Horslips – The Man Who Built America (1979)

FrontCover1Horslips are an Irish Celtic rock band that compose, arrange and perform songs frequently inspired by traditional Irish airs, jigs and reels. The group are regarded as ‘founding fathers of Celtic rock’ for their fusion of traditional Irish music with rock music and went on to inspire many local and international acts. They formed in 1970 and ‘retired’ in 1980 for an extended period. The name originated from a spoonerism on The Four Horsemen of the Apocalypse which became “The Four Poxmen of The Horslypse”.

Although Horslips had limited commercial success when the band was playing in the 70s, there was a revival of interest in their music in the late 1990s and they came to be regarded as one of the defining bands of the Celtic rock genre. There have since been small scale reunions including appearances on The Late Late Show and RTÉ’s Other Voices. The band reformed for two Irish shows in the Odyssey Arena in Belfast and the 3Arena in Dublin at the end of 2009, and have continued to play shows since then …

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… In 1977 they toured Britain, Germany, Canada and the United States. The night they played the Albert Hall in London was described by one critic as the loudest gig there since Hendrix. The Man Who Built America, produced by Steve Katz of Blood, Sweat and Tears and Blues Project fame, concerned Irish emigration to the US and received considerable airplay but broad approval was missing. The heavier sound did bring some acceptance in America but they lost their folk base and their freshness. (wikipedia)

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A concept album about an Irish emigrant who makes a success of himself in the US, this album is energetic and often engaging, with some excellent songs (“The Man Who Built America”) and some tepid stretches.

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The Irish content is fairly subdued here, with the overall sound favoring rock songs built around moderately complicated hooks.(by Steven McDonald)

Indeed, not the best album … but still a pretty good one !

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Personnel:
Eamon Carr (drums)
Barry Devlin (bass, vocals)
John Fean (guitar, vocals)
Jim Lockhart (keyboards, flute, vocals)
Charles O’Connor (violin, mandolin, concertina, vocals)

Inlet02Tracklist:
01. Lonelines 4.17
02. Tonight (You’re With Me) 3.21
03. I’ll Be Waiting 6.26
04. If It Takes All Night 3.34
05. «Green Star Liner» 3:24
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06. «The Man Who Built America» 3:36
07. «Homesick» 4:00
08. «Long Weekend» 3:46
09. «Letters from Home» 4:14
10. «Long Time Ago» 3:36

All songs written by:
Eamon Carr – Barry Devlin – John Fean – Jim Lockhart – Charles O’Connor

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More from Horslips:
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Electric Sun – Earthquake (1979)

LPFrontCover1Uli Jon Roth (born Ulrich Roth; 18 December 1954) is a German guitarist who became famous for his work with Scorpions and is one of the earliest contributors to the neoclassical metal genre. He is also the founder of Sky Academy and designer of the Sky Guitar. He is the older brother of fellow guitarist and artist Zeno Roth (1956–2018).

Roth formed a band called Dawn Road in the early 1970s, When guitarist Michael Schenker left the Scorpions to join UFO in 1973, causing the two remaining Scorpions members Rudolf Schenker and Klaus Meine to merge with four members of Dawn Road, they decided to use the name Scorpions rather than the less-well-known Dawn Road.[1] Scorpions released four studio albums during his tenure as lead guitarist, main songwriter and occasional lead singer between 1974 and 1977.

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Roth formed his own band named Electric Sun—releasing three albums: Earthquake (1979) dedicated to the spirit of Jimi Hendrix, Fire Wind (1981), dedicated to Anwar Sadat and featured a song called “Enola Gay (Hiroshima Today?)” about the atomic bombing of Japan by a Boeing B-29 Superfortress bomber of that name, and his third and final Electric Sun album Beyond the Astral Skies (1985), dedicated both to Martin Luther King Jr. and to Roth’s fans. This final album featured ex-Jethro Tull drummer Clive Bunker, on drums and timpani.
Solo career

Roth entered a new phase of creative work after Electric Sun, composing four symphonies and two concertos, and sometimes performing with symphony orchestras throughout Europe. Roth used the name “Uli Jon Roth” for all subsequent album releases and concert appearances.

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The G3 European tour of 1998 featured Roth playing with Joe Satriani and Michael Schenker. The show at London Wembley Arena also featured a jam with Brian May.

Roth played at the outdoor rock festival at Castle Donington in 2001 (also featuring original Scorpions lead guitarist Michael Schenker on the bill). This was filmed and subsequently released on DVD.

Roth appeared in concert with the Scorpions onstage at the Wacken Open Air Festival in 2006 along with two other former members of the band. Billed as: “A Night To Remember ; A Journey Through Time” the Scorpions played four songs from the Roth Era, most of which they had not played live since Roth had left in 1978. This concert was also filmed and released on DVD.

Although this was meant to be a “one night only” special event, its success meant that the format was repeated on several tours afterwards.

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At the Rock am Ring festival in Germany on 2 June 2007 Roth joined The Smashing Pumpkins on-stage for their epic closing song “Gossamer.” He made another appearance with the Pumpkins upon their return to Germany on 26 February 2008.

Roth had begun working on a new full-length studio album in 2007 which was to be released the following year. The title of the album would be: “Under A Dark Sky” and was going to be the first official release in the long-awaited series of Symphonic Legends (a cycle of music written by Uli for his all-encompassing Sky of Avalon project.)

Roth debuted songs from “Under A Dark Sky” on 18 July 2008 in his headline set at the G-TARanaki Guitar Festival in New Zealand. This was his first concert in the country. Roth also took his “Sky Academy” tuition classes to Taranaki, Waitara, Inglewood and Ōpunake. Guests musicians included Vernon Reid and Gilby Clarke.

“Under A Dark Sky” was released in Japan on 20 August 2008 via Marquee records. The European and USA releases followed a month later on 20 September 2008 on the SPV record label.

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Uli Jon Roth released a 2-CD studio album entitled Scorpions Revisited, which was recorded in 2014 in Hannover in early 2015. Roth revisited his personal favourites from the early Scorpions period.

A tour called The Ultimate Guitar Experience with fellow guitarists Jennifer Batten and Andy Timmons followed. Uli soon thereafter embarked on another world tour: this time playing The Tokyo Tapes, songs from the Scorpions 1978 tour of Japan and ensuing live album.

A double CD and Blu-ray/DVD were released in December 2016 of a concert Uli and his band played in Japan in 2015 commemorating the anniversary of The Tokyo Tapes. Roth concluded a short North American tour in March 2017, highlighting songs from both Scorpions Revisited and Tokyo Tapes.

Roth participated a second time at the G3 European tour with Joe Satriani and John Petrucci in March 2017.

Roth contributed an afterword to the 2017 book Shredders!: The Oral History Of Speed Guitar (And More), by Greg Prato. (wikipedia)

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And here´s his debut album with Electric Sun:

After his none-too-pleasant exit from German hard rock icons the Scorpions, guitar wizard Uli Jon Roth launched the next phase of his career via 1979’s Earthquake album, which was released through his ostensible solo project, Electric Sun — a psychedelic power trio fashioned in the image of his idol Jimi Hendrix’s Experience. Unfortunately, Electric Sun’s hippie tendencies were already severely outdated by this time, and with Roth handling the singing despite his obvious technical limitations (even with the Scorpions, he frequently insisted on sharing lead vocals with true frontman Klaus Meine), the project was probably doomed to commercial failure from the start.

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Indeed, no matter how categorically dazzling his guitar-playing skills, Roth’s incompetence as a singer transformed Earthquake into the sort of album that made his loyal fans want to pull their hair out in frustration. On the one hand, here was the glory of Roth’s guitar work, with its effortlessly fluid melodic lines, unexpected twists of the imagination, astounding improvisations, complete control of tone and texture, and not a single note wasted in the bargain; on the other, there was Uli’s nasal and unruly voice, rambling on about painfully archaic flower-child subjects, with no help from his heavy German accent. And perhaps even stranger, nestled in alongside epic workouts like “Burning Wheels Turning” and the neo-classical tour de force of a title track, other songs simply found Roth and company reinterpreting his brighter moments with the Scorpions — e.g., opener “Electric Sun,” which was a pretty straightforward reworking of “Polar Nights” with altered lyrics, while “Lilac” clearly aped the midsection of “Fly to the Rainbow.”

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All this being said, it’s still impossible to recommend against Earthquake where pure guitar shredding nirvana is concerned; Uli Jon Roth’s vocals may produce a certain amount of discomfort, but his jaw-dropping six-string heroics will have loyalists convulsing with delight. (by Eduardo Rivadavia).

The somewhat turgid cover of the LP was painted by Monika Dannemann (*).

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Personnel:
Clive Edwards (drums)
Ule Ritgen (bass)
Uli Jon Roth (guitars, vocals)

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Tracklist:

01. Electric Sun 5.21
02. Lilac – 2:47
03. Burning Wheels Turning – 6:39
04. Japanese Dream – 4:28
05. Sundown – 4:04
06. Winterdays – 1:25
07. Still So Many Lives Away – 4:38
08. Earthquake – 10:37
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09. Aquila Suite I: Aquila – The Eagle And The Rainbow – 2:00
10. Aquila Suite III: Endymon – The Eternal Sleeper – 2:17
11. Aquila Suite IV: Ballerina – Dance With Infinity – 2:43

All songs written by Uli Jon Roth

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The labels of the French edition:
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(*) Monika Charlotte Dannemann (24 June 1945 – 5 April 1996[1]) was a German figure skater and painter. She was the last girlfriend of guitarist Jimi Hendrix, and later the wife of German guitarist Uli Jon Roth of the Scorpions.

In 1965, Dannemann participated in the German Figure Skating Championships representing the club Düsseldorfer EG.

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Dannemann was first introduced to Jimi Hendrix on 12 January 1969, in Düsseldorf, after being invited to a Jimi Hendrix concert there. She spent that night with him and part of the next day too, when she accompanied him to his next concert in Cologne; after that, she returned to Düsseldorf. He spent the last night of the tour with model Uschi Obermaier, with whom he was filmed kissing and petting outside the Kempinski Hotel the next morning. He wrote to Dannemann on 25 March 1969, inviting her to visit him in New York City. Dannemann claims she next saw Hendrix when she travelled to London on 25 April 1969 in the hope of meeting him again, where she bumped into him at the Speakeasy Club. She says they spent some time together over the next nine days, but she only spent one night with him.

After his September 1970 European tour, Hendrix began a relationship with the Danish model Kirsten Nefer. (It was reported in the Danish press at the time that they were engaged.) After Nefer left London due to work, he again took up with Dannemann on 15 September and spent the next four nights at her flat at the Samarkand Hotel, Notting Hill Gate, where he died.

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On the evening of 17 September Hendrix took at least one amphetamine pill (known as a “black bomber”) at a party, where he stayed for a short while. Later, at Dannemann’s flat, Hendrix took nine of her Vesparax sleeping tablets; Hendrix was officially declared to have died at St. Mary Abotts hospital at 12:45 PM. The cause of death was asphyxiation through aspiration of vomit due to a barbiturate overdose.[2]
Later years

After Hendrix’s death, Dannemann became romantically involved with German rock guitarist Uli Jon Roth of rock band Scorpions, with whom she collaborated on several songs (one with the Scorpions titled We’ll Burn the Sky), album cover designs (of Roth’s second band Electric Sun), and artwork. Roth also wrote the foreword to Dannemann’s book about her experience living and working with Hendrix, entitled The Inner World of Jimi Hendrix (1995).

Dannemann died of suicide by carbon monoxide poisoning at age 50 in Seaford, East Sussex. She had lost an ongoing court battle with another of Hendrix’s girlfriends, Kathy Etchingham, two days earlier. (wikipedia)

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Richard Wahnfried – Time Actor (1979)

FrontCover1Klaus Schulze (born 4 August 1947) is a German electronic music pioneer, composer and musician.

He also used the alias Richard Wahnfried and was briefly a member of the Tangerine Dream and Krautrock bands Ash Ra Tempel and The Cosmic Jokers before launching a solo career consisting of more than 60 albums released across five decades.

Richard Wahnfried, then simply Wahnfried after 1993, is the long-time and only real alias for Klaus Schulze – originally a pseudonym, later an official side project name. Seven albums were released under this name between 1979 and 1997.

The main characteristics of the Wahnfried albums (as opposed to Schulze’s regular works) are:

Often being oriented towards more mainstream genres (some would say “more commercial”), such as rock, dance, techno, and trance.
Always allowing for collaborative and less electronic albums, with known or unknown guest musicians performing along Schulze’s synths.

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The pseudonym’s etymology stems from Schulze’s love for Richard Wagner:

Richard, evidently from Wagner’s first name. Richard is also the name of Schulze’s first son.
Wahnfried (“Peace from delusion and/or madness”, in German), from the name Wagner gave to his villa in Bayreuth (and where he was later buried).

In his 1975 album Timewind (four years before the first alias use), Schulze had already named a track “Wahnfried 1883” (in reference to Wagner’s death and burial in his Wahnfried’s garden in 1883). The other track on Timewind is called “Bayreuth Return”. After 1993, the albums are simply credited to “Wahnfried”, and namedrop Schulze (“featuring Klaus Schulze”, “Produced by Klaus Schulze”).

“Wahnfried” is the only known alias of Schulze (albeit on the 1998 Tribute to Klaus Schulze album, among 10 other artists, Schulze contributed one track barely hidden behind the “Schulzendorfer Groove Orchester” pseudonym). (wikipedia)

“Time Actor” was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German synthesizer and ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. “Richard” is the name of Klaus’ son born in 1979, and the first name of the German composer Wagner. “Wahnfried” is the name of Richard Wagner’s house, from the German “wähnen Frieden fand” (that his search and hopes will find peace). The album was a unique fusion of Brown’s eccentric musical vision and Schulze’s mastery of synthesis. The album was originally released in 1979 on the German Innovative Communication label.

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Time Actor stands out amongst Schulze’s massive catalog as a masterwork of avant garde new age. Schulze helms the project on electronics, and guests include Michael Shrieve on percussion, Vincent Crane on keyboards, and vocalist Arthur Brown, who sings – or should we say, speaks – on top of it all. Schulze describes the Wahnfried project in the liner notes as “the collective pseudonym of an idea: Time-Electronic, an experiment between avantgarde and muzak: Utility-music for sound-covered environment, in which a new generation grows up: Richard Wahnfried is this generation: Music between genius and nonsense: New ideas transported by an old medium to your ear.” (Press release)

Richard Wahnfried is not a person, it’s a pseudonym /project-name for certain endeavours by Klaus Schulze. This first LP under the moniker is basically a Schulze collaboration with art prog terrorist (and Crazy World leader) Arthur Brown. If there was an instrumental version of the album it would be an essential proto-IDM DJ weapon. As it stands, it’s still pretty great. (roundandroundrecords.com)

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Klaus Schulze uses the alias Richard Wahnfried to record different music with notable guests. Time Actor is one of his best Wahnfried discs. The featured guests are Arthur Brown (as in ” … I am the god of hell fire and I bring you …”) on vocals, Michael Shrieve on percussion and Vincent Crane on keyboards. Of course, Schulze is on electronics. Brown’s vocals are the perfect compliment toSchulze’s manipulations and ministrations. His vocals — often spoken — with his heavy English accent is an extra instrument in the sound design. The music is pure Berlin school electronica. Nobody does that better than Schulze. Because of Brown’s unique contribution, this disc has no peer. (by Jim Brenholts)

This is a dehumanised, cold, aseptic technoid ambient album from Klaus Schulze (with Arthur Brown as singer). Each composition is almost the same, developping similar synth waves floating in a spacious environnement, insistent repetitive electronic pulses and Arthur Brown’s narratives, partly excentric vocals. It contains no variations, suffering of a lack of creativity and invention, very mechanical and definitely uni dimentional. The musical style is pretty similar to face B from Dune but less consistent and without emotion (despite an honest and glacial-seductive “charming the wing” with Arthur Brown’s great lyrical voice). This is a ryhtmical, electronic beat album, linear and without reliefs. The musical background is very minimal and doesn’t enable Arthur Brown to express his genius. Klaus Schulze should have been concentrated on dark, gothic, haunted organ chords (similar to Irrlicht and Cyborg), Arthur Brown would give the best on it. “Time Actor” is terribly conformist, empty and non human. To avoid! (philippe)

??  .. a real strange album … ??  … Make your own decision !

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Personnel:
Arthur Brown (vocals)
Vincent Crane (keyboards)
Klaus Schulze (electronics)
Michael Shrieve (percussion)
Wolfgang Tiepold (cello)

Alternate frontcover:
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Tracklist:
01. Time Actor (Wahnfried/Brown) 8.59
02. Time Factory (Wahnfried/Brown) 10.40
03. Charming The Wind (Wahnfried/Brown) 4.50
04. Grandma’s Clockwork (Wahnfried) 4.10
05. Distorted Emission (Wahnfried/Brown) 5.30
06. The Silent Sound Of The Ground (Wahnfried/Brown) 15.02
07. Time Echoes (Wahnfried/Brown) 8.22
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08. Agamemory (taken from the LP Megatone, 1984) (Wahnfried) 8.24

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Supertramp – Breakfast In America (1979)

FrontCover1Supertramp were an English rock band that formed in London in 1969. Marked by the individual songwriting of founders Roger Hodgson (vocals, keyboards, and guitars) and Rick Davies (vocals and keyboards), they are distinguished for blending progressive rock and pop styles as well as for a sound that relied heavily on Wurlitzer electric piano.

The group’s line-up changed numerous times throughout their career, with Davies being the only consistent member throughout the decades.

Other longtime members included bassist Dougie Thomson, drummer Bob Siebenberg, and saxophonist John Helliwell.

Supertramp, 1971
From left: Roger Hodgson, Frank Farrell, Rick Davies, Kevin Currie, Dave Winthrop:
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The band were initially a prog-rock group, but starting with their third album, Crime of the Century (1974), they began moving towards a more pop-oriented sound.[5] They reached their commercial peak with 1979’s Breakfast in America, which yielded the international top 10 singles “The Logical Song”, “Breakfast in America”, “Goodbye Stranger”, and “Take the Long Way Home”. Their other top 40 hits included “Dreamer” (1974), “Give a Little Bit”, (1977) and “It’s Raining Again” (1982). In 1983, Hodgson left the group to pursue a solo career. Davies took over as the band’s sole leader until 1988, after which they disbanded and periodically reformed in various configurations.

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As of 2007, Supertramp album sales exceeded 60 million. They attained significant popularity in North America, Europe, South Africa, and Australia. Their highest sales levels were in Canada, where they had two diamond-certified (ten-times platinum) albums (Crime of the Century and Breakfast in America), and their only number 1 singles anywhere (“The Logical Song” and “Dreamer”). (wikipedia)

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Breakfast in America is the sixth studio album by the English rock band Supertramp, released by A&M Records on 29 March 1979. It was recorded in 1978 at The Village Recorder in Los Angeles. It spawned four US Billboard hit singles: “The Logical Song” (No. 6), “Goodbye Stranger” (No. 15), “Take the Long Way Home” (No. 10) and “Breakfast in America” (No. 62).[A] In the UK, “The Logical Song” and the title track were both top 10 hits, the only two the group had in their native country.

At the 22nd Annual Grammy Awards in 1980, Breakfast in America won two awards for Best Album Package and Best Engineered Non-Classical Recording, as well as nominations for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. It holds an RIAA certification of quadruple platinum and became Supertramp’s biggest-selling album, with more than 4 million copies sold in the US and more than 3 million in France (the fourth ever best-selling album). It was No. 1 on Billboard Pop Albums Chart for six weeks, until 30 June 1979. The album also hit No. 1 in Norway, Austria, West Germany, the Netherlands, Spain, Canada, Australia and France.

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As with Even in the Quietest Moments…, Rick Davies and Roger Hodgson wrote most of their songs separately but conceived the theme for the album jointly. Their original concept was for an album of songs about the relationship and conflicting ideals between Davies and Hodgson themselves, to be titled Hello Stranger. Hodgson explained: “We realized that a few of the songs really lent themselves to two people talking to each other and at each other. I could be putting down his way of thinking and he could be challenging my way of seeing life […] Our ways of life are so different, but I love him. That contrast is what makes the world go ’round and what makes Supertramp go ’round. His beliefs are a challenge to mine and my beliefs are a challenge to his.”

This idea was eventually scrapped in favour of an album of “fun” songs, and though Davies initially wanted to keep the title Hello Stranger, he was convinced by Hodgson to change it to Breakfast in America. Hodgson commented later: “We chose the title because it was a fun title. It suited the fun feeling of the album.” Due to the title and the explicit satirising of American culture in the cover and three of the songs (“Gone Hollywood”, “Breakfast in America” and “Child of Vision”), many listeners interpreted the album as a satire of the United States. Supertramp’s members have all insisted that the repeated references to US culture are purely coincidental and that no such thematic satire was intended. Hodgson has described the misconception as a parallel to how Crime of the Century (1974) is often misinterpreted as being a concept album.

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“Gone Hollywood” is the opening track of Breakfast in America. Written by Rick Davies, the song tells about a person who moves to Los Angeles in hopes of becoming a movie star, but finds it far more difficult than he imagined. He struggles and becomes frustrated, until he ultimately gets his break and becomes “the talk of the Boulevard”. The lyrics were originally more bleak, but under pressure from the other band members, Davies rewrote them to be more optimistic and commercially appealing. Billboard writer David Farrell felt that, other than Davies’ lead vocal, the song sounds like a Queen song.

“Child of Vision” is the closing track. Much like “The Logical Song”, it uses a Wurlitzer electric piano as the main instrument. After the lyrical part, the song goes into a long solo played on the grand piano alongside the original melody on the Wurlitzer. The track fades out with a short saxophone solo by John Helliwell. Roger Hodgson has said that the song was written to be an equivalent to “Gone Hollywood”, looking at how Americans live, though he confessed that he had only a limited familiarity with US culture at the time of writing. He also said there is a slight possibility that he subconsciously had Rick Davies in mind while writing the lyrics.

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Each song was credited to a single musician on the inner sleeve, but on the central vinyl label was printed “Words and Music by Roger Hodgson & Rick Davies”, combining the two and confusing the issue of composition credit. Roger Hodgson’s management has described “The Logical Song”, “Breakfast in America”, “Take the Long Way Home”, “Lord Is It Mine” and “Child of Vision” as ‘Roger’s songs’; however, this apparently does not mean he necessarily wrote them by himself, for Hodgson has credited Davies with writing the vocal harmony on “The Logical Song”. Davies has referred to “The five songs that I did on Breakfast”, but has not specified which ones.

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The album went through two rounds of demos. The first were home demos, each of which consisted of the chief songwriter (either Rick Davies or Roger Hodgson) singing and playing either acoustic piano or Wurlitzer electric piano. The second were eight-track demos recorded at Southcombe Studios in Burbank, California during late April and early May 1978. It was in recording these demos that the band worked out the backing track arrangements for all the songs (with the exception of “Take the Long Way Home”) and determined the order in which they would appear on the album.

In order to avoid spending a lot of time on mixing, the band and their production team devoted a week to experimenting with different sound setups until they found the perfect arrangement. The effort proved to be wasted, as the engineering team would end up spending more than two extremely stressful months searching for the right mix, and were only finished after that length of time because the deadline had arrived, not because they felt at all satisfied with the results.

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Tensions between Hodgson and Davies were reportedly almost non-existent on the album. Engineer Peter Henderson recalled: “They got along fantastically well and everyone was really happy. There was a very, very good vibe and I think everyone was really buoyed up by the recordings and A&M’s response to them.” Hodgson contested this, saying that he and Davies had increasingly different lifestyles, and that he felt that Davies disliked many of his songs and only kept quiet about his displeasure because he sensed that he would be voted down.[10] Melody Maker journalist Harry Doherty offered a third take on the duo’s interactions during the album sessions: “In three days with the band, I don’t think I saw Davies and Hodgson converse once, other than to exchange courteous greetings.”

The album’s front cover resembles an overlook of Manhattan through an aeroplane window. It was designed by Mike Doud and Mick Haggerty. The image depicts Kate Murtagh, dressed as a waitress named “Libby” from a diner, as a Statue of Liberty figure holding up a glass of orange juice on a small plate in one hand (in place of the torch on the Statue), and a foldable restaurant menu in the other hand, on which ‘Breakfast in America’ is written. The background features the southern tip of the New York City borough of Manhattan, with the Lower Manhattan skyline represented through a cornflake box, ashtray, cutlery (for the wharfs), pancake syrup bottles, egg crates, salt and pepper shakers, coffee mugs, ketchup and mustard bottles, etc., all spray-painted white. The twin World Trade Center towers appear as two stacks of boxes, and the plate of breakfast represents The Battery, the departure point for the Staten Island Ferry. The back cover photo, depicting the band members having breakfast while reading their respective hometown newspapers, was taken at a diner called Bert’s Mad House.

Breakfast in America won the 1980 Grammy Award for Best Recording Package, defeating albums by Talking Heads and Led Zeppelin, among others. (wikipedia)

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With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide; by the 1990s, the album had sold over 18 million units across the world. Although their previous records had some popular success, they never even hinted at the massive sales of Breakfast in America. Then again, Supertramp’s earlier records weren’t as pop-oriented as Breakfast. The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits “The Logical Song,” “Take the Long Way Home,” and “Goodbye Stranger.” Supertramp still had a tendency to indulge themselves occasionally, but Breakfast in America had very few weak moments. It was clearly their high-water mark. (by Stephen Thomas Erlewine)

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Personnel:
Rick Davies (vocals, keyboards, clavinet on 02., harmonica on 06.)
John Helliwell (saxophones, vocals, woodwinds)
Roger Hodgson (vocals, keyboards, guitar, vibraphon on 09.)
Bob Siebenberg (credited as Bob C. Benberg) (drums)
Dougie Thomson (bass)
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Slyde Hyde (tuba, trombone)
Gary Mielke (Oberheim programming)

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Tracklist:
01. Gone Hollywood 5.19
02. The Logical Song Hodgson Hodgson 4.11
03. Goodbye Stranger 5.50
04. Breakfast In America 2.39
05. Oh Darling 3.48
06. Take The Long Way Home 5.09
07. Lord Is It Mine 4.10
08. Just Another Nervous Wreck 4.25
09. Casual Conversations 2.59
10. Child Of Vision 7.27

All songs written by Rick Davies and Roger Hodgson

A real great label design:
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The Knack – Get The Knack (1979)

FrontCover1The Knack was an American rock band based in Los Angeles that rose to fame with its first single, “My Sharona”, an international number-one hit in 1979.

Singer Doug Fieger was a native of Oak Park, Michigan, a northern suburb of Detroit, Michigan, and grew up in the 9 Mile/Greenfield area. The brother of attorney Geoffrey Fieger (later known for representing Jack Kevorkian in a series of assisted suicide cases) Fieger had previously played in an eclectic rock band called Sky as well as the Sunset Bombers. Although Sky had received a modest amount of acclaim, including being produced by Rolling Stones producer Jimmy Miller, the band broke up without having any chart success. As a result, Fieger made the decision to move to Los Angeles and start another band.

Shortly after arriving in L.A., Fieger met Berton Averre (lead guitar, backing vocals and keyboards), and the two started a songwriting partnership. Fieger had also known Bruce Gary (drums) for years before forming the Knack in 1978 with Prescott Niles (bass). Niles was the last to join, a week before the band’s first show in June 1978. In the meantime, Fieger had been doubling on bass on a series of demos that the group had shopped to several record labels, all of which were rejected. Some of these songs later made up the band’s debut album Get the Knack, and included “Good Girls Don’t”.

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Within months of their live debut, popular club gigs on the Sunset Strip, as well as guest jams with musicians such as Bruce Springsteen, Tom Petty and Ray Manzarek, led to the band being the subject of a record label bidding war. The band was pursued by ten record labels, but decided on Capitol Records; at the time, the Knack was given the largest signing sum in the label’s history.[6] A&R executives Bruce Garfield and Bruce Ravid are credited with signing the band.[citation needed]

The band’s debut album, Get the Knack, was one of the year’s best-selling albums, holding the number one spot on Billboard magazine’s album chart for five consecutive weeks and selling two million copies in the United States. The lead single, “My Sharona”, was a No. 1 hit in the US, and became the number-one song of 1979. Follow-up single “Good Girls Don’t” peaked at No. 11 in the US, and reached No. 1 in Canada.

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However, the band’s rise to the top of the charts also precipitated a backlash. Capitol’s packaging of Get the Knack included a perceived cover likeness to Meet the Beatles![1] with the record’s center label being the same design and style as the Beatles’ early 1960s LPs. Coupled with the band’s “retro” 1960s look and pop/rock sound, the company’s stylings led detractors to accuse them of being Beatles rip-offs,[1] which the band and their record company denied. Fieger acknowledged the band’s likeness to the Beatles, claiming that it was their intention to present the Knack as a replica of the British Invasion. He went on to mention how fans of the Knack had not been able to experience the times of the 1960s, and that it was wrong to deny them the privilege of experiencing something similar.[6] Critics fought back, claiming the band was imposing inadequate memories of the 1960s on those who didn’t know better. Soon, as Get the Knack became more popular, the band was met with hostility from other artists who felt the intense marketing of the band was invalidating their own efforts of invoking the 1960 sound. This perception, and the perception that the object of some of the Knack’s songs were teenaged girls (subsequently acknowledged when the band were years older), quickly led to a “Knuke the Knack” campaign led by San Francisco artist Hugh Brown.

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The Knack quickly recorded a follow-up album …But the Little Girls Understand, which was released in early 1980. Though the album went gold in the US and Japan, and platinum in Canada,[5] it didn’t meet with the same level of commercial success as their debut. Fieger claimed in later interviews that all of the tracks for Get the Knack and …But the Little Girls Understand were written before the first LP was recorded and were intended to be put out as a double album. Additionally, the lead single “Baby Talks Dirty” only briefly made the US Top 40, stalling at No. 38 (but reaching No. 13 in Canada); follow-up single “Can’t Put a Price on Love” missed the top 40 altogether, peaking at No. 62.

After nearly a year of touring in the US, Canada, Europe, New Zealand, Australia, and Japan, starting in April 1980 the band took a year off because of exhaustion and “internal dissent”.[5] They reconvened in the summer of 1981 to record their third album, Round Trip. However, the record (released in October 1981) was a commercial disappointment, only reaching No. 93 on the Billboard chart, selling 150,000 copies. As well, the lead single “Pay the Devil (Ooo, Baby, Ooo)” peaked at No. 67 on the Billboard Hot 100. The group made several concert appearances during 1981 to promote Round Trip. Keyboardist Phil Jost was brought into the lineup at this time to enable the band to duplicate the more heavily layered sound of their new release.

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With the Knack experiencing rapidly diminishing chart success, and mounting critical backlash against them Fieger left amidst internal squabbles on December 31, 1981, just months after the release of Round Trip. By mid-1982, the Knack had split up while Fieger formed a new band, “Doug Fieger’s Taking Chances”

Get the Knack is the debut album by American rock band The Knack, released in June 1979. At the time, the album was one of the most successful debuts in history, selling over one million copies in less than two months and spending five weeks at number one on the Billboard 200 album chart.

The lead single from the album, “My Sharona”, was number one on the Billboard Hot 100 for six weeks and number one on Billboard’s Top Pop Singles of 1979 year end chart. The follow-up single, “Good Girls Don’t,” reached number 11 on the Hot 100 and followed “My Sharona” to number one on the Canadian Singles Chart.

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Get the Knack was recorded in just two weeks at a cost of only $18,000, an extremely quick and inexpensive recording at a time when many established artists were spending months and several hundred thousand dollars to record an album. The album was produced by Mike Chapman, who had written hits for Sweet in the early 1970s and most recently produced Blondie’s breakout album Parallel Lines.

Get the Knack was released in June 1979 and became an immediate success, thanks in part to an intense promotional campaign by Capitol Records. The Knack’s image was largely influenced by the Beatles. The album cover imitates the Beatles’ first Capitol LP Meet the Beatles!, and the back cover photo depicts a scene from the Beatles’ film A Hard Day’s Night. To complete the Beatle imagery, the 1960s Capitol rainbow label adorned the LP, a detail the band had written into its contract. The album obtained a gold certification from the Recording Industry Association of America (RIAA) in just 13 days, becoming Capitol Records’ fastest selling debut LP since Meet the Beatles! in 1964. In August, the album reached number one on the Billboard 200, where it remained for five weeks, and was certified platinum by the RIAA for one million copies sold. The lead single, “My Sharona”, also met with immediate success, becoming Capitol’s fastest selling debut single since the Beatles’ “I Want to Hold Your Hand” and staying at number one on the Billboard Hot 100 for six weeks.

Singles

A negative backlash against the Knack’s overnight success formed among critics who found the band’s image too contrived and their attitude too brash. San Francisco conceptual artist Hugh Brown, who had designed the Clash’s Give ‘Em Enough Rope album cover, started a “Knuke the Knack” campaign complete with T-shirts, buttons and bumper stickers. Some music writers began to criticize the band for what they perceived as arrogance, hype and a misogynist attitude expressed in their songs. The band’s refusal to do interviews was also viewed negatively by the music press. One entertainment weekly, Scene magazine, refused to publish a review of the Knack’s concert in Cleveland due to what it called “attempts at censorship” by the band’s management.

Robert Christgau of The Village Voice was critical of the album’s misogynistic themes and remarked that if the Knack “felt this way about girls when they were unknowns, I shudder to think how they’re reacting to groupies.” However, Christgau countered critics who had dismissed the band on “purely technical terms”, arguing that “if they’re less engaging musically than, say, the Scruffs, they have a lot more pop and power going for them than, say, the Real Kids.”[8] Billboard critic Dick Nusser was particularly complimentary of tracks such as “Let Me Out”, “Maybe Tonight” and “That’s What the Little Girls Do”, while noting that the pleading song “Oh Tara” indicates that the Knack “aren’t strict girl haters.”

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Trouser Press noted the negative portrayal of the female protagonists of certain songs and singled out “Maybe Tonight” as “bottom-of-the-barrel sap”, but praised “My Sharona”, “Let Me Out” and “Frustrated” as “tight guitar pop.” In 2016, Paste ranked Get the Knack at number 39 on its list of the 50 best new wave albums. Nirvana frontman Kurt Cobain listed Get the Knack as one of his 50 favorite recordings. (wikipedia)

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The Knack attempted to update the Beatles sound for the new wave era on their debut — a good idea that was well executed, but critics cried “foul” when millions sold after Capitol’s pre-release hype (it went gold in 13 days and eventually sold five million copies, making it one of the most successful debuts in history). Get the Knack is at once sleazy, sexist, hook-filled, and endlessly catchy — above all, it’s a guilty pleasure and an exercise in simple fun. When is power pop legitimate anyway? Includes the unforgettable hits “My Sharona” and “Good Girls Don’t.” (by Chris Woodstra)

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Personnel:
Berton Averre (guitar)
Doug Fieger (vocals, guitar)
Bruce Gary (drums)
Prescott Niles (bass)

Inlet1Tracklist:
01. Let Me Out (Fieger/Averre) 2,2
02. Your Number Or Your Name (Fieger/Averre) 2.58
03. Oh Tara (Fieger) 3.05
04. (She’s So) Selfish (Fieger/Averre) 4.31
05. Maybe Tonight (Fieger) 4.03
06. Good Girls Don’t (Fieger) 3.09
07. My Sharona (Fieger/Averre) 4.55
08. Heartbeat (Montgomery/Petty) 2.12
09. Siamese Twins (The Monkey and Me) (Fieger/Averre) 3.26
10. Lucinda (Fieger/Averre) 4.01
11. That’s What The Little Girls Do (Fieger) 2.43
12. Frustrated (Fieger/Averre) 3.53
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13. Baby Talks Dirty (single from the Knack’s second album, …But the Little Girls Understand (1980) (Fieger/Averre) 3.46

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Tomasz Stanko – Almost Green (1979)

FrontCover1Tomasz Ludwik Stańko (11 July 1942 – 29 July 2018) was a Polish trumpeter and composer. Stańko was associated with free jazz and the avant-garde.

In 1962, Tomasz Stańko formed his first band, the Jazz Darings, with saxophonist Janusz Muniak, pianist Adam Makowicz, bassist Jacek Ostaszewski, drummer Wiktor Perelmuter. Inspired by Ornette Coleman and the innovations of John Coltrane, Miles Davis and George Russell, the group is often cited by music historians as the first European group to play free jazz. In his later years, he collaborated with pianist Krzysztof Komeda on Komeda’s album Astigmatic, recorded in late 1965. In 1968, Stańko formed a quintet whose members were Janusz Muniak (tenor and soprano saxophones, flute), Zbigniew Seifert (alto sax and violin), Bronisław Suchanek (bass), Janusz Stefański (drums, percussion). In 1975, he formed the Tomasz Stańko-Adam Makowicz Unit.

Stańko established a reputation as a leading figure not only in Polish jazz, but internationally as well, working with musicians including Jack DeJohnette, Dave Holland, Reggie Workman, Rufus Reid, Lester Bowie, David Murray, Manu Katché and Chico Freeman. From 1984, he was a member of Cecil Taylor’s big band.

Tomasz StankoTomasz Stańko was born in Rzeszów, Poland, on 11 July 1942. His first encounters with jazz were through Voice of America radio programs and tours initiated by the U.S. State Department. Coming of age in Communist Poland, Stańko was impressed by the correlation jazz had with a message of freedom. In 1958 he saw his first jazz concert given by Dave Brubeck.[8] Along with the pianist Adam Makowicz and with the saxophonist Janusz Muniak, the group took inspiration from the music of musicians such as Ornette Coleman, George Russell and Miles Davis and was considered by many critics to be the first group in Europe to perform in the free jazz idiom.

In 1963 Stańko joined the Krzysztof Komeda quintet, where he learned much about harmony, musical structure and asymmetry. During his career with Komeda, which concluded in 1967, Stańko did five tours with the pianist and recorded eleven albums with him. In 1968 Stańko formed a quintet that met critical acclaim—one that included Zbigniew Seifert on violin and alto saxophone.[10] In 1970, he joined the Globe Unity Orchestra, and in 1971 he collaborated with Krzysztof Penderecki and Don Cherry. Not long after he formed a quartet that included himself, saxophonist Tomasz Szukalski and Finnish drummer Edward Vesala. His performances with Vesala are often considered to be some of his most important work. In 1975, he formed the Tomasz Stańko-Adam Makowicz Unit. (wikipedia)

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“Almost Green” is fourth and last record by great Stanko Quartet with Vesala and Szukalski, this time with wonderful dwarf Palle Danielsson on bass. Released by Finnish label Leo Records in 1979, this album was preceeded by “TWET” (Muza 1974), “Balladyna” (ECM 1976) and “Live at Remont” (Helicon 1978), each with different bassist. But always the rhythm section sounded pretty heavy and whole quartet freshly and recognizably. Maybe it is wishful thinking from my side, but I often thought when listening to “Balladyna” that there are some similarities with great Elton Dean Quintet’s “Boundaries”, and I got that feeling again with “Live at Remont” and “Almost Green”, which were completely new to me during last weeks… Thanks to original uploader svantetic and his former blog Almost Black, and to mew23, who kept this rip and shared it with us. BTW, “From Greenhills” theme is reprised as title track of Stanko’s 1999 ECM album “From The Green Hill”. (inconstantsol.blogspot.com)

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Personnel:
Palle Danielsson (bass)
Tomasz Stanko (trumpet)
Tomasz Szukalski (saxophone)
Edward Vesala (drums)

Edward Vesala

Tracklist:
01. New Song (Stanko) 10.37
02. From Greenhills (Stanko) 3.37
03. Slowly By (Stanko) 5.25
04. When On Earth (Stanko) 10.17
05. Almost Green (Stanko) 3.41
08. Megaira (Vesela) 3.48

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Palle Danielsson

More from Tomasz Stańko:
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Jack Lancaster & Rick van der Linden – Wild Connections (1979)

FrontCover1Two great musicians:

Jack Lancaster is a British composer, record producer and musician.

In the late 1960s, Lancaster co-founded the British rock group Blodwyn Pig with Jethro Tull guitarist Mick Abrahams and in the late 1970s he was a member of the British progressive rock group Aviator with former Jethro Tull drummer Clive Bunker, former Manfred Mann’s Earth Band guitarist Mick Rogers, and former Caravan and Quantum Jump bassist John G. Perry that released two albums on the EMI America Records label (Lancaster appeared only on the band’s debut). In between these high-profile projects, Lancaster collaborated with keyboardist Robin Lumley in the studio band The Soul Searchers with a line-up that included guitarists Gary Moore and John Goodsall, bassist Percy Jones, and drummer Bill Bruford. This group released one 7″ single Scaramouche b/w Head Stand in 1975 for EMI Records.

Lancaster performed on two Jazz Fusion records with Lumley that were released by RSO Records in the mid-1970s. The first was a rock version of Russian composer Sergei Prokofiev’s Peter and the Wolf, The Rock Peter and the Wolf (1975), and the second titled Marscape (1976) that both featured the contributions of members of what would become Lumley’s future band Brand X (John Goodsall, Percy Jones, and Phil Collins on drums).

Jack Lancaster

In 1979, Lancaster and Dutch keyboardist Rick van der Linden released the electronic album Wild Connections on the Acrobat Records label that featured former Blue Mink drummer Barry Morgan and The English Chorale. 1980, Lancaster released a solo album on the Kamera Records label titled Skinningrove Bay that included Rod Argent, Clive Bunker, Phil Collins, Robin Lumley, Gary Moore, John G. Perry, Mick Rogers, Rick van der Linden and Bernie Frost.

Since then he has performed live on tour, composed for television and film, performed as a session musician and has produced, written and arranged recording sessions with artists including Gary Moore, Phil Collins, Rod Argent, Anthony Phillips, Hans Zimmer, Stéphane Grappelli, Brian Eno, The View, Vangelis and Rick van der Linden. Lancaster lives in Hollywood. (wikipedia)

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Rick van der Linden (5 August 1946, Badhoevedorp, North Holland – 22 January 2006, Groningen) was a Dutch composer and keyboardist. Van der Linden first gained fame as a member of Ekseption, but he played in several other bands including most notably Trace, as well as solo. Van der Linden was best known for his reworkings of classical music in a pop music domain, often with jazz improvisations.

Rick van der Linden was born in the village of Badhoevedorp, not far from Amsterdam, the second of five van der Linden children. His family moved when Rick was only 5 weeks old to Rotterdam, where they lived until 1957. He started piano lessons at age 7, but gave them up two years later because he wasn’t enjoying them. When he was 11, his family moved again, to Haarlem where van der Linden attended the Triniteitslyceum. At 13, his father convinced Rick to try the piano again, so he was enrolled at the Haarlem School of Music. Two years later he became a private pupil of the Piet Vincent. At 17, he entered the Haarlem Conservatory where Aad Broersen and Albert de Klerk tutored him in the organ. Van der Linden finished his studies two years later and in 1965 passed exams at the Royal Conservatory in The Hague, winning honours in piano, organ, harmony and counterpoint. Van der Linden thought he might become a teacher at the Haarlem Conservatory.

Ekseption1971

Meanwhile, in the early 1960s, van der Linden fell in love with rock and roll, along with jazz and ballet music. While still a student he took a job in a nightclub bar, playing foxtrots, boogie-woogie, ragtime, films soundtracks, blues, tango, pop, Strauss waltzes and cabaret tunes while studying the classical masters during the day. He also found time to write music for several local ballet ensembles. In 1964, he formed his first band, a piano trio, and later a brass jazz septet which played for fun and rehearsal only (never playing any gigs). After graduation, van der Linden joined the Occasional Swing Combo, a professional jazz septet which played extensively. Simultaneously, he was also touring the Netherlands playing with symphony orchestras, and appearing as soloist in concerti by Bach, Rachmaninov, Beethoven and Mendelssohn.

In 1966, the Occasional Swing Combo shared a stage with Rein van den Broek’s jazz combo The InCrowd, and van den Broek was impressed with the young keyboardist. He offered van der Linden the chance to join The InCrowd, which van der Linden accepted.

Rick van der Linden01Soon after, they discovered there was another Dutch band with the name “The In Crowd”, so they changed their name to Ekseption. In 1968, van der Linden attended a Rotterdam concert by The Nice, Keith Emerson’s neo-classical rock trio, where they played a version of Bach’s Brandenburg Concertos. Van der Linden was inspired to combine his love of classical music with modern presentation (see main article Ekseption).

Ekseption toured heavily, mainly through Europe, from 1968 to 1974, and won critical acclaim. Van der Linden left Ekseption in 1974 to form Trace, a smaller rock trio along the lines of Emerson, Lake & Palmer. In 1978, he returned to Ekseption for the first in a series of reunions, each less successful than the previous. He also played with Mistral (1977–1980, with Robbie van Leeuwen (ex-Shocking Blue)) and Cum Laude (1980–1989). He released several solo albums, most reworkings of classical music in the Ekseption style. He performed session work with artists such as Jan Akkerman, Joachim Kuhn, Deep Purple, Phil Collins, Vangelis, Jack Lancaster and Brand X. From 2002 to 2005 Ekseption was composed of primarily Canadian members. Van der Linden is quoted as saying that this was his favourite period of his music career as these band members worked well with each other and created a family-like atmosphere. For the first time, van der Linden was able to tour Canada as well as previous locations in Europe.

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His first wife was Penney de Jager, a ballerina/burlesque dancer whom he married 5 August 1971. A son (Rick Jr.) was born in 1972, but the couple eventually divorced in 1983. On 17 May 1989 van der Linden married Inez Zwart who was also a band manager and singer in Ekseption as well as in many of Rick’s solo works. After van der Linden’s death, Zwart continues to bring his music to the public.

Van der Linden had long suffered from diabetes with following eyesight impairment, and in 2005 had a successful eye surgery. On 19 November 2005 he suffered from a stroke which resulted in partial paralysis. He died on 22 January 2006 in Groningen, and was cremated in Assen. Almost 500 people attended his memorial service in Hoogeveen. (wikipedia)

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Here is a little gem of an album, especially for those who like synthesised sounds. A collaborative venture between Jack Lancaster on lyricon and Rick van der Linden on the mighty Yamaha GX-1 synthesiser. I know Lancaster through his collaborative work with Robin Lumley on the pre-Brand X project Marscape. The late van der Linden was the excellent keyboard player with Ekseption and Trace. On this album he plays the over-the-top GX-1 synth, made famous by Keith Emerson on the Works album. Here, Lancaster and van der Linden go mad on some classical, fusion pieces showcasing their respective synthesised instruments. (progrockstuff.blogspot.com)

In other words: A forgotten hightlight of the Prog Rock era !

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Personnel:
Jack Lancaster (lyricon)
Riock van der Linden (synthesizer)
Barry Morgan (drums)
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The English Chorale

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Tracklist:
01. Early Morning Jones (Lancaster/Lumley) 5.53
02. Your Home (v.d. Linden) 5.02
03. African Violet (Lancaster) 5.13
04. Fortuna (Orff) 4.24
05. Wild Connections (v.d. Linden) 4.54
06. Claudia (v.d. Linden/Lancaster) 3.55
07. Aural Exciter (v.d. Linden) 2.33
08. Nyala (Lancaster) 5.24

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With the exception of drums and choir, this album is completely synthesised on Lyricon and Yamaha GX1. The lyricon is an electronic wind instrument capable of the fullest range of expression. The sounds available on the Lyricon are practically infinite. GX1 is a tri-manual synthesiser with bass pedals; “Yamaha’s Monster!” Stevie Wonder called it “The Dream Machine” (taken from the original liner notes

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The Only Ones – Live At The Paradiso (1979)

FrontCover1The Only Ones were an English rock band formed in London in 1976, whose original band members are Peter Perrett, Alan Mair, John Perry and Mike Kellie, they first disbanded in 1982. They were associated with punk rock, yet straddled the musical territory in between punk, power pop and hard rock, with noticeable influences from psychedelia.

The Only Ones reformed in 2007 after their biggest hit “Another Girl, Another Planet” experienced a resurgence of public interest. The band completed a comeback UK tour in June 2007, and continued touring throughout 2008 and 2009. New material was recorded in 2009 and played live, but was never released.

The Only Ones were originally formed in August 1976 in South London by Peter Perrett. Perrett had been recording demos since 1972, and in late 1975 he was looking for a bass player. He was introduced to John Perry as a possible candidate, but Perry wanted to concentrate on playing guitar instead. By August 1976, Perry and Perrett had found drummer Mike Kellie (ex-Spooky Tooth) and bass guitarist Alan Mair, who previously had huge success with the Scottish band The Beatstalkers. Their first single, “Lovers of Today”, self-released on the Vengeance record label, was immediately made “record of the week” by three of the four main music papers. A year later they signed to CBS. Their next single “Another Girl, Another Planet” became a popular and influential song, and remains the band’s best-known song. It is often featured on various musical box-sets featuring a punk rock or new wave theme. After its inclusion on the 1991 compilation album The Sound of the Suburbs, it was re-released as a single and reached no. 57 in the UK singles chart.

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The band released their debut studio album The Only Ones in 1978, which was well received by both reviewers and fans.[3] The band’s follow-up album, Even Serpents Shine, was released the following year. A year later, they released their final studio album, Baby’s Got a Gun. In the summer of 1980, they supported the Who on their tour of the United States, and in 1982 the band officially disbanded. In subsequent years, the Only Ones retained a following and their posthumously released records – live performances, BBC Television and radio shows, and compilation albums – now outnumber their studio albums. Unusually, The Only Ones’ discs were never deleted from the CBS catalogue and remain in-print.

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In an interview published in the 10 November 2006 issue of the tabloid newspaper, The Daily Record, Alan Mair commented that he was set to reform The Only Ones after “Another Girl, Another Planet” was used in a Vodafone ad campaign in 2006, and picked up as the introduction theme to Irish DJ Dave Fanning’s radio show.[4] On 21 February 2007, Perry confirmed via his MySpace page that the band would reform for a five-date UK tour in June. Besides these dates, they played a number of festivals, debuting at All Tomorrow’s Parties festival in Minehead, England, on 27 April. During the summer, they also played at the two-part Wireless Festival in Hyde Park, London, Harewood House, (near Leeds), and the Connect Music Festival at Inveraray Castle in Scotland on 1 September.

News of the tour prompted coverage in several UK national newspapers and the dates were met with positive reviews. During these gigs, the band played a new song called “Dreamt She Could Fly”.

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The press also reported that three of the band were keen to record a new studio album following the tour, but that Perrett seemed hesitant. In April 2008, the band were seen on Later… with Jools Holland performing their song, “Another Girl, Another Planet”, and a new song entitled “Black Operations”. The band also played other new songs including “Is This How Much You Care” and “Magic Tablet” live on a Canal+ TV special in Paris and an acoustic/unplugged session for Radio 6 Queens of Noize. A live DVD of the Shepherds Bush Empire show was released in March 2008. Other rumoured releases included DVDs from a show on the band’s last US tour, and a re-release of Faster Than Lightning, which was released on VHS in 1991 and on DVD in 2012.

All three CBS studio albums, remastered by Alan Mair, were re-released with bonus tracks in February 2009. “Another Girl, Another Planet” was used in the film D.E.B.S. (2004), as well as in the 2010 hit film Paul. Sony BMG announced a January 2012 release date for an Only Ones box set in the “Original Album Classics” series. The set comprised the three remastered studio albums, plus various B-sides and out-takes. The Only Ones topped the bill at the 2012 Rebellion Festival in Blackpool on 4 August of that year.

TheOnlyOnes02In late 2014 the Only Ones (minus Mike Kellie) played some gigs in Tokyo, co-headlining with the Flamin’ Groovies. In August 2014 Perrett began playing solo shows (Felipop festival, Spain) using his sons’ band Strangefruit, followed by more dates in 2015 (Hebden Bridge, Bristol, London etc.) with the same formation. The band ceased activity after the death of drummer Mike Kellie, but Perrett, Mair and Perry reunited to play a three-song set in summer 2019.

The band members’ musical proficiency distinguished them from most of their peers. Their dominant drug-related lyrical themes on songs such as “Another Girl, Another Planet,” and “The Big Sleep,” also fit in with the Zeitgeist of the era on both sides of the Atlantic. Perrett and Kellie caught the eye of Johnny Thunders, founding member of the New York Dolls and the Heartbreakers, and worked as sidemen on Thunders’ solo debut album, So Alone, notably appearing together on the classic “You Can’t Put Your Arms Around a Memory”. However, drug addiction, particularly heroin use,[11] derailed their career, and singer/guitarist/songwriter Perrett has only sporadically been heard from since the band split in 1982. He briefly resurfaced in the mid 1990s with the album, Woke Up Sticky, and released his debut solo album, How The West Was Won in 2017.

Lead guitarist Perry went on to play as a session guitarist for artists including The Sisters of Mercy, Evan Dando and Marianne Faithfull. More recently, he has written several well received music biographies on the Who’s seminal hits compilation Meaty Beaty Big and Bouncy, the Rolling Stones’ double album Exile on Main Street and in 2004, Jimi Hendrix’s Electric Ladyland. During 2005–2006, he played and recorded with singer-songwriter Freddie Stevenson.

The Only Ones have been influential on the indie rock and alternative rock scenes ever since their initial success, on bands such as The Replacements, Blur, Nirvana, and more recently The Libertines. Several bands have covered their song “Another Girl, Another Planet”, including The Libertines (at London Forum with Perrett guesting),[13] The Replacements and Blink 182. Their song “The Whole of the Law” was covered by Yo La Tengo on their album, Painful. (wikipedia)

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And here´s is an excellent bootleg:

This show was recorded at the Paradiso, the famous Amsterdam concert hall, and captured on the 3rd of November 1979, some months before their last LP Baby’s Got A Gun was released. It was apparently broadcasted by a Dutch radio but I don’t know which one. If the playing is far from being perfect and often Peter Perrett seems a little elsewhere (not too much vocally, but his guitar is quite erratic , there are some stunning versions of “Big Sleep” or “The Beast” where one can understand why for some of us the Only Ones will remain among the greatest and most exciting and moving band of our lives. (thefatangelsings.com)

Recorded live at The Paradiso, Amsterdam, Holland  November 3, 1979
(excellent broadcast recording)

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Personnel:
Mike Kellie (drums)
Alan Mair (bass)
John Perry (guitar)
Peter Perrett (vocals, guitar)

Alternate frontcover:
AlternateFrontCover

Tracklist:
01. As My Wife Says 3.27
02. In Betweens 4.43
03. Programme 2.17
04. Oh Lucinda Love Becomes A Habitb 3.31
05. Big Sleep 5.27
06. Language Problem 3.02
07. Miles From Nowhere 4.10
08. The Beast 6.09
09. Another Girl, Another Planet 3.11
10. Peter And The Pets 3.17
11. City Of Fun 3.43
12. Trouble In The World 3.20
13. Me And My Shadow 4.39
14. The Immortal Story 3.05

All songs written by Peter Perrett

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Michael Alexander Kellie (24 March 1947 – 18 January 2017):

…from the iconic introduction of “Waiting For The Wind” by Spooky Tooth to the manic psychedelic rhythm pictures of “Another Girl, Another Planet” by The Only Ones, Mike Kellie’s career has spanned over 3 decades & his picturesque drumming accompanied some of contemporary music’s most successful artists…..

Paradiso World Aids Night, Amsterdam

The Paradiso is a Dutch music venue and cultural centre located in Amsterdam.

It is housed in a converted former church building that dates from the nineteenth century and that was used until 1965 as the meeting hall for a liberal Dutch religious group known as the “Vrije Gemeente” (Free Congregation). It is located on de Weteringschans, near the Leidseplein, one of the nightlife and tourism centers of the city. The main concert hall in the former church interior has high ceilings and two balcony rings overlooking the stage area, with three large illuminated church windows above the stage. The acoustics are rather echoey, but improvements have been made over the years. In addition to the main concert hall, there are two smaller cafe stages, on an upper floor and in the basement.

Paradiso was squatted by hippies in 1967 who wanted to convert the church to an entertainment and leisure club. The police ended the festivities the same year. In 1968, the city opened Paradiso as a publicly subsidized youth entertainment center. Along with the nearby Melkweg (Milky Way), it soon became synonymous with the hippie counterculture and the rock music of that era. It was one of the first locations in which the use and sale of soft drugs was tolerated. From the mid-1970s, Paradiso became increasingly associated with punk and new wave music, although it continued to program a wide variety of artists. Starting in the late 1980s, raves and themed dance parties became frequent.

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In 1994, Paradiso, along with the Institute for Sonology and The ArtScience Interfaculty (Amsterdam), initiated Sonic Acts together. In recent years, the venue has settled into an eclectic range of programming, which, besides rock, can include lectures, plays, classical music, and crossover artists. Long associated with clouds of tobacco and hashish smoke, Paradiso banned smoking in its public areas (except for a small smoking room) in 2008 in accordance with a nationwide ban on smoking in public venues. (wikipedia)

Average White Band – Feel No Fret (1979)

FrontCover1The Average White Band (also AWB) are a Scottish funk and R&B band that had a series of soul and disco hits between 1974 and 1980. They are best known for their million-selling instrumental track “Pick Up the Pieces”, and their albums AWB and Cut the Cake. The band name was initially proposed by Bonnie Bramlett. They have influenced others, such as the Brand New Heavies, and been sampled by various musicians, including the Beastie Boys, Public Enemy, TLC, The Beatnuts, Too Short, Ice Cube, Eric B. & Rakim, Nas, A Tribe Called Quest, Christina Milian, and Arrested Development, making them the 15th most sampled act in history. As of 2018, 46 years after their formation, they continue to perform.

Feel No Fret is the seventh album by Scottish funk and R&B band Average White Band (also AWB) released in 1979 on the RCA label in the United Kingdom and the Atlantic label in the United States.

It reached No. 15 in the UK charts, with 15 weeks in total on the charts, and No. 32 in the US charts. (by wikipedia)

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From their self-titled sophomore album of 1974 to 1978’s Warmer Communications, the Average White Band enjoyed a commercial winning streak in the ’70s; all of the albums they recorded for Atlantic during that period went either gold or platinum in the United States (and that is in addition to their impressive sales in Europe). But if any AWB album demonstrated that all good things must eventually come to an end, it was Feel No Fret. This 1979 LP marked the first time since 1973’s Show Your Hand (also known as Put It Where You Want It) that an AWB album didn’t enjoy either gold or platinum sales in the U.S., and it was also the most uneven album they recorded in the ’70s. So what went wrong? Perhaps the absence of Arif Mardin was a factor; Mardin had produced all of AWB’s previous Atlantic releases, whereas they produced Feel No Fret themselves. If Mardin had been encouraging the Scottish soul/funk band to go that extra mile, they settled for decent or competent on this record.

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Feel No Fret is far from a total meltdown, and the material is generally likable — especially the good-natured “Atlantic Avenue,” the slow-grinding “When Will You Be Mine,” and a remake of the Burt Bacharach/Hal David favorite “Walk On By” (which became a minor hit and made it to number 32 on Billboard’s R&B singles chart). But after Mardin-produced treasures like AWB, Soul Searching, Cut the Cake, and Warmer Communications, AWB followers had become extremely spoiled — they expected excellence, not a record that was merely adequate. Nonetheless, hardcore devotees (as opposed to casual listeners) will want to hear this album.

Oh yes, I´m a hardcore freak …

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Personnel:
Roger Ball (keyboards, synthesizer (saxophone)
Malcolm Duncan (saxophone)
Steve Ferrone (drums, percussion)
Alan Gorrie (bass, vocals, guitar)
Onnie McIntyre (guitar, vocals)
Hamish Stuart (guitar, vocals, bass)
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Mike Brecker (saxophone on 05. + 09.)
Randy Brecker (trumpet on 05. + 09.)
Zeca de Cuica (cuica on 06.)
Lew Delgatto (saxophone on 05. + 09.)
Airto Moreira (percussion on 06.)
Luis Carlos Dos Santos (surdo on 06.)
Luther Vandross (background vocals on 08.)

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Tracklist:
01. When Will You Be Mine (Gorrie/White) 4.20
02. Please Don’t Fall In Love (Ball/Gorrie) 3.42
03. Walk On By (David/Bacharach) 4.00
04. Feel No Fret (Stuart/Gorrie/Ferrone) 6.31
05. Stop The Rain (Gorrie/Stuart) 4.32
06. Atlantic Avenue (Ferrone, Gorrie, Average White Band) – # 24 UK chart[6]
07. Ace Of Hearts (Ferrone/Gorrie/Stuart) 3.52
08. Too Late To Cry (Stuart) 3.45
09. Fire Burning (Gorrie/White) 3.15

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Georges Moustaki – Moustaki (1979)

FrontCover1Georges Moustaki (born Giuseppe Mustacchi; 3 May 1934 – 23 May 2013) was an Egyptian-French singer-songwriter of Jewish Italo-Greek origin, best known for the poetic rhythm and simplicity of the romantic songs he composed and often sang. Moustaki gave France some of its best-loved music by writing about 300 songs for some of the most popular singers in that country, such as Édith Piaf, Dalida, Françoise Hardy, Yves Montand, Barbara, Brigitte Fontaine, Herbert Pagani, France Gall, Cindy Daniel, Juliette Gréco, Pia Colombo, and Tino Rossi, as well as for himself.

Georges Moustaki was born Giuseppe Mustacchi in Alexandria, Egypt, on 3 May 1934. His parents, Sarah and Nessim Mustacchi, were Francophile, Greek Jews from the ancient Romaniote Jewish community. Originally from the Greek island of Corfu, they moved to Egypt, where young Giuseppe was born and first learned French. They owned the Cité du Livre − one of the finest book shops in the Middle East – in the cosmopolitan city of Alexandria, where many ethnic communities lived together.

Moustaki’s father spoke five languages whereas his mother spoke six. The young Giuseppe and his two older sisters spoke Italian at home and Arabic in the streets.[4] The parents placed Giuseppe and his sisters in a French school where they learned to speak French.

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At the age of 17, after a summer holiday in Paris, Moustaki obtained his father’s permission to move there, working as a door-to-door salesman of poetry books. He began playing the piano and singing in nightclubs in Paris, where he met some of the era’s best-known performers. His career took off after the young singer-songwriter Georges Brassens took Moustaki under his wing. Brassens introduced him to artists and intellectuals who spent much of their time around Saint-Germain-des-Prés. Out of gratitude, Moustaki adopted the first name of the only musician he called “master”.[1][2]

Moustaki said that his taste for music came from hearing various French singers – Édith Piaf, Charles Trenet, Henri Salvador, Georges Ulmer, Yves Montand, Georges Guétary and Luis Mariano – sing.

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Moustaki was introduced to Édith Piaf in the late 1950s by a friend whose praise of the young songwriter was so flattering that Piaf, then at the peak of her fame, requested somewhat sarcastically to hear him sing his best works. “I picked up a guitar and I was lamentable. But something must have touched her. She asked me to go and see her perform that same evening at the Olympia music hall and to show her later the songs I had just massacred.”

He soon began writing songs for Piaf, the most famous of which, Milord, about a lower-class girl who falls in love with an upper-class British traveller, reached number one in Germany in 1960 and number 24 in the British charts the same year. It has since been performed by numerous artists, including Bobby Darin and Cher.

Piaf was captivated by Moustaki’s music, as well as his great charm. Piaf liked how his musical compositions were flavored with jazz and styles that went beyond France’s borders. Moustaki and Piaf became lovers and embarked on what the newspaper Libération described as a year of “devastating, mad love”, with the newspapers following “the ‘scandal’ of the ‘gigolo’ and his dame day after day”.

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After a decade of composing songs for various famous singers, Moustaki launched a successful career as a performer himself, singing in French, Italian, English, Greek, Portuguese, Arabic and Spanish.

Moustaki’s songwriting career peaked in the 1960s and 1970s with songs like “Sarah”, performed by Serge Reggiani, and “La Longue Dame brune”, written for the singer Barbara (Monique Serf).

In 1969 Moustaki composed the song “Le Métèque” — ‘métèque’ is a pejorative word for a shifty-looking immigrant of Mediterranean origin – in which he described himself as a “wandering Jew” and a “Greek shepherd”. Serge Reggiani rejected it and the record companies refused to produce it. Moustaki then sang it himself, on a 45rpm disc, and it became a huge hit in France, spending six non-consecutive weeks at number one in the charts. “A small, subliminal settling of scores became the hymn of anti-racism and the right to be different, the cry of revolt of all minorities,” Moustaki said of the song.

In 1971 Moustaki adapted the Ennio Morricone/Joan Baez song “Here’s to You” under the new title “Marche de Sacco et Vanzetti” for his album “Il y avait un jardin” (“There was a garden”).

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In 1972 Moustaki popularized the translation of two songs by Mikis Theodorakis, “l’Homme au cœur blessé” and “Nous sommes deux”, the latter being a French version of Imaste dio.

Moustaki’s philosophy was reflected in his 1973 song “Déclaration”: “I declare a permanent state of happiness and the right of everyone to every privilege. I say that suffering is a sacrilege when there are roses and white bread for everyone.”

Moustaki became a French citizen in 1985.

In 2008, after a 50-year career during which he performed on every continent, Moustaki recorded his last album, Solitaire. On it, he recorded two songs with China Forbes.

In 2009, in a packed concert hall in Barcelona, he told the stunned audience that he was giving his last public performance as he would no longer be capable of singing because of an irreversible bronchial illness.

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Moustaki married Annick “Yannick” Cozannec when he was twenty years old and she was twenty-five. Their daughter, Pia, was born the following year. They lived in an apartment at rue des Deux-Ponts on the Île Saint-Louis in Paris for many years, before his lung illness forced him to leave his beloved Paris to seek out warmer and cleaner air in the French Riviera.

In his last interview given to Nice-Matin newspaper in February 2013, Moustaki said, “I regret not being able to sing in my bathroom. But singing in public, no. I’ve done it all…. I’ve witnessed magical moments.”

Georges Moustaki died on 23 May 2013 at a hospital in Nice, France, after a long battle with emphysema.

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The French president, François Hollande, called Moustaki a “hugely talented artist whose popular and committed songs have marked generations of French people”. French Culture Minister Aurélie Filippetti hailed Moustaki as an “artist with convictions who conveyed humanist values … and a great poet”. Paris Mayor Bertrand Delanoë remembered Moustaki as “a citizen of the world who was in love with liberty, a true rebel until his last days”, who had given France “unforgettable compositions and lyrics”. Juliette Gréco, one of France’s biggest singers in the 1960s, grieved the loss of a “poet” and “unique person”. “He was a fine, elegant man who was infinitely kind and talented,” she told RTL radio.

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Moustaki’s funeral was held on 27 May 2013. It was attended by his widow Annick Cozannec and their daughter Pia, the French Culture Minister Aurélie Filippetti and numerous personalities from the entertainment world – Guy Bedos, Véronique Genest, Maxime Le Forestier, Jacques Higelin, Brigitte Fontaine, Arthur H, Valérie Mairesse, Hervé Vilard, Irène Jacob, François Corbier, Cali, Sapho, Enrico Macias, François Morel, Costa Gavras.

Moustaki was buried according to Jewish rites in a family vault at the Père Lachaise Cemetery in Paris a few meters from the grave of his former amour Édith Piaf. (by wikipedia)

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And here´s one of his countless album, a more or less unknown album from 1979 … and it´s again a wonderful album … an album full of pure poetry … soft and gentle, with many beautiful melodies … Georges Moustaki was really a great one !

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Personnel:
Amaziane (drums)
Kim Choe Cheah (flute, vocals)
Christian Chevalier (piano)
Marta Contreras (vocals)
Benhamadi Kamel (drums)
Mario Lima (guitar, vocals)
Georges Moustaki (vocals, guitar)
Joseph Mustacchi (guitar)
Claude Pavy (guitar)
Jean-Pierre Sabar (piano)
Pierre Yves Sorin (bass)
Jannik Top (bass)

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Tracklist:
01. Et pourtant dans le monde (Moustaki) 3.13
02. Je réussis ce que je rate (Moustaki)
03. Elle appelle “Au secours” (Moustaki)
04. So Many Miles (Moustaki)
05. Dis l’étranger (Moustaki/Lima)
06. Fugue en la mineure (Moustaki)
07. Nostalgie du tiers-monde (Moustaki/Chevalier)
08. L’île habitée (Moustaki)
09. Elle est partie (Moustaki)
10. Reprends ta vieille guitare (Moustaki)
11, Soyez bons pour le poète (Moustaki)

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Lyrics

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Georges Moustaki (03 May 1934 – 23 May 2013)