he put away country and folk, since these are highly idiosyncratic interpretations of “Georgia on My Mind,” “All of Me,” “Moonlight in Vermont,” and “Don’t Get Around Much Anymore,” blending pop, country, jazz, and folk in equal measures. It’s not that Willie makes these songs his own, it’s that he reimagines these songs in a way that nobody else could, and with his trusty touring band, he makes these versions indelible.

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It may be strange to think that this album, containing no originals from one of America’s greatest songwriters, is what made him a star, and it continues to be one of his most beloved records, but it’s appropriate, actually. Stardust showcases Nelson’s skills as a musician and his entire aesthetic — where there is nothing separating classic American musical forms, it can all be played together — perhaps better than any other album, which is why it was a sensation upon its release and grows stronger with each passing year. (by Stephen Thomas Erlewine)

Booklet03A

Personnel:
Paul English (drums)
Chris Ethridge (bass)
Booker T. Jones (keyboards)
Rex Ludwick (drums)
Bobbie Nelson (piano)
Willie Nelson (vocals, guitar)
Jody Payne (guitar)
Mickey Raphael (harmonica)
Bee Spears (bass)

Booklet04A

Tracklist:
01. “Stardust (Carmichael/Parish) 3.53
02. Georgia On My Mind (Carmichael/Gorrell) 4.20
03. Blue Skies (Berlin) 3.34
04. All Of Me (Simons/Marks) 3.54
05. Unchained Melody (North/Zaret) 3.50
06. September Song (Weill/Anderson) 4-35
07. On The Sunny Side Of The Street (McHugh/Fields) 2.36
08. Moonlight In Vermont (Suessdorf/Blackburn) 3.25
09. Don’t Get Around Much Anymore (Ellington/Russell) 2.33
10. Someone To Watch Over Me (G.Gershwin/I.Gershwin) 4.03
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11. Scarlet Ribbons (Danzig/Segal) 4.30
12. I Can See Clearly Now (Nash)  4.18

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Flairck – Variaties op een Dame (Variations On A Lady) (1978)

OriginalFrontCover1Flairck are a Dutch ensemble formed by Erik Visser, an Indonesian-born acoustic instrumentalist with classical training and a strong interest in many forms of world music. The band released their first studio album ‘Variaties Op Een Dame’ (Variations on a Lady) in 1978, and has issued more than two dozen studio, live and compilation releases since then.

The band incorporates a number of world influences in their work, which has been described as chamber music but which actually features many styles including classical, folk, jazz and blues, as well as Eastern European and Celtic traditional music. The band primarily performs original compositions, and has worked with a number of renowned world music artists including Georges Moustaki, Nelleke Burg and Dimitri van Toren. The group has also recorded and performed with numerous symphony orchestras and has contributed scores for film, stage and ballet.

Flairck01Visser and the other band members have a strong interest in obscure and exotic acoustic instruments, and have amassed a collection of more than 150 wind, string and percussion instruments, many of which are used in their studio recordings and live performances.

The band celebrated their 25th anniversary in 2002 with the release of a multi-disciplined DVD dedicated to the Dutch painter Hieronymus Bosch. The video features original scores by the band as well acrobatics, detailed views of Bosch’s work and interviews of various band members. Visser took advantage of a hiatus by the band in 2003 to release a solo work entitled ‘One Man Parade’.

Flairck are a classic example of a progressive musical collective with wide-ranging influences and a constantly evolving sound. (by progarchives.com)

Flairck’s first album. Aoife is a lullaby written for the birth of Mary Coughlan’s daughter. (‘Aoife’ is Gaelic for ‘Eve’.) Sofia’s Foreplay: a reflection of an amourous event in a big city in Eastern Europe. April 3rd: played for the first time on that date in 1977 in a church during the wedding of the piano-player/composer Jolyon Jackson and his bride Theresa. Odd Waltz: in which the three-fourth bar is used as the building stone in a rhythmically unusual construction. The piece Variations on a Lady nearly covers the whole B-side and is one of the eldest compositions of Flairck. It is written for a female violinist and exists of two parts that are separated by a violin solo. Doubles is a short guitar duet. (Flairck in their own words)

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Flairck are hardly known outside their home country Holland. They might have reached a few Belgian ears as well but they certainly haven’t dawned on the masses of PA yet. A shame really given how much potential their music might have amongst prog fans, especially amongst those to whom a mix of acoustic instrumentation and symphonic composition sounds alluring.

Flairck are a virtuoso acoustic instrumental quartet where each member plays a whole array of different mutations of his basic instrument. Erik Visser plays 6 and 12 string acoustic guitars. He also handles most of the song writing together with flutist Peter Weekers. Brother Hans Visser does acoustic bass guitars and the violin on this debut is caressed by Judy Schomper.

Flairck02

The music takes inspiration from both classical and flok/world sources, and due to the influences of Celtic music, there’s some similarity to early Oldfield, be it in an entirely acoustic version, which is a plus as far as I’m concerned. Further similarities can be made with the softer side of Belgian chamber rock, with a band like Aranis for example. But it can’t be compared to the more avant-garde and harsher sounds of Univers Zero. Flairck keeps things very melodic and harmonious, delicate and gentle. Which doesn’t mean they don’t play at raging speeds!

Their debut album is an exceptional career start, there’s so much inspiration in the songwriting and arrangements that each of these tunes would become classic live staples for years to come. The execution and recording of the material is generally a bit better on the live albums but that might just be because I’ve only heard this album on my second-hand vinyl. I’m sure it sparkles and shines till today (by Bonnek)

In other words: That´s what I call timeless music on the highest level !

USFront+BackCover

US front + back cover

Personnel:
Judy Schomper (violin, viola)
Erik Visser (guitar, sitar, mandolin, mandola)
Hans Visser (bass, guitar)
Peter Weekers (flute, panpipe)
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Fred Krens (vibraphone,marimba, glockenspiel, gong, percussion on 05.)

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Tracklist:
01. Aoife (E.Visser) 6.14
02. Voorspel In Sofia (E.Visser/Weekers) 6.54
03. April 3rd (E.Visser) 5.27
04. Oneven Wals (Weekers) 7.04
05. Variaties op een Dame (E.Visser) 21.02
06. Dubbelspel (E.Visser) 1.22

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This is another item from the great greygoose collection !
Thanks a lot !

David Gilmour – Same (1978)

FrontCover1David Gilmour is the debut solo studio album by Pink Floyd guitarist and co-lead vocalist David Gilmour. The album was released in May and June 1978 in the United Kingdom and the United States, respectively. The album reached number 17 in the UK and number 29 on the Billboard US album charts; it was certified Gold in the US by the RIAA. The album was produced by Gilmour, and consists mostly of blues, guitar oriented rock songs except for the piano-dominated ballad “So Far Away”.

The tracks used for the album were recorded between February and March 1978 with engineer John Etchells at Super Bear Studios in France. They were then mixed at the same studio by Nick Griffiths. Session musicians included bass guitarist Rick Wills and drummer Willie Wilson, both of whom (with Gilmour) used to be part of Jokers Wild.Album’s cover artwork.

The album cover used for the first EMI pressings of the album LP was done by Hipgnosis and Gilmour; Gilmour was credited on the cover for contributing “Keyboards, Vocals” although he played guitar. The CBS/Columbia pressings (outside Europe) listed Gilmour as contributing “Guitars, Keyboards, Vocals”. Among those depicted on the sleeve was Gilmour’s then-wife, Ginger.

The album’s only single was “There’s No Way Out of Here.” The single flopped in Europe, but became popular on Album-oriented rock radio stations in the US. The song was originally recorded by the band Unicorn (as “No Way Out of Here”) for their 1976 album Too Many Crooks (Harvest Records, US title Unicorn 2), which Gilmour produced. It was also recorded later by New Jersey stoner rock band Monster Magnet on their Monolithic Baby! album.

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One unused tune he wrote and demoed at the time would evolve, via collaboration with Roger Waters, into Pink Floyd’s “Comfortably Numb” from The Wall. However, a song included on this album, the piano ballad “So Far Away”, uses a chorus progression not unlike the chorus to “Comfortably Numb”, albeit in a different key.
Likewise, the song “Short and Sweet” can be seen as a musical precursor to “Run Like Hell” (also from The Wall), with its shifting chords over a D pedal point, using a flanged guitar in Drop D tuning.[6] “Short and Sweet” was written in collaboration with Roy Harper, who recorded his own version for his 1980 album The Unknown Soldier.

A five-song promotional film was made to promote the album. The band comprised Gilmour himself on guitars and vocals plus the two musicians on the album (bass player Rick Wills and drummer Willie Wilson) plus David Gilmour’s brother Mark on rhythm guitar and Ian McLagan on keyboards and performed “Mihalis”, “There’s No Way Out of Here”, “So Far Away”, “No Way”, and “I Can’t Breathe Anymore”. There were two female backing singers on “There’s No Way Out of Here” and “So Far Away”. It was recorded live at the The Roxy, London.
Also, Gilmour promoted the album with his first ever interviews with North American media and FM rock radio stations. The promotion paid off as the album made a respectable showing on the Billboard album charts peaking at number 29, which – until 2006’s On an Island – was Gilmour’s highest charting solo album in the US, eventually going Gold.Song variations.

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The performances of the tracks in the promotional film differed to the album versions. “Mihalis” had an extended ending guitar solo. “There’s No Way Out of Here” was slightly shorter as one of the verses was deleted but the ending guitar solo was different from that on the album and had a clean ending instead of fading out like on album version. “So Far Away” had an extended ending guitar solo on this performance and ended in a faster tempo than the album version.
The performance of “No Way” had Gilmour playing regular lead guitar solos at the end of the track on his Fender Esquire (with distortion) instead of the lap steel guitar solos (with distortion) that had appeared on the album version and had a clean ending instead of fading out like on the album (the remastered CD version of the album had Gilmour’s lap steel solo extended this time to feature a duel between himself playing high notes on his lap steel and lower notes on his trademark Stratocaster during the fadeout on the remaster). The middle part of the album version, for where the first of two lap steel guitar solos were on the album version, was deleted.

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“I Can’t Breathe Anymore” had Gilmour playing a regular guitar solo at the end of this song’s performance while on the album version (and on the remastered CD in an extended coda), a distorted lap steel guitar countered the ending guitar solo. The ending of the promo performance of “I Can’t Breathe Anymore” was longer than on the album.

In an interview with Circus in 1978, Gilmour said: “This album was important to me in terms of self-respect. At first I didn’t think my name was big enough to carry it. Being in a group for so long can be a bit claustrophobic, and I needed to step out from behind Pink Floyd’s shadow.” (by wikipedia)

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Personnel:
David Gilmour (vocals, guitar; keyboards,  lap steel guitar on 07. + 09., piano on 04. harmonica on 02.)
Willie Wilson (drums, percussion)
Rick Wills (bass, background vocals)
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Mick Weaver (piano on 04.)
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background vocals on 02. + 04.:
Carlena Williams – Debbie Doss – Shirley Roden

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Tracklist:
01. Mihalis (Gilmour) 5.47
02. There’s No Way Out Of Here (Gilmour/Baker) 5.23
03. Cry From The Street (Gilmour/Stuart) 5.14
04. So Far Away (Gilmour) 6.05
05. Short And Sweet (Gilmour/Harper) 5.31
06. Raise My Rent (Gilmour) 5.52
07. No Way (Gilmour) 5.32
08. It’s Deafinitely (Gilmout) 4.28
09. I Can’t Breathe Anymore (Gilmour) 3.41

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Dave Mason – California Jam II (1978)

FrontCover1One of the best performances from this memorable event was delivered by Dave Mason, who was then riding the crest of one of his most successful albums, Let It Flow which had been released the previous year and spawned no less than three charting singles, including “We Just Disagree,” his biggest hit to date. By this point in his career, Mason had established quite the pedigree, having been a founding member of Traffic, a traveling member of Delaney & Bonnie’s road band and having recorded and shared the stage with some of the most high profile Los Angeles musicians, including Mama Cass Elliot and Crosby, Stills and Nash, who all helped champion his music.

By 1978, when this performance was recorded, Mason had assembled a well-seasoned band that featured his longtime guitar playing partner, Jim Krueger on second guitar and one of the era’s most talented keyboard players, Mike Finnigan, who had played on countless sessions, including Jimi Hendrix’s classic Electric Ladyland album, on which Mason also contributed (Mason played the acoustic guitar on “All Along The Watchtower” and Finnigan played organ on “Rainy Day, Dream Away”). With the tight rhythm section of Gerald Johnson and Rick Jaeger on board, Mason’s band was a force to be reckoned with.

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Personnel:
Mike Finnigan (keyboards, vocals)
Rick Jaeger (drums)
Gerald Johnson (bass, vocals)
Jim Krueger (vocals, guitar, vocals)
Dave Mason (vocals, guitar)

Alternate front + backcover:

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Tracklist:
01. Introduction 0.55
02. Feelin’ Alright (Mason) 5.04
03. Pearly Queen (Winwood/Capaldi) 4.08
04. Let It Go, Let It Flow (Mason) 3.34
05. Look At You, Look At Me (Mason/Capaldi) 7.12
06. We Just Disagree (Krueger) 3.20
07. So High (Rock Me Baby And Roll Me Away) (Williams/Conrad) 5.09
08. Taking The Time To Find (Mason) 6.25
09. All Along The Watchtower (Dylan) 2.27
10. Gimme Some Lovin’ (S.Winwood/M.Winwood/Davis) 10.05
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11. California Jam II (1978) (complete show – uncut version) 49.45

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