Eric Clapton – The Eric Clapton Concert (Birmingham July 1986) (VHS rip) (1986)

Front+BackCover1Live 1986, also known as Eric Clapton & Friends Live 1986 or The Eric Clapton concert is a concert film released by the British rock musician Eric Clapton. It was originally released on VHS in 1987.  The concert was recorded at the National Exhibition Centre in Birmingham on 15 July 1986.

The early days as `Slowhand’ and the guitarist with the Yardbirds may seem a long way off but Eric Clapton’s love of the blues has never left him. Eric left the Yardbirds band as they became commercially acceptable to join John Mayall’s Bluesbreakers. That led to the formation of the legendary Cream with bassist Jack Bruce and drummer Ginger Baker. Following his time with Mayall, Eric began to change bands regularly spending time with Blind Faith, Delaney & Bonnie and Derek And The Dominoes. Eric Clapton has endured, growing with every new musical experience. He has stayed true to the blues and has become one of the greatest loved musicians in Britain and indeed the World. This DVD was filmed at the Birmingham NEC on July 15 1986, shortly after the completion, but before the release of, the August album. The concert was the last date of a short tour featuring the line up who had played on the recording sessions for August. Eric Clapton & Friends Live, 1986 provides a great look into Eric Clapton’s constant changing styles.

The set list includes four songs from the August album along with a combination of old and new (at the time) from Cream, Derek And The Dominoes and subsequent solo material. “Layla” is the full version that includes the beautiful Thorn Tree In The Garden second section. The show also features Phil Collins singing the inevitable “In The Air Tonight”, a song prompts Eric to quip, “Now’s your chance to hear that song again, the one you’ve all been waiting for…” The concert ends in a rousing rendition of Sunshine Of Your Love as the finale and there’s a rare and delightful moment at the beginning of the guitar solo where Eric loses his concentration much to the audience’s (and the video producer’s) amusement. The concert was edited for TV and represents an hour of musical history and delight.


It’s a given that any Eric Clapton performance will be impressive, but Eric Clapton & Friends Live 1986 exceeds all expectations. “Slowhand” had been recording August with session regulars Greg Phillinganes (keyboards), Nathan East (bass), and album producer Phil Collins on drums, and the idea of live performance seemed eminently appealing. The final gig in that brief, spectacular tour–July 15, 1986, at the National Exhibition Centre in Birmingham, England–was recorded for British television, and editing to one-hour length doesn’t stop it from being a full-on stunner. Perhaps at his finest in a small-band setting, Clapton appears loose, happy, and ready to rip into bluesy riffs and solos as if his trusty Fender Stratocasters were vital organs tapped into his bloodstream. While the reliable oldies “Crossroads,” “White Room,” “Layla” (including the rarely heard “Thorn Tree in the Garden” section), and “Sunshine of Your Love” will satisfy Cream and Yardbirds fans, the fresh cuts from August are equally dazzling, with the beautiful “Holy Mother” serving as the night’s pulse-calming ballad. Collins’ hit “In the Air Tonight” is clearly an obligatory inclusion (his solo debut was still high on the charts), but in terms of energy, precision, and audience appeal, it’s easily on par with the rest of the gig. Visuals are only adequate–the videotaped colors have faded a bit–but sonically this show’s a keeper, especially if you’re equipped to use the DTS option. And just to prove that nobody’s perfect, Clapton fudges a note on “Sunshine” and a word-balloon reading “Sorry!” appears above his head–all in the happy spirit of a rockin’ good evening. (byJeff Shannon)


Eric Clapton (guitar, vocals)
Greg Phillinganes (keyboards, vocals)
Phil Collins (drums, vocals)
Nathan East (bass, background vocals)


01. Crossroads (Johnson)
02. White Room (Bruce/Brown)
03. Run (Clapton)
04. Miss You (Clapton/Phillinganes/Colomby)
05. Tearing Us Apart (Clapton/Phillinganes)
06. Holy Mother (Clapton/Bishop)
07. In the Air Tonight (Collins)
08. Layla (Clapton/Gordon)
09. Sunshine Of Your Love (Clapton/Bruce/Brown)

Total time: 58 minutes

VHS Tape1




Phantom, Rocker & Slick – Cover Girl (1986)

FrontCover1Phantom, Rocker & Slick was an American rock band active in the mid-1980s. The bandmembers were drummer Slim Jim Phantom, bassist Lee Rocker, and guitarist Earl Slick. Phantom and Rocker had previously played together as members of the Stray Cats. They released two albums, Phantom, Rocker & Slick and Cover Girl, on EMI Records before disbanding.

Slim Jim Phantom and Lee Rocker grew up together in New York City. They began writing songs when they were 12 years old. Along with Brian Setzer they formed the Stray Cats. When the Stray Cats broke up they began looking for a new guitarist and met sessionman Earl Slick at a music trade show leading to the formation of the band. Years earlier Rocker had been a fan of Slick’s guitar work on David Bowie’s David Live. Slick also played on Bowie’s Station to Station and John Lennon’s Double Fantasy.

Their first release, 1985’s self-titled Phantom, Rocker & Slick was produced by Michael Barbiero and Steve Thompson and was a moderate success peaking at 62 on the PhantomBillboard 200. Its first single was “Men Without Shame” and was written in ten minutes. It did well on the Top Rock Tracks chart peaking at number 7[6] and was played in the active rotation on MTV. The single “My Mistake” also appeared on the Top Rock Tracks chart, peaking at 33,[8] and featured Keith Richards of The Rolling Stones on guitar. Nicky Hopkins also made a guest appearance on the album, playing piano on the track “No Regrets”.

The release of their second album, Cover Girl, in 1986 was the beginning of the end for the band. It did poorly reaching only 181 on the Billboard 200[ and they soon broke up with Phantom and Rocker rejoining the Stray Cats and Slick returning to session work. (by wikipedia)

Phantom, Rocker & Slick: to me, one of the best projects/bands that have ever existed in the Stray Cats circle.

“Cover Girl” was their second and final album. Very good album in my opinion, slightly weaker, more pop than rock if we compare it to their first album but overall, really good. “Cover Girl”, “It’s Good To Be Alive” and a cover originally written by The Hollies, “Long Cool Woman In A Black Dress” could have been good hits if this album had had the chance back then. (by straycatscollectorsbootlegs.blogspot)


Stray Cats rhythm section teams up with Bowie sideman Earl Slick to create a unique blend of vintage rocking nirvana! Slick is a veritable encyclopaedia of classic guitar licks and tones…imagine Keith Richards with added chops and that still doesn’t do him justice! Cover Girl is the second outing for this trio and it has everything the brilliant debut managed, and more! The songs are all well crafted bluesy affairs, catchy as hell, and really pulse along to Phantom’s snapping rhythm’s and Rocker’s crisp vocal. Slick shines on all the numbers, possibly my favorite is the shimmering Sidewalk Princess with its delicious intro. All in all, a great good time rock record that somehow vanished without a squeak in 1986. Phantom and Rocker are back with Setzer, and Slick is Bowie’s main guitarist, but for me, this and the debut was their finest hour. Cover Girl deserves re-appraisal from those who dismissed it back in the day. Long deleted and not on CD, do yourself a favor and grab a vinyl copy. (Jack O’Brien)

Grab it !


Slim Jim Phantom (drums, vocals)
Lee Rocker (vocals, bass)
Earl Slick (guitar, vocals)
Luis Conte (percussion)
Lon Price (saxophone)
Kevin Russell (guitar)
Pete Solley (keyboards)


01. Cover Girl (Phantom/Rocker/Slick) 3.22
02. The Only Way To Fly (Phantom/Rocker/Slick/Russell) 3.56
03. Sidewalk Princess (Phantom/Rocker/Slick) 5.29
04. It’s Good To Be Alive (Phantom/Rocker/Slick/Russell) 3.35
05. Still Got Time (Phantom/Rocker/Slick/Russell) 4.01
06. Can’t Get It Right (Phantom/Rocker/Slick) 3.47
07. Going South (Phantom/Rocker/Slick/Russell) 4.52
08. I Found Someone Who Loves Me (Phantom/Rocker/Slick)  4.00
09. Enough Is Enough (Phantom/Rocker/Slick/Russell) 3.28
10. Dressed In Dirt (Phantom/Rocker/Slick) 3.45
11. Long Cool Woman In A Black Dress (Clarke/Cook/Greenaway) 2.57




The inlets

Enya – Same (The Celts) (1987)

OriginalFC1Enya is the first studio album by the Irish singer, songwriter and musician Enya, released in March 1987 by BBC Records in the United Kingdom and by Atlantic Records in the United States. It was renamed as The Celts for the 1992 international re-release of the album by Warner Music internationally and by Reprise Records in the United States. The album is a selection of music she recorded for the soundtrack to the BBC television series The Celts, aired in 1987. Four years into her largely unnoticed solo career, Enya landed her first major project in 1985 when producer Tony McAuley asked her to contribute a song to the soundtrack. After its director David Richardson liked her demo, Enya accepted his offer to compose the entire score with her longtime recording partners, producer and arranger Nicky Ryan and his wife, lyricist Roma Ryan.

Enya is the first studio album by the Irish singer, songwriter and musician Enya, released in March 1987 by BBC Records in the United Kingdom and by Atlantic Records in the United States. It was renamed as The Celts for the 1992 international re-release of the MCalbum by Warner Music internationally and by Reprise Records in the United States. The album is a selection of music she recorded for the soundtrack to the BBC television series The Celts, aired in 1987. Four years into her largely unnoticed solo career, Enya landed her first major project in 1985 when producer Tony McAuley asked her to contribute a song to the soundtrack. After its director David Richardson liked her demo, Enya accepted his offer to compose the entire score with her longtime recording partners, producer and arranger Nicky Ryan and his wife, lyricist Roma Ryan.
Enya received mostly mixed reviews from critics when it was released in 1987. It was a mild commercial success, peaking at number eight in Ireland and number sixty-nine on the UK Albums Chart. The album continued to sell; it was certified platinum by the Recording Industry Association of America (RIAA) for shipments of one million copies. Despite its commercial performance, the album helped Enya secure a recording contract with Warner after chairman Rob Dickins became a fan of its music. After the commercial success of Enya’s next two albums, the album was reissued as The Celts which outperformed its original sales. It reached a new peak of number ten on the UK Albums Chart and sold a further one million copies in the United States. In 2009, The Celts was reissued in Japan with a bonus track.

Following her work on the soundtrack to the romantic comedy film The Frog Prince (1984), Enya’s first major project as a solo artist followed when, in 1985, she was invited by producer Tony McAuley to compose a track for his BBC television documentary series The Celts. As a coincidence, Enya had recorded a track named “March of the Celts” before she was asked to be involved, and decided to submit it to the project. Initially, each episode of the series was to feature a different composer, but series director David Richardson liked Enya’s track so much, he commissioned her to compose the entire score.

Enya worked with her usual recording partners, arranger and producer Nicky Ryan and his wife, lyricist Roma Ryan. The album was recorded in two locations; at Aigle Studios, a 16-track studio installed in the Ryan’s home, then located in Artane, a northern suburb of Dublin,[4] and a sound studio at BBC Enterprises at Wood Lane, London. When they recorded at the BBC studio, Nicky had to teach the audio engineers how he and Enya worked as their unusual recording process confused them at first. Nicky said he told them “to forget everything [they had] learned and just bear with us for at least a week”.[4] One such example was Nicky’s use of reverb, which he set to 24 seconds instead of the more common placement of one-and-a-half seconds.
A total of 72 minutes of music was recorded for the series. Roma recalled that Enya was given “various pastiches” that Richardson wished to incorporate into the episodes which Enya then used as a guide for to write music to complement them. Enya includes 39 minutes of selected pieces from the soundtrack. The album’s front cover depicts Enya posing with stuffed wolves.


Several of the album’s track titles are titled or based on various historical figures and stories. In writing about the song in 2002, Roma pointed out that “Aldebaran” is named after the brightest star in the constellation of Taurus. In the Arabic language, the title translates to “the follower” as it follows the Pleiades cluster of stars, and the song is based on future Celtic people “passing Aldebaran on their journey to new territories, continuing their migratory pattern which was so predominant in their early history.” The track was recorded in its entirety at Aigle Studio as Nicky expressed the difficulty in having to recreate the recording process elsewhere. “The Celts” was used as the main title theme for the television series. “Boadicea”, which means “victorious”, is a reference to the queen Boudica of the British-Celtic Iceni tribe in East Anglia who led a resistance Roma Ryanagainst the occupying forces of the Roman Empire in 60 A.D., but was defeated and subsequently poisoned herself. As a song about her was already written, Richardson wished for a new track that depicted the idea of “being spellbound” by Boudica, which turned into “I Want Tomorrow”. In the liner notes of the album’s 1992 reissue, “I Want Tomorrow” is described, simply, as “thoughts of the present” and “March of the Celts” “echoes from the past”. “Deireadh an Tuath”, which translates from Irish as “End of the Tribe”, refers to past spirits and the fertile soil that helps ensure the future of the Celtic people, which is celebrated in the annual Gaelic festival Samhain, held on 31 October. “The Sun in the Stream” was inspired by the legend of the Salmon of Knowledge, a creature written about in various texts in Irish mythology who “possessed all the truth in the world”.
“Fairytale” is a track based on a story of early Irish literature about “love, jealousy, secrets and endurance” between Midir, a fairy king, and his love for a princess, Étaín. In the story, Etain is banished and transformed into a pool of water and emerges from it as a butterfly.[7] “Epona” is the name of the horse goddess Epona of the Gallo-Roman religion.[7] “Triad” is a track formed of three sections; “St. Patrick” is a traditional song that refers to St. Patrick who spent six years in captivity after he was captured by the Celtic people. The second part, “Cú Chulainn”, Irish for “hound of Cullan”, is named after the culture hero Cú Chulainn. “Oisin”, the final section, meaning “little fawn”, is based on the mythological character Oisín. “Bard Dance” refers to the bard, a man of ancient Celtic times who entertained the king. “Dan y Dŵr”, which translates to “Under the Water” in the Welsh language, is based on the intentional flooding of the village of Capel Celyn in Wales in order to accommodate a reservoir. (by wikipedia)


With production and lyrical help fully in place thanks to her husband-and-wife gurus Nicky and Roma Ryan, Enya’s combination of Celtic traditionalism and distinctly modern approach finds lush flower on her self-titled debut. All the elements that characterize her music — open, clear nods to her Irish heritage, any number of vocal overdubs to create an echoing, haunting feeling, and layers of synth and electronic percussion — can be found almost track for track. The flip side is that those who find such a combination to be gloopy mush won’t be at all convinced further by her work here. It’s understandable why folk music traditionalists and anti-mainstream types would get the hives, but those not coming from that angle will find much that’s rewarding. Given that the album is a commissioned piece of work, it actually stands on its own quite well. The charging surge of the title track functions both as a fine introduction and its own stirring, quietly powerful anthem, a good sign for the rest of the album. There are a couple of slight missteps — an electric guitar solo disrupts the string-and-vocal flow of the truly lovely “I Want Tomorrow,” for instance. Generally, though, her musical instincts serve her very well, with many striking highlights. The appropriately three-part “Triad” showcases her ear for vocal work excellently, while both versions of “To Go Beyond,” especially the second, which closes the disc with an exquisite extra string part, also are worthy of note. (by Ned Raggett)

What a great debut album !


Enya (vocals, keyboards)
Patrick Halling (violin)
Arty McGlynn (guitar)
Liam O’Flynn (uilleann pipes)
Roma Ryan (vocals)
Per Sundberg (saxophone)


01. The Celts (Enya/Ryan) 2.56
02. Aldebaran” (dedicated to Ridley Scott) (Enya/Ryan) 3.05
03. I Want Tomorrow (Enya/Ryan) 4.00
04. March Of The Celts (Enya/Ryan)  3.15
05. Deireadh an Tuath” (Irish for “End of the Tribe”) (Enya/Ryan)  1.42
06. The Sun In The Stream (Enya) 2.54
07. To Go Beyond (I) (Enya) 1.19
08. Fairytale (Enya) 3.02
09. Epona (Enya) 1.35
10. St. Patrick/Cú Chulainn/Oisin (Enya) 4.23
11. Portrait (Out Of The Blue)  1.23
12. Boadicea (Enya) 3.30
13. Bard Dance (Enya) 1.23
14. Dan y Dŵr” (Welsh for “Under the Water”) (Enya/Ryan) 1.41
15. To Go Beyond (II) (Enya/Ryan) 2.58



Weekend At Waikiki – Perfect Punisment (1986) + demo tape (1984)

FrontCover1Unfortunatly I have not many informations about this group:

Formed in 1983, Wolvega, Friesland, Netherlands and I guess they disbanded in 1994 …

Other sources said, that they are still alive … Maybe they come togehter from time to time for some live Shows …

Weekend At Waikiki is a New Wave band, with a real dark and gloomy Sound … like Simple Minds, Talking Heads or David Bowie.

Here is their debutalbum, recorded at the Spitsbergen Studios, Holland April 1986

This is not my kind of music but … you know … many fantastic Colors …

I add a rare demo tape from 1984 with 3 Songs:

Not the best recording quality even when it was recorded by Dutch radio… but:
Despite the lesser audio quality – the music is drop dead gorgeous, absolute New Wave killer. (by soundmill)


Jan Dijksma (bass)
Henk Gubbels (guitar)
Jelke Haisma (percussion)
Thijs Helfrich (vocals)
Wijnand Helfrich (keyboards, vocals)
Han Raggers (guitar)

Boelie Winter (drums)
Maarten de Reus (saxophone on 05.)


01. Love In A Most Peculiar Way 4.21
02. Fight 4.18
03. Snake Attack 3.57
04. No Way To Go 3.42
05. Kling Around ….. The Desk 4.50
06. The Night 4.29
07. Let’s Invite Mary 3.08
08. Wonderschoon 3.01
09. Perfect Punishment

All songs written by Weekend At Waikiki



Kenny G – Duotones (1986)

FrontCover1Duotones is the fourth studio album by American saxophonist Kenny G, released on September 29, 1986 by Arista Records. It features one of Kenny G’s best-known songs, “Songbird”, which reached number four on the US Billboard Hot 100.
The album peaked at number one on the Contemporary Jazz Albums chart, number five on the Jazz Albums chart, number six on the Billboard 200 and number eight on the R&B/Hip-Hop Albums chart.[ The album was later certified 5× Platinum by the RIAA. (by wikipedia)

Kenny G’s breakthrough effort featured the hit “Songbird,” which is the definitive example of the saxophonist’s smooth, lyrical playing; the rest of the album is nearly as good, highlighting his melodic, jazzy pop. (by Stephen Thomas Erlewine)
Great Night Car-Riding Music:
I heard the tune “Midnight Motions” on a jazz radio station, and I had to call to find out who was the artist. I bought it immediately. Midnight motions is like night car-riding music. It’s cool. It soothes me, as if I were walking through an empty Manhattan on a damp night after the rain, with a cool breeze. Or like cruising your car through the damp streets late at nite,hearing your tires on the wet pavement. Just feeling good and sailing. Midnight motions is soothing to the mind. I’m rather new to Kenny G’s music, but after this album, I plan to get to know his music better. (by Diamond M. Dominguezon)


Walter Afanasieff (synthesized bass, keyboards, synthesizer)
Tony Gable (percussion)
Kenny G. (saxophone, background vocals, synthesized bass, keyboards, synthesizer)
Alan Glass (guitar, keyboards, synthesizer)
Greg “Gigi” Gonaway (drums,percussion)
Randy Jackson (bass, synthesized bass)
Cory Lerios (synthesized bass)
Kenny McDougald (drums)
Joe Plass (bass)
John Raymond (guitar)’
Corrado Rustici (guitar)
Roger Sause (keyboards, synthesizer)
Sal Gallina (strings, violin, french horn on 03.)
background vocals:
Kitty Beethoven – Gina Glass – Preston Glass – Yolanda Glass – Claytoven Richardson -Lenny Williams


01. Songbird” (Instrumental) (Kenny G.) 5.06
02. Midnight Motion  (Kenny G.) 4.10
03. Don’t Make Me Wait For Love (Afanasieff/Glass/Walden) 4.08
04. Sade (Kenny G.) 4.23
05. Champagne (Kenny G./McDougald) 4.48
06. What Does It Take (To Win Your Love) (Bristol/Bullock/Fugua) 4.09
07. Slip Of The Tongue (Glass/Walden/Pianka) 4.55
08. Three Of A Kind (Kenny G./Glass/Walden/Pianka) 4.48
09.  Esther (Afanasieff/Kenny G./Glass/Walden)


Elton John – Live In Australia With The Melbourne Symphony Orchestra (1987)

FrontCover1Live in Australia with the Melbourne Symphony Orchestra, released in 1987, is the twenty-sixth official album release for Elton John. It is a live album recorded at the Sydney Entertainment Centre on 14 December 1986 with the Melbourne Symphony Orchestra.

The concert, recorded on 14 December 1986, was the last of a series of concerts done throughout the last two months of 1986. The concerts consisted of two sets: the first was limited to John and his 14-piece band, including backing vocalists and the Onward International horn section, and his flamboyant stage dress, featuring Mohawk and Tina Turner wigs and some outlandish eye wear; the second featured John, the band and the 88-piece Melbourne Symphony Orchestra, with him dressed as Mozart.

John’s band was essentially the lineup used on Leather Jackets, which he was touring behind at the time, including Jody Linscott and special guest Ray Cooper, both of whom played percussion.

James Newton Howard, who was at the time an up-and-coming film composer in Hollywood, joined John to conduct and write larger, augmented charts of not only his own previous work on “Tonight,” but also Paul Buckmaster’s original arrangements, since the music was to be played by 88 musicians, instead of the smaller studio orchestra for which the compositions were originally designed. He also wrote brand new full orchestra parts for songs such as “Don’t Let the Sun Go Down on Me”, which previously only had horn arrangements.


The album features most of the songs recorded in the second half of the show, excluding “Saturday Night’s Alright for Fighting”, “Carla/Etude”, “Cold as Christmas (In the Middle of the Year)” and “Slow Rivers”, which was sung by John alone (John dueted “Slow Rivers” with Cliff Richard on Leather Jackets).

John’s live sound engineer, Clive Franks, handled the recording of the band (assisted by Keith Walker and Dennis Fox), while album producer Gus Dudgeon supervised recording of the orchestra by Leon Minervini and Nic Jeremy. Dudgeon took the tapes back to Wisseloord Studios in the Netherlands for mixing with engineer Graham Dickson, who had also worked on Leather Jackets.

This concert was the last to feature Elton’s legendary stage costumes, which he had featured in his shows since the early 1970s. It was also his last show before undergoing throat surgery in January 1987. Despite being completely successful, the surgery prevented Elton from singing at all for several months and from touring for 18 months. The surgery also permanently reduced his range from tenor to baritone. (by wikipedia)


The late ’80s were wrought with equal measures of tremendous professional popularity and personal crisis for Elton John. As he would reveal later, this inspired double-LP live collection released in 1987 captures the artist at one of the best and worst times of his life. In fact, John cites the emotionally charged “Don’t Let the Sun Go Down on Me” and “Sorry Seems to Be the Hardest Word” as triggering what would become a “severe mental breakdown,” the results of nearly a decade of substance-fueled decadence. On top of it all and perhaps most tellingly is John’s tattered voice. So dire was the situation that literally within weeks of the concert he would undergo a surgical procedure that could have easily ended his career had it failed.


Perhaps the ultimate irony is that at this precise moment John was launching his re-association with MCA Records via this live career retrospective, which was simultaneously broadcast throughout the entire globe. Keeping all of that in mind, Elton John once again proved himself as a consummate showman, performing at the peak of his abilities. John’s comparatively small combo is augmented on these tracks by the 88-piece Melbourne Symphony Orchestra under the direction of onetime bandmate James Newton Howard. There are a few surprisingly strong readings of early sides such as “60 Years On,” “I Need You to Turn To,” “The Greatest Discovery,” and an edgy and soulful version of “The King Must Die.” Other unexpected detours into John’s catalog include the intimate desperation of “Tonight” from Blue Moves (1976) and “Have Mercy on the Criminal” from Don’t Shoot Me I’m Only the Piano Player (1973). There are also the hits and enthusiast favorites “Tiny Dancer,” “Your Song,” “Candle in the Wind” (which was issued as a single and topped pop music charts worldwide), the previously mentioned “Sorry Seems to Be the Hardest Word,” and “Don’t Let the Sun Go Down on Me.” The companion home video includes a few additional performances, such as the thoroughly inspiring “One Horse Town.” While not entirely essential, Live in Australia is at its core an adeptly executed concert package. (by Lindsay Planer)

Dot expect anything from the booklet … one of the simplest booklets I ever saw from a rock star like Elton John.


Ray Cooper (percussion)
Elton John (piano, vocals)
Jody Linscott (percussion)
Davey Johnstone – guitars
David Paton – bass guitar
Charlie Morgan – drums
Fred Mandel – keyboards, synthesizers
background vocals:
Alan Carvell – Gordon Neville – Shirley Lewis
Melbourne Symphony Orchestra conducted James Newton Howard


01. Sixty Years On 5.41
02. I Need You To Turn To 3.14
03. The Greatest Discovery 4.09
04. Tonight 5.58
05. Sorry Seems To Be The Hardest Word 3.58
06. The King Must Die 5.21
07. Take Me To The Pilot 4.22
08. Tiny Dancer 7.46
09. Have Mercy On The Criminal 5.50
10. Madman Across The Water 6.38
11. Candle In The Wind 4.10
12. Burn Down The Mission 5.49
13. Your Song 4.04
14. Don’t Let The Sun Go Down On Me 6.06

All songs written by Elton John and Bernie Taupin




Rosie Vela – Zazu (1986)

FrontCover1Zazu (1986) is the debut (and, to date, only) album released by American model and singer-songwriter Rosie Vela. The album was produced by Gary Katz, best known for his work in that capacity with Steely Dan, and many of the songs feature Steely Dan’s Donald Fagen on keyboards and Walter Becker on guitar. Also noteworthy is that Tony Levin plays Chapman stick on the songs “Tonto” and “Zazu”.

Despite receiving positive reviews and the single “Magic Smile” reaching #29 on the Billboard Adult Contemporary chart, Zazu was a commercial failure in Vela’s native United States. However it was more successful in Europe, notably in the United Kingdom where it reached #20 on the national albums chart and earned a Silver disc. The single “Magic Smile” was also a UK Top 30 hit. The CD album has been out of print in North America and Europe since the early 1990s but was rereleased in the UK by Cherry Red Records in 2011.

In addition to “Magic Smile”, two other tracks (“Interlude” and “Fool’s Paradise”) were also released as singles.

Vela recorded a second album entitled Sun Across the Altar, but the album remains unreleased. (by wikipedia)


When fashion model Rosie Vela branched out into singing and songwriting with her debut album Zazu, skeptics suspected that she was just another pretty face who was trying to get by on her looks. But truth be told, Zazu is a solid pop/rock effort that could be described as an interesting combination of Joni Mitchell and Steely Dan. Vela doesn’t have a great voice — her voice is small and thin, but like jazz great Chet Baker, she demonstrates that you don’t have to have a fantastic vocal range to be expressive and deliver a meaningful album.

Favoring a relaxed, cool-toned style of singing, Vela also demonstrates that she’s a talented songwriter — in fact, she wrote most of the songs herself. Mitchell and Steely Dan are obviously major influences, and the strong Steely Dan influence isn’t surprising when you consider that Zazu was produced by Gary Katz (who is best known for his work with that group) and that former Dan members Donald Fagen (keyboards) and Walter Becker (guitar) play on many of the songs. Vela showed a lot of promise on this album, which wasn’t the big seller it should have been. (by Alex Henderson)


Walter Becker (guitar, synthesizer)
Michael Been (guitar)
Jimmy Bralower (drums, percussion)
Rick Derringer (guitar)
Donald Fagen (synthesizer)
Larry Fast (synthesizer)
Jerry Haslip (bass)
Yogi Horton (drums)
Jim Keltner (drums)
Tony Levin (chapman stick)
Neil Stubenhaus (bass)
Chat Vela (drums)
Rosie Vela (vocals, synthesizer)
Aaron Zigman (synthesizer)
background vocals:
Joy Askew – Jenny Peters – Rosie Vela

01. Fool’s Paradise (Vela) 3.55
02. Magic Smile (Vela) 4.22
03. Interlude (Vela) 4.00
04. Tonto (Vela) 5.33
05. Sunday (Vela) 4.25
06. Taxi (Vela) 3.25
07. 2nd Emotion (Vela/Doddy/Jeb Guthrie/Jock Guthrie) 4.42
08. Boxs (Vela) 3.51
09. Zazu (Vela) 4.41



This is another item of the great greygoose collection !