Chuck Farley – ‘Live’ (1983)

FrontCover1Chuck Farley – a band that seems to have been around for generations, as indeed it has.

From 1980 through to the 90¹s, the group went through some band changes, finally settling upon the present line-up. Throughout this time, the Chucks recorded an album, single and toured Germany.

All of the guys, at some time, were members of Roger Chapman’s ShortList and other touring bands, so a pub gig with the Chucks became the perfect antidote to major tours.

However, throughout the ’90’s, the band took a bit of a sabbatical, as members pursued various careers, gigs, money and women – and it wasn’t until 2004 that they decided it would be fun to try and slot some Chuck gigs into their busy diaries.

The Chucks have been described as R ‘n B mixed with hints of Little Feat, Ry Cooder and The Band, but that is a rather simplistic description. Individually the guys cover a myriad of musical styles, so be prepared to hear some interesting mixtures.

Fronted by the very original Steve Simpson, the group can still be seen enjoying themselves at a small select number of gigs.

The original band began in 1980 at the Red Lion pub (now demolished) in Brentford, West London. The founder members were:

Steve Simpson: guitar, vocals, mandolin, fiddle
Pete Willsher:: pedal steel
Jack Brand: bass
Alan Coulter: drums

After meeting up with guys from Hinkley’s Heroes, Steve joined them for a tour – and two of the Heroes, Boz Burrell and Poli Palmer, inveigled their way into the Chucks, as did Geoff Whitehorn. So the Chucks mk2 was Born.


In 1983, they recorded the “Chuck Farley-Live” album and the single “Busted Loose” (by

And here´s this very rare first Album … and it´s not only extremely rare (as far as know this album was never released on CD !), but it´s a great pub-rock (*) album … recorded live at The New Golden Lion, Fulham, The Cartoon, Croydon and at The Red Lion, Brentford. The last track (“Sea Of Heartbreak”) was a Studio recording. 

(*) Pub rock is a rock music genre that was developed in the early to mid-1970s in the United Kingdom. A back-to-basics movement which incorporated roots rock, pub rock was a reaction against expensively-recorded and produced progressive rock and flashy glam rock. Although short-lived, pub rock was notable for rejecting huge stadium venues and for returning live rock to the small intimate venues (pubs and clubs) of its early years. Since major labels showed no interest in pub rock groups, pub rockers sought out independent record labels such as Stiff Records. Indie labels used relatively inexpensive recording processes, so they had a much lower break-even point for a record than a major label.

With pub rock’s emphasis on small venues, simple, fairly inexpensive recordings and indie record labels, it was the catalyst for the development of the British punk rock scene. Despite these shared elements, though, there was a difference between the genres: while pub rock harked back to early rock and roll and R&B, punk was iconoclastic, and sought to break with the past musical traditions (by Wikipedia)

Ok, boys and girls … let´s have a drink … enjoy the album !


Boz Burrell (bass, vocals)
Alan Coulter (drums)
Poli Palmer (vibraphone, fairlight)
Steve Simpson (guitar, vocals)
Geoff Whitehorn (guitar, vocals)

01. Take Me To The River (Green/Hodges) 4.05
02. My Mama Told Me (Sample) 4.43
03. Sweet Dreams (Gibson) 6.10
04. New Delhi Freight Train (Allen) 4.28
05. Old Folk’s Boogie (Barrere) 4.05
06. Jealous Kind (Charles) 4.31
07. Almost (Walsh) 2.57
08. Sail Away (Newman) 4.41
09. Money Honey (Stone) 3.13
10. Carmelita (Zevon) 4.24
11. Sea Of Heartbreak (David/Hampton) 3.19
12. Chuck Farley – ‘Live’ (uncut edition) 46.37




29th Street Saxophone Quartet – Pointillistic Groove (1984)

FrontCover1The 29th Street Saxophone Quartet was an American saxophone quartet. Established in 1982, the ensembles members are alto saxophonists Bobby Watson and Ed Jackson, tenor saxophonist Rich Rothenberg (in recent years, Willie Williams), and baritone saxophonist Jim Hartog. The group has performed an eclectic repertoire, including jazz, show tunes, funk, rap, and original experimental works. Throughout the 1980s and 1990s the band toured in Britain, Europe, Istanbul, Canada and in the United States.

In an early review of the band’s first extended engagement in New York City in 1984, John S. Wilson of The New York Times wrote, “The ensemble playing is clean, precise and tightly together, but the solos are filled with slashing, exuberant abandon. At times it is the very essence of loose, free jazz but it also uses the heavy, stylized sound of Stan Kenton’s saxophone writing. The four musicians are choreographed in shifting formations to spotlight soloists and in dance movements that extend the musical movements.”

The Glasgow Herald said “the ensemble’s cohesiveness and the high quality of solo playing made everything the four men played worthy of note.” The group maintained an international presence and recorded several CDs and is still in existence today. (by wikipedia)

29th Street Saxophone Quartet_01

The 29th Street Saxophone Quartet, a cooperative group that worked on and off into the mid-’90s before disbanding, made their debut recording in 1983 for Osmosis, a Dutch label. Although they had been working together since 1981 as a unit, they are still finding their way on this early effort, most of which was recorded live at the Bimhuis in Amsterdam. Each of the musicians wrote original pieces for these sessions. Alto saxophonist Bobby Watson, easily the most recognizable player due to his status as a prominent alumni of Art Blakey’s Jazz Messengers, is also the quartet’s most accessible composer at this point, contributing two strong originals. Fellow alto saxophonist Ed Jackson (who had previously worked with George Russell, Ran Blake, and Jaki Byard’s Apollo Stompers) composed “Pointillistic Groove,” an uneven work with a conversational exchange between the horns and a tedious laughing sax routine that fails to hold the listener’s attention. Better is his stirring arrangement of “Anthropology.” Baritone saxophonist Jim Hartog penned the somewhat eerie “Still,” which makes great use of unison lines, as well as arranging the standard “Love for Sale.” Even though this initial effort doesn’t quite reach the heights of the group’s later recordings, fans of the 29th Street Saxophone Quartet will likely want to track down this now hard to find LP. (by Ken Dryden)

Exciting (partly free) jazz stuff !

29th Street Saxophone Quartet_02

Jim Hartog (baritone saxophone)
Ed Jackson (alto saxophone)
Rich Rothenberg (tenor saxophone)
Bobby Watson (alto saxophone)


01. The Curious Child (Watson) 6.06
02. Pointillistic Groove (Jackson) 12.58
03. Still (Hartog) 6.50
04. Love For Sale (Porter) 4.52
05. Bigfoot (Rothenberg) 6.23
06. Anthropology (Parker) 10.13
07. One Chance At Life (Watson) 3.21

“The Curious Child” recorded live at Muziekcentrum Vredenburg, Utrecht, The Netherlands, November 19, 1983. All other selections recorded live at the BIM-Huis, Amsterdam, The Netherlands, November 25, 1983.



A curiosity about this release – recorded in Amsterdam, manufactured in the US but with only a Netherlands record label address on the sleeve. Until a “manufactured in The Netherlands” version surfaces, it would appear that one printing serviced the world, hence the listing under “country”.

Robert Plant – The Principle Of Moments (1983)

FrontCover1The Principle of Moments is the second solo studio album by the English singer Robert Plant, formerly of Led Zeppelin. It was Plant’s second Top 10 album in the US and UK. It also gave him his first solo Top 40 hit with “Big Log”. The most popular track on album-oriented rock radio in the US was “Other Arms”, which reached number-one on the Billboard Top Tracks chart. Genesis’ drummer Phil Collins played drums for six of the album’s eight songs (as he did on Pictures at Eleven). On the other two tracks former Jethro Tull drummer Barriemore Barlow performed.

Like Plant’s first solo album, Pictures at Eleven, the songs departed from the hard rock sound of Led Zeppelin. Following the strength of these albums, Plant launched a successful tour in 1983. Phil Collins was the drummer for Plant’s band for the North American portion of the tour. Collins was content to perform in the background, despite his own enormous success as a solo artist and with Genesis at the time. Little Feat’s Richie Hayward played drums for the remaining dates.

In 1983, Robert Plant went on a tour to promote the album, starting on August 26 in Peoria, Illinois, and ending on October 1 in Vancouver, British Columbia.(by wikipedia)


Robert Plant’s follow-up to Pictures at Eleven implements much of his debut’s style and vocal meandering into a new and more exciting bunch of songs. The mysteriousness of “Big Log,” the album’s first single, reached the Top 20 in the United States and in the U.K., while “In the Mood” is The Principle of Moments’ finest offering, proving that Plant could roam freely with his voice and still have it work effectively. But Plant doesn’t stop here, as he gives tracks like “Wreckless Love,” “Stranger Here…Than Over There,” and “Other Arms” an equal amount of curt abstractness and rock appeal. Because Plant’s voice is so compelling in any state, the convolution of his writing tends to take a back seat to his singing in most of his solo work, which is definitely the case in most of the songs here. Plant went on tour with the Honeydrippers within the same year of The Principle of Moments’ release, adding another facet to his already diverse solo repertoire. (by Mike DeGagne)

The 1983 release of The Principle of Moments was the second solo album by Robert Plant, following the disbandment of Led Zeppelin in late 1980. The album follows close on the heels of Plant’s debut, Pictures At Eleven and employs the same musicians and RobertPlantproduction team. Recorded in Wales, the production was polished and clinical while maintaining enough rock edge to keep it original and interesting. Plant had declined to tour following his debut because he didn’t want to perform any Led Zeppelin songs live and didn’t yet have enough original solo material to justify a tour. With the release of this second album, Plant’s second life as a major recording artist took was fully spawned.

The Principle of Moments was the first release on Plant’s independent label Es Paranza Records, after the folding of Led Zeppelin’s label Swan Song, which was also the label from Plant’s debut. Swan Song ceased operations due to the failing health of Zeppelin manager Peter Grant. When Swan Song’s offices were cleared out in 1983, early demos from Iron Maiden, Heart and other popular bands were found.

The sound of The Principle of Moments fuses new wave rock with some elements of reggae and abstract motifs and is percussion heavy with sharp, high-pitched guitars, led by guitarist Robbie Blunt and drummer Phil Collins. While not as dynamic as in the heart of the Zeppelin years, Plant’s vocals are melodic and refined. The album’s title comes from the scientific Varignon’s Theorem, which states that the moment of any force is equal to the algebraic sum of the moments of the components of that force. With the experimental tracks on this album, Plant seems to be declaring his independence from the Zeppelin sound and celebrating his own “moment” in time.


Although not officially released as a single, the opener “Other Arms” reached number one on the Billboard Mainstream Rock chart. Musically, the song continues the style of Pictures at Eleven, melodic and heavy on the chorus backing vocals, a long way from the improvised arrangements of Zeppelin’s early days. “In the Mood” (which was officially released as a single) follows and marks the point where the album starts to distinguish itself. Built on bassist Paul Martinez’s very simple yet infectious bass line, with Blunt’s simple, strummed chords on top and a strong percussion presence by Collins in contrast to laid back music and vocals. Plant’s melody rhythm is almost like blue-eyed rap and this translated into a Top 40 single on the pop charts.

Keyboardist Jezz Woodroffe shines brightest on the ballad “Through with the Two Step”, where Plant’s melodic verse vocals drip with melancholy sweetness to the waltz of Woodroffe’s wafty keyboards and in contrast to Blunt’s excellent lead later in the song. “Horizontal Departure” is a very upbeat and entertaining, sex-infused rock song, like a new wave version of Zeppelin;s “Whole Lotta Love”. Again Collins has a very strong and dynamic performances on drums, contrasting against the very measured riffs of Blunt and Martinez.

RobertPllantThe album’s biggest hit is the closer “Big Log”. Reflective and somber, this is a mature song in every respect, musically, lyrically and production-wise. It employs some of the better synth-era techniques – the rubber kick effect, snappy top beat – along with well refined guitars, a swell of long synths, and vocal choruses by session singers John David and Ray Martinez. But this song is a true showcase for Robbie Blunt, one of rock’s forgotten great guitarists, whose cleaver latin phrasing leaves the most indellible mark in this truly unique composition.

The Principle of Moments includes a trio of experimental songs. “Messin’ With the Mekon” starts with an almost Jimmy Page-like riff before giving way to a moderate Caribbean groove with measured beats, although the arrangement does seems hollow when trying too hard to fit odd pieces together. “Wreckless Love” contains a mixture of electronic and Middle Eastern textures and other highly experimental arrangement that only gels due to Plant’s strong melody. The song features Barriemore Barlow, formally of Jethro Tull, on drums, as does “Stranger Here…Then Oven There”. Another experimental song with some brilliant verse vocals, this song also suffers from too many superfluous effects and arrangements, which do little more than interrupt the reggae beat and flow of the song’s core.

With two Top 10 albums under his belt, Plant launched a successful tour in late 1983, taking the stage for the first time since Zeppelin’s Knebworth concerts in 1979. In the following years Plant would work with his former bandmates sporadically, starting with the short-lived oldies project The Honeydrippers, while continuing to build his solo career. (by


Robbie Blunt (guitar)
Phil Collins (drums)
Paul Martinez (bass, background vocals)
Robert Plant (vocals)
Jezz Woodroffe (keyboards)
Barriemore Barlow (drums on 04. + 07.)
John David -(background vocals)
Bob Mayo (guitar; keyboards; background vocals on 09. -11.)


01. Other Arms (Plant/Blunt) 4.21
02. In The Mood (Plant/Blunt/Martinez) 4.23
03. Messin’ With The Mekon (Plant/Blunt/Martinez) 4.40
04. Wreckless Love (Plant/Blunt) 5.18
05. Thru’ With The Two Step (Plant/Blunt/Martinez) 5.34
06. Horizontal Departure (Plant/Blunt/Martinez/Woodroffe) 4.20
07. Stranger Here… Than Over There (Plant/Blunt/Martinez/Woodroffe)  4,19
08. Big Log (Plant/Blunt/Woodroffe) 5.05
09. In the Mood (Plant/Blunt/Martinez) 7.34
10. Thru’ With The Two Step (Plant/Blunt/Martinez) 11.09
11. Lively Up Yourself (Marley) 3.02
12. Turnaround (Plant/Blunt/Martinez/Woodroffe) (previously unreleased studio track) 4.55

(Tracks 09. – 11,  recorded live at the Summit, Houston, TX, September 20, 1983)




Marcus Miller – Suddenly (1983)

FrontCover1Suddenly is the first solo- album by Marcus Miller, released in 1983.

Multi-talented Marcus Miller’s debut Suddenly was issued in the spring of 1983 on Patrick Rains’ PRA Records label through Warner Bros. Miller shared production chores with Ray Bardani and Michael Colina, whom he’d worked with before on sides for David Sanborn.

It’s a tasty showcase for the bassist/songwriter/vocalist/producer who went from New York session stardom to mega-stardom with his frequent collaborator Luther Vandross. Vandross does vocals on “Lovin’ You,” “Just for You,” and the squishy “Be My Love.” The cornerstone cut is the gentle steppers favorite/quiet storm precursor “Much Too Much.”

The artist better realized his R&B/funk/jazz fusion on his 1984 Warner Bros. LP, Marcus Miller. (by Ed Hogan)


Dean Crandall (2-string bass)
Yogi Horton (drums)
Ralph MacDonald (percussion)
Mike Mainieri (vibraphone)
Harvey Mason (drums)
Marcus Miller (vocals, bass all instruments (other than noted below)
Nicky Moroch (guitar)
Lewis Paer (2-string bass)
David Sanborn (saxophone)
Buddy Williams (drums)
background vocals:
Yvonne Lewis – Luther Vandross – Tawatha Agee – Brenda White


01. Lovin’ You (Miller) 5.18
02. Much Too Much (Miller) 6.08
03. Suddenly (Miller/Ramsay) 5.29
04. Just For You (Miller) 3.56
05. The Only Reason I Live (Miller) 5.05
06. Just What I Needed (Miller) 4.54
07. Let Me Show You (Miller) 4.43
08. Be My Love (Miller/Vandross) 4.29
09. Could It Be You (Miller) 3.24



Herbie Armstrong – Back Against The Wall (1985)

FrontCover1The young Herbie Armstrong spent his teens and early twenties touring Ireland and the North of England with Irish show bands, and also worked for six months in late 1967 as the lead guitarist in Screaming Lord Sutch’s backing band.

In the early 1970s, after a period living abroad in Portugal in which he ran a riding school, Armstrong founded in London the pop band Fox, with the American songwriter and musician Kenny Young (who had written the 1964 hit, ‘Under the Boardwalk’, for the Drifters) and Australian singer Noosha Fox. Fox had two major chart hits, 1974’s ‘Only You Can’ and 1976’s ‘S-S-S Single Bed’, both of which sold over 200,000 copies. While ‘Only You Can’ reached number three in the UK charts, ‘S-S-S Single Bed’ stalled at number four, but was also a number one hit in Australia. There were also three Fox albums, ‘Fox’ (1975), ‘Tails of Illusion’ (1975) and ‘Blue Hotel’ (1977).

HerbieArmstrong2When Noosha left Fox after ‘Blue Hotel’, Armstrong and Young maintained their song writing partnership and formed new wave act Yellow Dog. Yellow Dog released three albums, ‘Yellow Dog’(1977), ‘Beware of the Dog’(1978) and ‘Strangers in Paradise’(1981), and in 1978 had two chart singles, ‘Just One More Night’ and ‘Wait Until Midnight’ (the latter of which was the first single that this writer bought as a twelve year old).

Herbie Armstrong spent the late 1970s and early 1980s touring the world with his childhood friend Van Morrison, and played lead guitar on four of his albums, ‘Wavelength’(1978), ‘Into the Music’(1979), ‘Common One’(1980) and ‘Beautiful Vision’(1982). He then embarked on a solo career, which saw him release one album, ‘Back Against the Wall’, in 1983 on the short-lived Making Waves label, before he moved on from music to take up a career in management in the licensed trades.

He ran in London for a while Armstrong’s, a restaurant, whose regular customers included Yellow Dog’s old label boss Richard Branson at Virgin Records and the comedian Kenny Everett, for whom Fox had written his TV theme tune. Armstrong then went on to open two live venues in Sheffield including the renowned Boardwalk, and now runs The Fountain, an inn, live venue and restaurant in the village of Rowland’s Castle near Portsmouth. (by John Clarkson)

And here´s his first solo ablum … and it´s a superb album … This should have been so much more successful … if you like Van Morrison … than is this album a must.

A forgot hewel in the history of Irish rock, including a great band (Pee Wee Ellis !).


Herbie Armstrong + rare single

Herbie Armstrong (guitar, vocals)
Mitch Dalton (guitar)
Pee Wee Ellis (saxophone)
Peter Van Hooke (drums, percussion)
Mark Isham (bass, keyboards, saxophone)
Patrick O’Hearn (bass, synthesizer)
Phil Palmer (guitar)
background vocals:
Linda Taylor – Sharon Campbell


01. Losing You (Armsrong) 4.34
02. Horses Of Steam (Kelly/Richmond) 5.04
03. You Take Me Up (Armstrong) 4.08
04. Friday’s Child (Morrison)
05. Back Against The Wall (Armstrong) 3.55
06. Heaven Only Knows (Armstrong/Platania) 3.48
07. Josie (Armstrong) 5.17
08. Let It Run (Armstrong) 3.33
09. Save The Last Dance (Pomus/Shuman) 4.14
10. Coming In From The Rain (Armstrong) 4.38


Herbie Armstrong in 2011

Ryan Paris – Dolce Vita (Special Maxi Version) (1983)

FrontCover1Ryan Paris (born Fabio Roscioli, March 12, 1953[2]) is an Italian musician and actor who gained international popularity in 1983 for the worldwide hit single “Dolce Vita”, written and produced by Pierluigi Giombini.

“Dolce Vita” was released in the United Kingdom on the Carrere Records label, distributed by RCA and spent ten weeks in the UK Singles Chart, peaking at Number 5.

Paris continued to release records in the mid-1980s and 1990s, but was not able to emulate the success of his first hit. In 2010, he made a comeback with a new song, “I Wanna Love You Once Again”, which he wrote and composed. The song became popular with 1980s music fans.[citation needed] At the end of that year, Paris co-produced a remix of “Dolce Vita” which peaked at number 54 in the official French club chart.

In 2013, the new song “Sensation of Love”, again composed and produced by Paris, but with a Bulgarian singer, peaked at number 15 in the official Bulgarian CD chart. In March 2014, the 1980s version of the song, co-produced by Paris and sung by Paris in duet with Valerie Flor, was ranked number one on more than 60 Italo disco radio stations around the world (by wikipedia)

Okay … this is DISCO MUSIC … Attention please … Really not my kind of music … but as you maybe know … “Many Fantastic Colors” means, that I will present very different styles of music … and so … here´s my first entry with this kind of music … The Eighties … you know …

Ryan Paris

Ryan Paris (vocals)
a bunch of unknown studio musicians


Please find the difference between the front and back cover !

01. Dolce Vita (vocal version) (Giombini/Mazzolini) 7.30
02. Dolce Vita (instrumental version) (Giombini/Mazzolini) 8.50



Thanks a lot to greygoose for this funny gag !

Heinz Sauer & Bob Degen with Carey Bell – Blues After Sunrise (1983)

FrontCover1What a great idea, what a great recorded, created by two jazz  and one wonderful blues musician.

Bob Degen Jr (born January 24, 1944 in Scranton, Pennsylvania) is an American jazz pianist. Much of his work has been in the trio format.

Degen attended Berklee College of Music in the 1960s and played locally in Boston while there. He was influenced by jazz musician and multi-instrumentalist Art Kreinberg and played in a trio with Kreinberg and bassist Doug Smith in the early 1960s. In the mid-1960s he played in Europe with Dexter Gordon, Art Farmer, Carmell Jones, and Albert Mangelsdorff, and recorded an album as a leader in 1968. At the end of the decade he played with Paul Motian, as well as with Gary Peacock and Buddy DeFranco in the early 1970s.

In 1974 Degen moved to Germany, where he played often with Heinz Sauer. Since then, he has played with Makaya Ntshoko, the Frankfurter Jazz Ensemble, Adelhard Roidinger, Joki Freund, Leszek Zadlo, Günter Lenz, and Uli Beckerhoff.


Heinz Sauer (born December 25, 1932, Merseburg) is a German jazz saxophonist.

Sauer was an autodidact on tenor saxophone and began his career playing locally around Frankfurt in the 1950s. He played for many years in Albert Mangelsdorff’s ensemble, as well as the Jazzensemble des Hessischen Rundfunks and the German All Stars. He worked often with Bob Degen, and has also performed or recorded with musicians such as Ralf Hübner, Günter Lenz, Stefan Schmolck, and Manfred Schoof. In the 1990s he began experimenting with the use of electronic processing on his saxophones. In the 2000s he founded a trio with Christopher Dell (vibraphones) and Bertram Ritter (percussion). (by


Carey Bell (November 14, 1936 – May 6, 2007) was an American blues musician who played harmonica in the Chicago blues style. Bell played harmonica and bass guitar for other blues musicians from the late 1950s to the early 1970s before embarking on a solo career. Besides his own albums, he recorded as an accompanist or duo artist with Earl Hooker, Robert Nighthawk, Lowell Fulson, Eddie Taylor, Louisiana Red and Jimmy Dawkins and was a frequent partner with his son, the guitarist Lurrie Bell. Blues Revue called Bell “one of Chicago’s finest harpists.” The Chicago Tribune said Bell was “a terrific talent in the tradition of Sonny Boy Williamson and Little Walter.”

Bell was born Carey Bell Harrington in Macon, Mississippi. As a child, he was intrigued by the music of Louis Jordan and wanted a saxophone in order to be like his hero Jordan. His family could not afford one, so he had to settle for a harmonica, colloquially known as a “Mississippi saxophone.” Soon Bell was attracted by the blues harmonica greats—DeFord Bailey, Big Walter Horton, Marion “Little Walter” Jacobs, Sonny Boy Williamson I and Sonny Boy Williamson II—and taught himself to play. By the time he was eight, he was proficient on the instrument. When he was thirteen, he joined the blues band of his godfather, the pianist Lovie Lee.

In 1969, Delmark Records in Chicago released Bell’s debut album, Carey Bell’s Blues Harp.[4] He played with Muddy Waters in late 1970 and 1971 and later with Willie Dixon’s Chicago Blues All-Stars.[4] In 1972, Bell teamed up with Big Walter in the studio and recorded Big Walter Horton with Carey Bell for Alligator Records. A year later Bell released a solo project, Last Night, for ABC Bluesway. He continued to play with Dixon and with his own groups. In 1978, he was featured on the Grammy-nominated album Living Chicago Blues, released by Alligator. Also in the 1970s, he contributed to two recordings by the Bob Riedy Blues Band.

CareyBell02During the 1980s Bell continued to record for various labels and to tour. In 1990, he teamed up with fellow harpists Junior Wells, James Cotton and Billy Branch to record Harp Attack!, which became a modern blues classic and one of Alligator’s best-selling albums.

Despite years in the business and work with Alligator, Bell’s first full-length solo album for the label, Deep Down, was not released until 1995. He released a second album, Good Luck Man, for the label in 1997. Second Nature followed in 2004 (recorded in Finland a few years earlier), in which he was accompanied by his son, the guitarist Lurrie Bell (who also played guitar, along with Carl Weathersby, on Deep Down).

In 1998, Bell was awarded the Blues Music Award for Traditional Male Artist of the Year.
Final work

Bell died of heart failure on May 6, 2007, in Chicago. (by wikipedia)

What a hell of a record … most of the numbers are instrumentals and they jammed together … brilliant solos … brilliant duo solos … you know … in the call and response style …

And you will get lucks … listening to this rare album ! It´s another treasure …. a very unique, unusual mix between Jazz and Blues, produced by the great Horst Lippmann

Sometimes I can´t find the right words to describe the enormous power of music … sorry !


Carey Bell (harmonica, vocals)
Bob Degen (piano)
Heinz Sauer (saxophone)

01. I Want You To Love Me (Morganfield) 5.00
02. Degen Blues (Degen) 5.46
03. Tonky Blues (Bell/Degen/Sauer) 5.34
04. Hollerin’ The Blues (Bell/Degen/Sauer) 6.31
05. A Classical Preacher (Sauer) 2.35
06. One Day I Get Lucky (Dixon) 3.02
07. Blues After Sunrise (Bell/Degen/Sauer) 6.13