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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Georges Moustaki (03 May 1934 – 23 May 2013)

 

Joni Mitchell – Mingus (1979)

FrontCover1Mingus is the tenth studio album by Canadian singer-songwriter Joni Mitchell, and a collaboration with composer and jazz musician Charles Mingus. Recorded in the months before his death, it would be Mingus’s final musical project; the album is wholly dedicated to him. Mingus was released on June 13, 1979.

The album is quite experimental, featuring minimalist jazz, over-plucked, buzzing acoustic guitars, and even wolves howling through “The Wolf That Lives in Lindsey”. All of the lyrics are by Mitchell, while the music for four of the songs was composed by Mingus, three being new tunes, a fourth being his tribute to saxophonist Lester Young from his 1959 classic Mingus Ah Um, “Goodbye Pork Pie Hat”, for which Mitchell wrote a set of lyrics.

As with the release preceding, Don Juan’s Reckless Daughter, Mitchell hired personnel from jazz fusion group Weather Report, notably bassist Jaco Pastorius to play on the sessions. Mingus would also mark the first reunion of saxophonist Wayne Shorter and pianist Herbie Hancock in the studio since recording together on Shorter’s seminal Native Dancer album, featuring Milton Nascimento, released in September 1974.

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The album is spliced with excerpts, which are labelled “(Rap)”, from recordings provided by Sue Graham Mingus, including a scat singing interplay between Joni and Mingus, and Charles and Sue arguing over his age at a birthday party. In “Funeral”, Mingus and others discuss how long he’ll live and what his funeral will be like. He refers to the Vedanta Society and asserts that he’s going to live longer than Duke Ellington, who died in 1974, aged 75, by saying, “I’m going to cut Duke!”. “God Must Be a Boogie Man”—having taken shape two days after his death—was the only song Mingus was unable to hear. Mitchell suggests in the liner notes that Mingus would have found it hilarious. The song was re-recorded with orchestral accompaniment on Joni’s 2002 album “Travelogue”. The artwork features several paintings by Mitchell of Mingus. It peaked at #17 on the Billboard Pop Albums chart. (by wikipedia)

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In the months prior to the passing of legendary jazz bassist Charles Mingus, Joni Mitchell had been personally summoned by the bop pioneer to collaborate on a musical version of T.S. Eliot’s Four Quartets. The project would entail Mitchell to condense the text for Mingus to score instrumentally. He planned on utilizing a full orchestra, as well as the more traditional guitar and bass. They would accompany Mitchell’s vocals and the narration of selected portions of the text. After a few weeks of consideration, Mitchell’s reaction was that “[she]’d rather condense the bible.” Mingus then bestowed Mitchell with six melodies — “Joni I” through “Joni VI” — penned specifically for her. Mitchell spent a few weeks with Mingus — who was totally immobilized from amyotropic lateral sclerosis (aka Lou Gehrig’s Disease) — during the spring of 1978. Their partnership advanced the half-dozen tunes. More importantly, it shook Mitchell from a three-month long writer’s block/drought — yielding two of her best late-’70s compositions: “God Must Be a Boogie Man” and the revisitation and completion of a track she’d been wood-shedding, now titled “The Wolf That Lives in Lindsey.” Incidentally, the former piece was inspired by the opening chapters of Mingus’ autobiography, Beneath the Underdog.

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Initial recordings during Mitchell’s stay with Mingus in New York City produced several interesting experimental sessions with the likes of Stanley Clarke (bass), Jan Hammer (keyboards), John McLaughlin (guitar), Gerry Mulligan (baritone sax), and Tony Williams (drums). A few of these recordings — while rumored to have been lost, destroyed, or made otherwise unavailable — were leaked into the trading community in the late ’90s. Arguably, Mitchell could not have chosen any finer musicians than the sextet she ultimately incorporated into this work. The luminaries include Herbie Hancock (electric piano), Wayne Shorter (soprano sax), Jaco Pastorious (bass/horn arrangements), Peter Erskine (drums), Don Alias (congas), and Emil Richards (percussion). Sprinkled amongst these soulfully jazzy pieces are five “raps,” or aural snapshots of the time Mitchell and Mingus spent together. Sadly, Charles Mingus passed before he was able to listen to this timeless and ageless paean to his remarkable contributions to bop and free jazz. (by Lindsay Planer)

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Personnel:
Don Alias (percussion)
Peter Erskine (drums)
Herbie Hancock (piano)
Joni Mitchell (guitar, vocals)
Jaco Pastorius (bass)
Wayne Shorter (saxophone)eeeeeey
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Emil Richards (percussion (on 04.)

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Tracklist:
01. Happy Birthday 1975 (Rap) (Hill) 0.58
02. God Must Be A Boogie Man /Mitchell) 4,32
03. Funeral (Rap) / A Chair In The Sky (Mitchell/Mingus) 7.47
04. The Wolf That Lives In Lindsey (Mitchell) 6.22
05. I’s A Muggin’ (Rap) / Sweet Sucker Dance (Mitchell/Mingus) 8.13
06. Coin In The Pocket (Rap) / The Dry Cleaner From Des Moines (Mitchell/Mingus) 3.40
07. Lucky (Rap) / Goodbye Pork Pie Hat (Mitchell/Mingus) 5.27

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Ian Hunter – You’re Never Alone With A Schizophrenic (1979)

FrontCover1You’re Never Alone with A Schizophrenic is the fourth solo album by Ian Hunter. The album featured members of Bruce Springsteen’s E Street Band as the backing band. Allmusic considers the album to be Hunter’s best.

Hunter says that the title had been spotted on a toilet wall by co-producer Mick Ronson which he had planned for one of his solo albums. Hunter loved the title so much that he offered Ronson co-writing credit on the first single “Just Another Night” in exchange for the use of the title for the album. “Just Another Night” reached the Billboard Hot 100 No. 68. The album became one of Hunter’s biggest sellers at the time. Later, singer Barry Manilow covered the song “Ships” for his album One Voice which became a top-ten hit.

In 2009 EMI released a 30th-anniversary reissue of the album remastered with five bonus tracks on the first disc of outtakes and a second disc of live tracks recorded on the tour to support the album but previously unreleased. The reissue also came with a deluxe booklet discussing the making the album along with vintage and new interviews with Hunter.

The song “Cleveland Rocks” (originally recorded as a single for Columbia Records and entitled “England Rocks” around the time of “Overnight Angels”) later became a hit when The Presidents of the United States of America re-recorded the song as the theme song to The Drew Carey Show in 1997, raising Hunter’s profile. (by wikipedia)

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This classic album from 1979 is considered by many to be the high point of Ian Hunter’s solo career. Although its sales never matched up to the enthusiastic critical reaction it received, this polished hard rock gem has held up nicely through the years and is definitely deserving of its strong cult reputation. You’re Never Alone with a Schizophrenic also marked the reunion of Hunter with his finest creative ally, Mick Ronson, who had been forced to sit out of Hunter’s last few albums due to management problems. Together, the reunited duo put together an album that matches Hunter’s literate lyrics to a set of catchy, finely crafted tunes brimming with rock & roll energy. Two of the finest tracks are “Cleveland Rocks,” an affectionate, Mott the Hoople-styled tribute to an unsung rock & roll city that later became the theme for The Drew Carey Show, and “Ships,” a heartrending ballad built on a spooky and ethereal keyboard-driven melody that was later covered with great success by Barry Manilow.

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Elsewhere, the album features plenty of tunes that soon became mainstays of Hunter’s live show: “Just Another Night” is a rollicking rocker with an infectious, piano-pounding melody reminiscent of 1970s-era Rolling Stones, and “Bastard” is a pulsating rocker that features guest star John Cale contributing to its ominous hard rock atmosphere. However, the unsung gem of the album is “When the Daylight Comes,” a beautifully crafted mid-tempo rocker that balances a soulful, organ-driven melody with rousing guitar riffs and surprisingly vulnerable lyrics about romance. It should also be noted that You’re Never Alone with a Schizophrenic benefits from a sterling mix by Bob Clearmountain, who gives the sound a muscular quality that makes it leap out of the stereo speakers. In the end, You’re Never Alone with a Schizophrenic is not only Ian Hunter’s finest and most consistent album but one of the true gems of late-’70s rock & roll. (by Donald A. Guarisco)

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Personnel:
Roy Bittan (keyboards, synthesizer, background vocals)
Lew Delgatto (saxophone)
Ian Hunter (vocals, guitar, keyboards, synthesizer, percussion)
Mick Ronson (guitars, vocals on 05., background vocals, percussion)
Garry Tallent (bass)
Max Weinberg (drums)
George Young (saxophone)
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John Cale (piano, synthesizer on 07.)
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background vocals:
Ellen Foley – Rory Dodd – Eric Bloom

The inlets:
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Tracklist:
01. Just Another Night (Hunter/Ronson) / Wild East (Hunter) 8.37
02. Cleveland Rocks (Hunter) 3.48
03. Ships (Hunter) 4.05
04. When The Daylight Comes (Hunter) 4.19
05. Life After Death (Hunter) 3.48
06. Standin’ In My Light (Hunter) 4.22
07. Bastard (Hunter) 6.31
08. The Outsider (Hunter) 5.49

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Ian Carr’s Nucleus – Out Of The Long Dark (1979)

FrontCover1Although, I recently found out this album was not the Group’s final studio album, since there was a German-released Awakening album a few years after the present, Out Of The Long Dark is very much in the line of its predecessors. Out Of The Long Dark is the last album of the second full- fledged stable lie-up Nucleus group (one that had started with Under The Sun) and we’re still finding keyboardist Geoff Castle and drummer Roger Sellers, and returning to the fold, woodwind player Brian Smith. Only bassist Billy Kristian is new, replacing the usual Sutton. Great ‘proggy artwork on the artwork cover too.

Recorded hot on the heels of In Flagrante Delicto, OOTLD is almost a brother album, even though there is a general light concept feel to the present as most of the pieces on the flipside are dedicated to long-time buddy and sculptor Gerald Laing (the titles in the brackets are named after a few of his sculptures). But let’s return to the A-side with the 9-mins+ funky Lady Bountyful (inspired by his second wife) track that features long solos from Brian and Ian over a solid groove. The quieter 7-mins Solar Winds features two more percussionist, but the main theme seems to emerge from the Plexus project from almost a decade earlier, even though the groove and keyboard layers are definitely late 70’s-ish, somewhat reminiscent of his buddy Neil Ardley’s Hamony Of The Spheres, on which most of the band participated. The sensual Selina track feature some ecstatic background brass and piano riff.

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As mentioned above, the flipside tracks have a bit their own life as the opening 7-mins+ title track features Brian’s flute, the 5-mins Sassy has an ultra-funky bass-line, Simply This’ disputable synth choices (the late-70’s synths were rather tacky in some cases) despite Castle’s superb Rhodes in the second part, the gentle 7-mins Black Ballad’s shifts from slow- mo ballad to mid-tempo funk and the closing trumpet requiem For Liam. Well the least we can say is that Nucleus remained a superb and relevant band all the way until the 70’s decade and that OOTLD might just be a tad better than the IFD release. Definitely worth your while if you’re into classic fusion sounds from the later-70’s. (by Sean Trane)

Ian Carr died aged 75 on 25 February 2009, having suffered from Alzheimer’s disease.

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Personnel:
Ian Carr (trumpet, flugelhorn, piano)
Geoff Castle (synthesizer, piano)
Billy Kristian (bass)
Roger Sellers (drums, percussion)
Brian Smith (saxophone, flute, percussion)
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Chris Fletcher (percussion on 03.)

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Tracklist:
01. Gone With The Weed (Carr) 3.26
02. Lady Bountiful 9.14
03. Solar Wind 7.32
04. Selina 4.09
05. Out Of The Long Dark 7.28
06. Sassy (American Girl) 5.08
07. Simply This (The Human Condition) 4.30
08. Black Ballad (Ecce Domina) 6.55
09. For Liam 1.04

Music composed by Ian Carr,
except 03, which was composed by Geoff Castle

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Ian Carr (21 April 1933 – 25 February 2009)

Harry Chapin – Coffee With Harry (Remastered Edition) (1979)

FrontCover1Harry Forster Chapin (December 7, 1942 – July 16, 1981) was an American singer-songwriter, humanitarian, and producer best known for his folk rock and pop rock songs, who achieved worldwide success in the 1970s and became one of the most popular artists and highest paid performers. Chapin is also one of the best charting musical artists in the United States. Chapin, a Grammy Award winning artist and Grammy Hall of Fame inductee, has sold over 16 million records worldwide and has been described as one of the most beloved performers in music history.

Chapin recorded a total of 11 albums from 1972 until his death in 1981. All 14 singles that he released became hit singles on at least one national music chart.

As a dedicated humanitarian, Chapin fought to end world hunger; he was a key participant in the creation of the Presidential Commission on World Hunger in 1977.[2] Chapin is credited with being the most politically and socially active American performer of the 1970s. In 1987, Chapin was posthumously awarded the Congressional Gold Medal for his humanitarian work. (by wikipedia)

Originally released as Simple Man Productions SMP 009 (only as a CD-R trade)

Phase and Pitch corrected version by Remasters Workshop

This was posted on Usenet in early 2003. In its original incarnation, it ran quite fast. I slowed it down to A=440 in March 2003 and reposted it to the same lossless groups. In doing some research on the net in preparation to torrent it, I discovered a Russian website selling mp3s of my Usenet post! The uncorrected version is still being traded and has been torrented elsewhere and on TTD as recently as 01-12-08 by Dylan (now inactive).

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I haven’t found any reference to the remastered edition being torrented. Before sending it in, I opened up the .wav files from my backup CD-ROM in Audition 3 and ran automatic phase correction on the lot, then resplit the tracks on sector boundaries, and converted to FLAC with TLH. Revised artwork is included, to indicate the new track times and the additional step of phase correction, otherwise it’s the same as the previous artwork (which is still out there on the web, too – both versions). This is a really nice show. Harry is funny and engaging as usual, and uses some language that must have been bleeped in the broadcast!

Note: Track 1, which is mistitled “God Babe, You’ve Been Good For Me” on the back insert, is actually called “All The Ones I Counted On Are Gone.” (nots from the original uploader)

Oh yes, a wonerul bootleg with the music of a more than wonderful singer/songwriter …

Recorded live at the Agora Ballroom, Cleveland, December 5, 1979
for WMMS “Coffee Break Concerts”

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Personnel:
Harry Chapin (guitar, vocals)

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Tracklist:
01. God You’ve Been Good For Me, Babe 6.14
02. W*O*L*D 6.35
03. Cats In The Cradle 8,46
04. Flowers Are Red 7.01
05. I Wanna Learn A Love Song 3.53
06. Odd Job Man 5.50
07. 30,000 Pounds Of Bananas 13.00
08. Taxi 6.13
09. Circle 5.22

All songs written by Harry Chapin

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Bad Company – Desolation Angels (1979)

LPFrontCover1Desolation Angels is the fifth studio album by the English rock band Bad Company. The album was released on March 17, 1979. Paul Rodgers revealed on In the Studio with Redbeard (which devoted an episode to Desolation Angels) that the album’s title came from the novel of the same name by Jack Kerouac. The title was almost used 10 years previous to name the second album from Rodgers’ previous band, Free, which in the end was called simply Free.

Desolation Angels was recorded at Ridge Farm Studios in Surrey, England in late 1978. It is considered the last strong album by Bad Company with the original lineup, mostly because it contains their last major hit, “Rock ‘n’ Roll Fantasy”, written by Paul Rodgers and inspired by a guitar synthesizer riff that Rodgers had come up with.

“Gone, Gone, Gone”, written by bassist Boz Burrell, also received substantial airplay on rock stations. The album reached No. 3 on the Billboard album charts in 1979 and went Platinum in 1979 and Double Platinum subsequently.

A cover version of “Oh, Atlanta”, written by Mick Ralphs, was recorded by Alison Krauss and appears on her 1995 album Now That I’ve Found You: A Collection. The original version was used in the open to The Nashville Network’s 1993 broadcast of the Motorcraft 500 when ABC (which originally had the broadcast) could not find time to air the race, postponed six days by a snowstorm in the Atlanta Motor Speedway. (by wikipedia)

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By the time Bad Company released Desolation Angels, it was evident that even Rodgers and Ralphs were getting tired of their ’70s-styled, conveyor-belt brand of rock & roll, so they decided to add keyboards and some minor string work to the bulk of the tracks. Although this change of musical scenery was a slight breath of fresh air, it wasn’t enough to give Desolation Angels the much added depth or distinction that was intended, and only the vocal passion of “Rock ‘n’ Roll Fantasy” really comes out on top, eventually becoming a gold single. The good news is that Desolation Angels is a noticeable improvement from 1977’s Burnin’ Sky, with Bad Company’s sound taking on a smoother, more polished feel than its predecessor.

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“Gone, Gone, Gone,” “Lonely for Your Love,” and “She Brings Me Love” work best in Rodgers’ favor, and fans did prove their loyalty, pushing the album to the number ten mark in the U.K. and to number three in the U.S. The campaign toward a new sound does cause a few of the cuts (“Crazy Circles,” “Evil Wind”) to appear a bit forced and overly glitzy (especially the use of electronic drums), and the album spawns a smattering of a few attractive moments rather than evolving as a complete, constructive listen. Things didn’t get much better for Bad Company, and it was after the release of 1982’s Rough Diamonds, a much weaker and unattached effort, that Rodgers decided to call it quits. (by Mike DeGagne)

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Personnel:
Boz Burrell (bass)
Simon Kirke (drums)
Mick Ralphs (guitar, keyboards)
Paul Rodgers (vocals, guitar, piano, synthesizer)
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Tracklist:
01. Rock ‘n’ Roll Fantasy (Rodgers) 3.19
02. Crazy Circles (Rodgers) 3.32
03. Gone, Gone, Gone (Burrell) 3.50
04. Evil Wind (Rodgers) 4.22
05. Early In The Morning (Rodgers) 5.45
06. Lonely For Your Love (Ralphs) 3.26
07. Oh, Atlanta (Ralphs) 4.08
08. Take The Time (Ralphs) 4.14
09. Rhythm Machine (Kirke/Burrell) 3.44
10. She Brings Me Love (Rodgers) 4.42

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AC/DC – Dutch Radio (Live Amsterdam) (1979)

FrontCover1AC/DC are an Australian rock band formed in Sydney in 1973 by Scottish-born brothers Malcolm and Angus Young. Their music has been variously described as hard rock, blues rock, and heavy metal; however, the band themselves describe their music as simply “rock and roll”.

AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership subsequently stabilised around the Young brothers, singer Bon Scott, drummer Phil Rudd, and bass player Mark Evans. Evans was replaced by Cliff Williams in 1977 for the album Powerage. In February 1980, a few months after recording the album Highway to Hell, lead singer and co-songwriter Bon AC DC 01Scott died of acute alcohol poisoning. The group considered disbanding but stayed together, bringing in Brian Johnson as replacement for Scott. Later that year, the band released their first album with Johnson, Back in Black, which they dedicated to Scott’s memory. The album launched them to new heights of success and became one of the best selling albums of all time.

The major breakthrough in the band’s career came in their collaboration with producer “Mutt” Lange on the band’s sixth studio album Highway to Hell, released in 1979. Eddie Van Halen notes this to be his favourite AC/DC record, along with Powerage. It became the first AC/DC LP to break into the US top 100, eventually reaching No. 17, and it propelled AC/DC into the top ranks of hard rock acts. Highway to Hell had lyrics that shifted away from flippant and comical toward more central rock themes, putting increased emphasis on backing vocals but still featured AC/DC’s signature sound: loud, simple, pounding riffs and grooving backbeats. (by wikipedia)

And here´s a brilliant bootleg … recordd live for a Dutch Radio station

This source of this bootleg  comes from the original dutch radio reels (tapes).
This source never aired in it’s full version !

I guess everyone knows AC/DC … here they are: High energy Rock … loud and proud !

Probably one of the best AC/DC bootlegs around from the Bon Scott era, perfectly mixed….

Recorded live at the Jaap Edenhall, Amsterdam/Netherlands, November 12, 1979
excellent broadcasting recording

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Personnel:
Phil Rudd (drums)
Bon Scott (vocals)
Cliff Williams (bass)
Angus Young (lead guitar)
Malcolm Young (guitar)

Alternate front+backcover:
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Tracklist:
01. Live Wire (A.Young/M.Young/Scott) 6.01
02. Shot Down In Flames (A.Young/M.Young/Scott) 3.33
03. Hell Ain’t Bad Place To Be (A.Young/M.Young/Scott) 4.10
04. Sin City (A.Young/M.Young/Scott) 5.31
05. Walk All Over You (A.Young/M.Young/Scott) 4.55
06. Bad Boy Boogie (A.Young/M.Young/Scott) 12.43
07. The Jack (A.Young/M.Young/Scott) 5.38
08. Highway To Hell (A.Young/M.Young/Scott) 3.13
09. High Voltage (A.Young/M.Young/Scott) 6.26
10. Whola Lotta Rosie (1) (A.Young/M.Young/Scott) 4.58
11. Rocker (A.Young/M.Young/Scott) 6.51
12. Guitar Solo (A.Young) 2.30
13. Whola Lotta Rosie (2) (A.Young/M.Young/Scott) 3.47
14. Guitar Solo (A.Young) 1.26
15. Let There Be Rock (A.Young/M.Young/Scott) 7.38

CD1

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AC DC 02