Chet Baker – As Time Goes By (1990)

FrontCover1Chesney Henry “Chet” Baker Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter and vocalist. He is known for major innovations in cool jazz leading him to be nicknamed the “prince of cool”.

Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings (1954), It Could Happen to You (1958)).

Jazz historian Dave Gelly described the promise of Baker’s early career as “James Dean, Sinatra, and Bix, rolled into one”. His well-publicized drug habit also drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and 1980s.

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As Time Goes By, (subtitled Love Songs), is an album by trumpeter/vocalist Chet Baker which was recorded in 1986 and released on the Dutch Timeless label.,(wikipedia)

ChetBaker03While Baker’s chops are clearly subpar there is a quaint romanticism to it all that somehow snares the listener. Performing with a first-rate trio (pianist Harold Danko, bassist Jon Burr, and drummer Ben Riley), the trumpeter runs through ten tunes, most of which Baker has recorded before. Nonetheless, the more than an hour of recording time gives everyone a chance to stretch. And, Baker’s vocals on “As Time Goes By” and “Round Midnight” are never tiring. Baker is a more than a bit muddled in his singing, sounding as though his mouth is filled with steel wool. Yet, the feelings he displays are so pure and touching that every note is imbued with deep emotion. Most of the songs are performed slowly, sometimes heart-wrenchingly so. While Baker seems tired, there is a cool, raw touch throughout, making this a decent example of the trumpeter’s later playing. His range seems even more limited than usual, too. Danko is a thorough joy, and plays splendidly in support. (by Steve Loewy)

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Personnel:
Chet Baker (trumpet, vocals)
Jon Burr (bass)
Harold Danko (piano)
Ben Riley (drums)

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Tracklist:
01. You And The Night And The Music (Schwartz/Dietz) 5.27
02. As Time Goes By (Hupfeld) 6.48
03. My Melancholy Baby (Burnett/Norton) 6.58
04. I’m A Fool To Want You (Wolf/Herron/Sinatra) 8.40
05. When She Smiles (Danko) 6.02
06.Sea Breeze (Burr) 6.57
07. You Have Been Here All Along (Burr) 7.40
08. Angel Eyes (Brent/Dennis) 6.05
09. You’d Be So Nice to Come Home To (Porter) 4.31
10. ‘Round Midnight (Monk/Williams) 7.37

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Latin Quarter – Live At Glastonbury Festival (1986)

FrontCover1Latin Quarter is a British band formed in 1983. They had one top 20 single “Radio Africa” in the United Kingdom.

The British radio were cautious in the eighties to play their singles because of their political based lyrics. They became more popular in Germany and in northern Europe.

Latin Quarter released their latest album, Releasing the Sheep, on 29 October 2021. Their sound mixes elements of pop, rock, reggae and folk with largely political based lyrics.

Latin Quarter began when ex-printer and founder-member Steve Skaith left Liverpool for London in 1982 to write songs for music publishers Chappell. Skaith was also working on some rather more radical music with lyrics from an old friend of his called Mike Jones, both were members from the left wing political group Big Flame.

Mike Jones himself did not play with Latin Quarter, but he wrote the lyrics to the songs. The former technical school teacher from Liverpool had already been writing political songs for eight years and had been a friend of Steve Skaith’s since grammar school.

Their political viewpoint were sometimes reflected in the choice of subject matter and lyrics of Latin Quarter’s output.

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Latin Quarter were the first band to be managed by Marcus Russell (who is from Ebbw Vale along with Mike Jones). Russell formed the Ignition Management in 1983.

Skaith and Jones formed Latin Quarter in autumn 1983 with guitarist Richard Wright, a classically-trained musician and ex-member of the Inversions, a band active on the jazz/funk scene. Yona Dunsford (vocals/piano) and Carol Douet (vocals/percussion) joined the trio at the end of the year, with the line-up completed by Richard Stevens (drums), Greg Harewood (bass) and Steve Jeffries (keyboards). After the band’s first sporadic London gigs in 1984, ex-Police producer Nigel Gray recorded two of Latin Quarter’s songs at his own expense, and the band released Radio Africa on its own independent record label, Ignition in September 1984.

The band was signed by Rockin’ Horse Records, an offshoot of Arista Records, and completed work on their debut album Modern Times. After being re-released, Radio Africa finally became a UK hit at the start of 1986 when it reached number 19 in the UK Singles Chart.

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Jones described their first album Modern Times as “a veritable manifesto”. The album only spent two weeks on the UK Albums Chart, peaking at Number 91, but was a top twenty hit in Germany and Sweden and sold well throughout Europe. They played at Glastonbury Festival 21 June 1986 and at the ‘Rock for Peace Festival’ in East Berlin at the Palace of the Republic in February 1987.

Darren Abraham and Martin Lascalles were new members on the follow-up Mick And Caroline, released 1987. An album that was not as successful as the debut. Skaith later told in an interview that he was not satisfied with Jason Corsaros production of the second album. Corsaro was a Grammy Award Winning music engineer and record producer.

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The band had slimmed down to the quartet of Skaith, Wright, Harewood and Dunsford by their third album Swimming Against the Stream, released 1989 on the RCA label in Germany. They recorded the album in Los Angeles, with producer David Kershenbaum and engineer Paul McKenna, but the album was not released in the US. With all lyrics still written by Jones, that album was dedicated to the eleven workers at Dunne’s stores, Dublin, who were sacked for refusing to handle South Africa goods. Their three year fight against dismissal culminated in the Irish Government’s ban on the importation of South Africa Agricultural produce. The single Dominion was originally recorded for the T.V. documentary series Animal Traffic, directed by Arpad Bondy & Ron Orders

After low sales in the UK the band originally split up. In October 1990, however, another album, entitled Nothing Like Velvet was released, which was made up of unreleased demos, alternative versions and live tracks. Judging by the sleeve notes, the band agreed to the release of these songs.

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However, the members, they all stayed friends, meeting each other privately. Skaith, Wright and Jones continued as Latin Quarter, and they collaborated with The Bhundu Boys on the latter’s 1993 Friends on the Road album, including a re-working of Radio Africa and two new songs written by members of both bands. Latin Quarter, released the albums Long Pig 1993 and Bringing Rosa Home 1997, both on German record labels. Both albums were recorded with session musicians and Latin Quarter finally went on hiatus in 1998.

Jones went on to run courses in Popular Music at the University of Liverpool. Skaith went to live in Mexico where he formed the Steve Skaith Band with Mexican musicians, and released the albums Mexile 2003, Empires and Us 2005 and Imaginary Friend 2007. He then returned to England and re-recorded some early Latin Quarter songs on Latin Quarter Revisited 2010.

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In 2011, Skaith and lyricist Jones re-formed Latin Quarter with original vocalist Yona Dunsford, bass player Greg Harewood and keyboard player Steve Jeffries. The band toured Germany and UK and they released the albums Ocean Head in 2012 and Tilt in 2014. Chris Rea was a guest star playing slide guitar on the Tilt album. Steve Skaith re-recorded acoustic versions of Latin Quarter-songs on Bare Bones in 2015.

In September 2016, Latin Quarter released The Imagination of Thieves, now featuring Skaith, Jeffries, Martin Ditcham (Drums), Yo Yo Buys (Bass and Guitars) and Mary Carewe (vocals).

In February 2018, the new track Pantomime of Wealth was released as a digital release on Westpark Music. The album with the same name was released 13 April 2018.

In April 2019, Latin Quarter released The Colour Scheme, now as a trio featuring Skaith, Jeffries and Carewe. The album consisted mainly acoustic rearrangements of early Latin Quarter songs plus a couple of songs from the Steve Skaith Band albums.

In October 2021 they released the album, Releasing The Sheep. (wikipedia)

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And here´s  a wonderful, a brilliant live recording (taken from the legendary “BBC In Concert” series).

Their music was a very special form of pop music, very subtle and always a little fragile. And the lyrics were much needed comments on all those damn topics of those years … Unfortunately, these problems have not really been solved to date, on the contrary.

Latin Quarter were and are an uncomfortable band, unfortunately indispensable in “modern times”.

Enjoy this rare live recording !

Recorded live at the Glastonbury Festival, Worthy Farm, Pilton/UK, June-21, 1986

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Personnel:
Carol Douet (vocals, percussion)
Yona Dunsford (keyboards, vocals)
Greg Harewood (bass)
Steve Jeffries (keyboards)
Steve Skaith (vocals, guitar)
Richard Stevens (drums)
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Tracklist:
01. Sandinista (Skaith/Jones) 5.23
02. Remember (Skaith/Jones) 4.32
03. Freight Elevator (Jeffries/Jones) 5.05
04. See Him (Skaith/Jones) 5.07
05. Truth About John (Skaith/Jones) 4.03
06. Eddie (Skaith/Jones/Keefe) 3.03
07. No Rope As Long As Time (Skaith 5.02
08. I (Together) (Skaith/Jones) 4.20
09. Radio Africa (Skaith/Jones/Keefe)  6:35
10. The Night (Skaith/Jones) 4.32
11. Pyramid Label (Skaith/Jones) 8.36

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Tesla – Mechanical Resonance (1986)

LPFrontCover1Tesla is an American rock band formed in Sacramento, California, in late 1981 by bassist Brian Wheat and guitarist Frank Hannon. The band is ranked at No. 22 on VH1’s 100 Greatest Artists of Hair Metal, and have been described as a “thinking man’s hair metal band”.

Lead vocalist Jeff Keith and drummer Troy Luccketta had joined them by 1984. They are the longest serving members and have appeared on all band’s releases. In 1996, the band disbanded, with members devoting themselves to solo projects. In 2000, they reformed, but Tommy Skeoch departed the band in 2006 and was replaced by Dave Rude. They have sold 14 million albums in the United States.

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Mechanical Resonance is the debut studio album by the American hard rock band Tesla. It was released on December 8, 1986, by Geffen Records.

The album peaked at No. 32 on the Billboard 200 on April 3, 1987,  and was certified platinum by the RIAA on October 5, 1989.(wikipedia)

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Sacramento’s oddly named Tesla (a moniker inspired by renegade inventor and pioneering electrical engineer Nikola Tesla) took the side door to ’80s hard rock success, sneaking up on the charts and into the bedrooms of none-the-wiser glam metal consumers with their rock-solid debut, Mechanical Resonance — itself titled after one of Nikola’s better-known experiments, and a fascinating case study in musical compromise if ever there were one. Essentially, the album was partitioned into two quite different halves, with side one predominantly tailored to seduce the aforementioned music fans via radio-friendly templates and therefore packed with mostly throwaway, cliché-ridden arena anthems like “EZ Come, EZ Go,” “Cumin’ Atcha Live,” and the gloriously dumb “Rock Me to the Top,” boasting few surprises but plenty of testosterone. Yes, a few hints of Tesla’s substantial songwriting intelligence can be glimpsed within the gritty strut of “Gettin’ Better” and the bluesy balladry of “We’re No Good Together,” but most of the band’s more mature and accomplished songs are saved for Mechanical Resonance’s revelatory side two.

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Here, lead guitarist Frank Hannon really takes charge and establishes himself as the band’s de facto difference maker, beginning with an epic of Led Zeppelin-like class and complexity in “Modern Day Cowboy,” which was built upon a lopsided riff so irresistible that not even its finger-twisting complexity could keep it from becoming one of their most popular standards. This was followed by another pair of eventual fan favorites doubling as good examples of Tesla’s creative range, since the wintry drama of the piano-laced “Changes” stood in stark contrast to the upbeat summer vibe of “Little Suzi.” And finally, as though the aforementioned detours didn’t proffer enough food for thought, Tesla even flirted with art rock on the odd rhythms and clever economy of “Cover Queen,” before concluding with the desolate sobriety of closer “Before My Eyes.” Given all these qualities and contrasts, it’s no wonder that Mechanical Resonance stood out as one of the 1980s’ most eclectic hard rock albums, and provided a formidable introduction to one of the era’s most underrated American bands. (by Eduardo Rivadavia)

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Personnel:
Frank Hannon (guitar, keyboards, mandolin, background vocals)
Jeff Keith (vocals)
Troy Luccketta (drums, percussion)
Tommy Skeoch (guitar, background vocals)
Brian Wheat (bass, background vocals)
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Jimmy Maelen (percussion)

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Tracklist:
01. EZ Come EZ Go (Hannon/Keith/Luccketta/Skeoch/Wheat) 3.33
02. Cumin’ Atcha Live (Hannon/Keith/Wheat) 4.26
03. Gettin’ Better (Hannon/Keith) 3.21
04. 2 Late 4 Love (Keith/Skeoch/Hannon/Luccketta/Wheat) 3.50
05. Rock Me To The Top (Keith/Skeoch) 3.38
06. We’re No Good Together (Hannon/Keith/Luccketta) 5.18
07. Modern Day Cowboy (Hannon/Keith(Skeoch) 5.19
08. Changes (Hannon/Keith/Luccketta/Skeoch/Wheat) 5.03
09. Little Suzi (Diamond/Hymas) 4.58
10. Love Me (Hannon/Keith/Wheat) 4.16
11. Cover Queen (Hannon/Keith) 4.32
12. Before My Eyes (Hannon/Keith/Luccketta/Skeoch) 5.31

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The official website:
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Chris Rea – On The Beach (1986)

LPFrontCover1Christopher Anton Rea (born 4 March 1951) is an English rock and blues singer-songwriter and guitarist from Middlesbrough, England. He is of Italian and Irish descent. He is known for his distinctive, husky singing and slide guitar playing, with the Guinness Rockopedia describing him as a “gravel-voiced guitar stalwart”. After learning to play the guitar relatively late, a short burst of local band activity led to his launching a solo career in 1978.

Louder magazine calls Rea “rock’s ultimate survivor”, given his recovery from several bouts of serious illness. He has produced 25 solo albums, with several from his later blues period – such as Blue Guitars (2005) – having multiple discs. British Hit Singles & Albums says that Rea was “one of the most popular UK singer-songwriters of the late 1980s” and “already a major European star by the time he finally cracked the UK Top 10 with the release of the [1989] single “The Road to Hell (Part 2)…” his 18th chart entry.” Two of his most successful studio albums, The Road to Hell (1989) and Auberge (1991), topped the UK Albums Chart.

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His other hit songs include “I Can Hear Your Heartbeat”, “Stainsby Girls”, “Josephine”, “On the Beach”, “Let’s Dance”, “Driving Home for Christmas”, “Working on It”, “Tell Me There’s a Heaven”, “Auberge”, “Looking for the Summer”, “Winter Song”, “Nothing to Fear”, “Julia”, and “If You Were Me”, a duet with Elton John. Rea was nominated three times for the Brit Award for Best British Male Artist: in 1988, 1989 and 1990.

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Rea has never toured the United States, where he is best known for the 1978 single “Fool (If You Think It’s Over),” which reached No. 12 on the Billboard Hot 100 and spent three weeks at No. 1 on the Adult Contemporary chart. This success earned him a Grammy nomination as Best New Artist in 1978. A decade later, Working On It topped the Mainstream Rock chart. As of 2009, Rea had sold more than 30 million records worldwide.

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On the Beach is the eighth studio album by British singer-songwriter Chris Rea, released in 1986, and built on the success of the preceding Shamrock Diaries. It reached No. 11 in the UK Albums Chart (and also in Sweden), topped the Dutch charts (where it charted for more than nine months), reached number two in West Germany and No. 4 in New Zealand (where is also spent more than nine months in the charts). It reached the Top 10 in Norway and Czechoslovakia. In 2019, a deluxe remastered version of the album was released.

In an interview for the deluxe edition of the album, Rea said of the song Giverny, written after a visit to Monet’s celebrated home, “I didn’t want to be there. I was only there because she (his wife, Joan) was there… so there’s kinda, a funny twist to it”.

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A retrospective review finds that the album “taps into the same kind of jazzy, introspective pop/soul sound that the likes of John Martyn, Joni Mitchell and Van Morrison were flirting with in the same period, helped by an excellent band including Fairport Convention/XTC drummer Dave Mattacks”, adding that Little Blonde Plaits is “a vehicle for [Max] Middleton’s expressive Mini Moog, very redolent of his atmospheric playing on John Martyn’s Glorious Fool”. (wikipedia)

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The perfect album for a day at the beach, Rea’s eighth album takes the listener from the water’s edge of the title song to the sunny fields of the French countryside in “Giverny.” The upbeat reggae feel of “Lucky Day” works particularly well, but it is “On the Beach” that’s the standout track. Rea seems to think so, too, as he’s recorded it numerous times. The version here, though, is the most evocative, a little slower and more meditative than others. The lyrics, as in many of his songs, deal with remembrance and old love. “Little Blonde Plaits,” “Hello Friend,” and “It’s All Gone” are other examples of this theme that appear on the album. While his later release, The Road to Hell, shows the darker side of Rea’s worldview, On the Beach is an excellent introduction to his brighter, more optimistic songwriting. The last three songs are bonus tracks that were not on the original LP release, “Bless Them All” being a smooth, fluid instrumental. (by Rob Caldwell)

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Personnel:
Robert Awhai (guitar)
Martin Ditcham (percussion)
Kevin Leach (keyboards)
Dave Mattacks (drums)
Max Middleton (piano, synthesizer)
Eoghan O’Neill (bass)
Adrian Rea (drums)
Chris Rea (vocals, guitar, slide-guitar, keyboards, bass)

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Tracklist:
01. On The Beach 5.05
02. Little Blonde Plaits 4.20
03. Giverny 5.40
04. Lucky Day 3.57
05. Just Passing Through 5.21
06. It’s All Gone 7.28
07. Hello Friend 4.20
08. Two Roads 3.44
09. Light Of Hope 4.34
10. Auf immer und ewig (*) 4.12
11. Freeway 4.14
12. Bless Them All 2.30
13. Crack That Mould 4.33

All songs written by Chris Rea

(*) Titel track from the film of the same name)

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Royal Concertgebouw Orchestra – Má Vlast (Smetana) (1987)

FrontCover1And here´s the most important composition of Bedřich Smetana:

Bedřich Smetana ( March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style that became closely identified with his people’s aspirations to a cultural and political “revival.” He has been regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride and for the symphonic cycle Má vlast (“My Fatherland”), which portrays the history, legends and landscape of the composer’s native Bohemia. It contains the famous symphonic poem “Vltava”, also popularly known by its German name “Die Moldau” (in English, “The Moldau”).

Smetana was naturally gifted as a composer, and gave his first public performance at the age of 6. After conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works.

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In the early 1860s, a more liberal political climate in Bohemia encouraged Smetana to return permanently to Prague. He threw himself into the musical life of the city, primarily as a champion of the new genre of Czech opera. In 1866 his first two operas, The Brandenburgers in Bohemia and The Bartered Bride, were premiered at Prague’s new Provisional Theatre, the latter achieving great popularity. In that same year, Smetana became the theatre’s principal conductor, but the years of his conductorship were marked by controversy. Factions within the city’s musical establishment considered his identification with the progressive ideas of Franz Liszt and Richard Wagner inimical to the development of a distinctively Czech opera style. This opposition interfered with his creative work, and may have hastened a decline in health that precipitated his resignation from the theatre in 1874.

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By the end of 1874, Smetana had become completely deaf but, freed from his theatre duties and the related controversies, he began a period of sustained composition that continued for almost the rest of his life. His contributions to Czech music were increasingly recognised and honoured, but a mental collapse early in 1884 led to his incarceration in an asylum and subsequent death. Smetana’s reputation as the founding father of Czech music has endured in his native country, where advocates have raised his status above that of his contemporaries and successors. However, relatively few of Smetana’s works are in the international repertory, and most foreign commentators tend to regard Antonín Dvořák as a more significant Czech composer.

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Má vlast (Czech pronunciation: [maː vlast]), also known as My Fatherland,[n 1] is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. The six pieces, conceived as individual works, are often presented and recorded as a single work in six movements. They premiered separately between 1875 and 1880. The complete set premiered on 5 November 1882 in Žofín Palace, Prague, under Adolf Čech.

Má vlast combines the symphonic poem form, pioneered by Franz Liszt, with the ideals of nationalistic music of the late nineteenth century. Each poem depicts an aspect of Bohemia’s countryside, history, or legends.

The works have opened the Prague Spring International Music Festival, on the 12 May anniversary of the death of their composer, since 1952.

Má vlast consists of six pieces:

Vyšehrad (The High Castle)
Vltava (The Moldau)
Šárka
Z českých luhů a hájů (From Bohemia’s Woods and Fields)
Tábor
Blaník

Vyšehrad above the Vltava River:
Vysehrad

The first poem, Vyšehrad (The High Castle), composed between the end of September and 18 November 1874 and premiered on 14 March 1875 at the [Prague] Philharmonic,[6] describes the Vyšehrad castle in Prague which was the seat of the earliest Czech kings. During the summer of 1874, Smetana began to lose his hearing, and total deafness soon followed; he described the gradual, but rapid loss of his hearing in a letter of resignation to the director of the Royal Provincial Czech Theatre, Antonín Čížek. In July 1874 he began hearing anomalous noise and then a permanent buzzing. Not long after the onset he was unable to distinguish individual sounds. At the beginning of October he lost all hearing in his right ear, and finally on 20 October in his left. His treatment was based on maintaining isolation from all sounds, but was unsuccessful.

Notes

The poem begins with the sounds of the harp of the mythical singer Lumír, and then crosses over into the tones of the castle’s arsenal. This section of the music introduces the main motifs, which are used in other parts of the cycle. A four note motif (B♭–E♭–D–B♭) represents the castle of Vyšehrad; this is heard again at the end of ‘Vltava’ and once more, to round the whole cycle off, at the conclusion of ‘Blaník’.

In the score two harps are required to perform the opening arpeggios. After a dominant seventh chord, the winds take up the theme, followed by the strings, before the whole orchestra is employed to reach a climax. In the next part, Smetana recalls the story of the castle, using a faster tempo which becomes a march. A seemingly triumphant climax is cut short by a descending passage depicting the collapse of the castle, and the music falls quiet. Then the opening harp material is heard again and the music reminds again of the beauty of the castle, now in ruins. The music ends quietly, depicting the River Vltava flowing below the castle.

Army of knights led by St. Wenceslas: Věnceslav Černý:
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Conceived between 1872 and 1874, it is the only piece in the cycle to be mostly completed before Smetana began to go noticeably deaf in the summer of 1874. Most performances last approximately fifteen minutes in duration.

Vltava, also known by its English title The Moldau, and the German Die Moldau, was composed between 20 November and 8 December 1874 and was premiered on 4 April 1875 under Adolf Čech. It is about 13 minutes long, and is in the key of E minor.

In this piece, Smetana uses tone painting to evoke the sounds of one of Bohemia’s great rivers. In his own words:

The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer’s wedding is celebrated, the round dance of the mermaids in the night’s moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John’s Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Labe (or Elbe, in German).

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Vltava contains Smetana’s most famous tune. It is an adaptation of the melody La Mantovana, attributed to the Italian renaissance tenor, Giuseppe Cenci, which, in a borrowed Romanian form, was also the basis for the Israeli national anthem, Hatikvah. The tune also appears in an old Czech folk song, Kočka leze dírou (“The Cat Crawls Through the Hole”); Hanns Eisler used it for his “Song of the Moldau”; and Stan Getz performed it as “Dear Old Stockholm” (possibly through another derivative of the original tune, “Ack Värmeland du sköna”).

The piece is featured in the 2011 American movie The Tree of Life and in Don Hertzfeldt’s Everything Will Be OK.

The third poem was finished on 20 February 1875 and is named for the female warrior Šárka, a central figure in the ancient Czech legend of The Maidens’ War. Šárka ties herself to a tree as bait and waits to be saved by the princely knight Ctirad, deceiving him into believing that she is an unwilling captive of the rebelling women. Once released by Ctirad, who has quickly fallen in love with her, Šárka serves him and his comrades with drugged mead and once they have fallen asleep she sounds a hunting horn: an agreed signal to the other women. The poem ends with the warrior maidens falling upon and murdering the sleeping men. It was first performed under the baton of Adolf Čech (sources disagree whether this was on 10 December 1876 or 17 March 1877).

Šárka

Smetana finished composing this piece, commonly translated as “From Bohemia’s Woods and Fields” or “From Bohemian Fields and Groves”, on 18 October 1875, and it received its first public performance nearly eight weeks later, on 10 December. A depiction of the beauty of the Czech countryside and its people, the tone poem tells no real story. The first part is dedicated to the grandeur of the forest with a surprising fugue in the strings, interrupted by a soft woodland melody of the horns, which is later taken over by the whole orchestra. In the second part, a village festival is depicted in full swing. This tone poem was originally written to be the finale of Má vlast.

Bohemia's Woods

This piece, which was finished on 13 December 1878 and premiered on 4 January 1880, is named for the city of Tábor in the south of Bohemia founded by the Hussites and serving as their center during the Hussite Wars. The theme for the piece is quoted from the first two lines of the Hussite hymn, “Ktož jsú boží bojovníci” (“Ye Who Are Warriors of God”).

Blaník was finished on 9 March 1879 and premiered on 4 January 1880. It is named for the mountain Blaník inside which a legend says that a huge army of knights led by St. Wenceslas sleep. The knights will awake and help the country in its gravest hour (sometimes described as four hostile armies attacking from all cardinal directions).

Musically, Blaník begins exactly as Tábor ends, “hammering” out the motto which was left unresolved, but now continuing on, as if in the aftermath of the battle. Thus these last two tone poems of the cycle form a cohesive pair, as do the first two; the High Castle’s theme returns as the Vltava’s river journey triumphantly reaches that same destination, and again returns triumphantly at the end of Blaník. Once again, the Hussite hymn used in Tábor is quoted, though this time it is the third line which rings out in the march at the end of the piece. The original lyrics to this line in the hymn are “so that finally with Him you will always be victorious”, a reference to the eventual victorious rise of the Czech state. (wikipedia)

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And here´s the version of the Royal Concertgebouw Orchestra , Amsterdam (produced for the German record market; the booklet is in German only)

Czech composer Bedrich Smetana (1824-1884), an intense nationalist, wrote the six symphonic poems known collectively as Ma Vlast (My Country or My Fatherland) between 1874 and 1879, ironically, following his having a nervous breakdown and going deaf. He dedicated the cycle of works to the city of Prague, the first two movements dealing with the sights and sounds of the city.

With Hungarian conductor Antal Dorati leading the Royal Concertgebouw Orchestra in Newton Classics’ current reissued Philips recording, we get spirited, red-blooded accounts of all six episodes of the score, with plenty of color and characterization. The performances perhaps lack something of the subtlety and stylishness of several rival versions, like those from Neumann (Berlin Classics), Kubelik (Supraphon), Berglund (EMI), Pesek (Virgin), and Wit (Naxos), but Dorati’s energy, vivaciousness, animation, and warmth more than make up for any minor concerns.

The cycle begins with Vysehrad (1874), named after the venerable castle of Bohemian kings in Prague. Under Dorati, the music sounds beautifully smooth, lyrical, and Romantic yet well sprung, too, with finely articulated tensions and releases. Dorati perfectly judges the tempos throughout this segment, even if they are a tad faster than we usually hear. Still, the conductor works up a passionate response in the process.

Antal Dorati

Next up we hear Vltava (1874), which describes the river called in German the Moldau, and uses an old Czech folk tune as its principal theme. Smetana’s original program notes tell us that the music traces the countryside the river runs through: meadows, forests, even conjuring up water nymphs along the way. This is the most-famous section of the work, and conductors often play it by itself; thus, you’ll find quite a few more separate recordings of Vltava (or The Moldau) than of the complete Ma Vlast, my own favorite Moldau being one recorded long ago by Leopold Stokowski, available in an RCA collection of rhapsodies. In any case, here Dorati again seems brisker than other conductors, yet his timing is actually slower than four other recordings I had on hand for comparison. It’s a trick Dorati employs, seeming to be quickening the tempo when he is really slowing it.

After that we get Sarka (1875), which refers to a female warrior in Czech legend who exacts a bloody revenge on the male sex. This portion of Ma Vlast ties in with the final two sections in describing Bohemia’s fierce struggle for independence. Dorati succeeds in capturing its excitement and mystery.

Alternate frontcovers:
AlternateFrontCovers

From Bohemia’s Woods and Fields (1875) is pretty much self-explanatory. In this segment we’re back to the pastoral pleasures of the countryside. Dorati is properly lilting and melodic, the music’s lively ebbs and flows harking back to the conductor’s handling of the Vltava section.

Tabor (1878), which introduces us to a Hussite war tune (the Hussites were followers of John Huss, who initiated a nationalistic movement in Bohemia in the late fourteenth century); and Blanik (1879), the mountain where the Hussites retreated before their ultimate fight for liberation. I always think of these final portions of the cycle as the battle sequences. Like other people, I’m sure, though, I have never found these pieces as satisfying as Smetana’s preceding music; it’s a little long and more than a little repetitious. Nevertheless, Dorati plays up the drama for all it’s worth and makes one sit up and take notice as much as or more than other interpreters have done. Perhaps only in the concluding section, Blanik, does Dorati seem a touch hesitant or tardy, but without a direct comparison to other recordings, he seems right on. Besides which, the more relaxed pace lends a greater weight and dignity to the final chapter.

The companion filler piece, the symphonic poem In Nature’s Realm by Smetana’s countryman, Antonin Dvorak (1841-1904), makes an appropriate choice. Dvorak wrote it as the first in a trio of independent overtures connected by a related musical theme. Dvorak’s idea was to show Man in the face of Nature and how nature can affect one in a positive way if we let it into our lives. Dorati conducts it delicately yet powerfully and allows us to take pleasure in the music’s sweet harmonies. ( John J. Puccio )

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Personnel:
Royal Concertgebouw Orchestra conducted by Antal Dorati

BookletA

Tracklist:
01. Vyšehrad 13.37
02.  Vltava (The Moldau) 13.12
03. Šárka 10.41
04. Z Českých Luhů A Hájů (From Bohemia’s Woods And Fields) 12.26
05. Tábor 13.54
06. Blaník 15.26

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The Royal Concertgebouw Orchestra is a Dutch symphony orchestra, based at the Amsterdam Royal Concertgebouw (concert hall). Considered one of the world’s leading orchestras, Queen Beatrix conferred the “Royal” title upon the orchestra in 1988. (wikipedia)

The-Royal-Concertgebouw-Orchestra

Big Country – Look Away + Restless Natives (1986)

FrontCover1Big Country are a Scottish rock band formed in Dunfermline, Fife, in 1981.

The height of the band’s popularity was in the early to mid 1980s, although it has retained a cult following for many years since.

The band’s music incorporated Scottish folk and martial music styles, and the band engineered their guitar-driven sound to evoke the sound of bagpipes, fiddles, and other traditional folk. (wikipedia)

And here´s one of their countless singles (7 “) from the Eighties.

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Look Away was taken from the album “The Seer” and the B-side “Restless Natives” was a non LP track.

Listen … and take the chance to discover Big Country, one of the best bands of the 80s and 90s !

They really had a very unique sound !

And I add the 12″ edition with longer versions of boh songs.

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Personnel:
Stuart Adamson (guitar, vocals)
Mark Brzezicki (drums, percussion, vocals)
Tony Butler (bass, vocals)
Bruce Watson (guitar, vocals)

The 12″ edition:
12InchEdition

Tracklist:
01. Look Away 4.25
02. Restless Natives 4.15
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03. Look Away (Outlaw Mix) 6.57
04. Restless Natives (Long) 16.45

Music and lyrics: Stuart Adamson

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Neil Young – Landing On Water (1986)

FrontCover1Neil Percival Young OC OM (born November 12, 1945) is a Canadian-American singer, musician and songwriter. After embarking on a music career in Winnipeg in the 1960s, Young moved to Los Angeles, joining Buffalo Springfield with Stephen Stills, Richie Furay and others. Since the beginning of his solo career with his backing band Crazy Horse, Young has released many critically acclaimed and important albums, such as Everybody Knows This Is Nowhere, After the Gold Rush, Harvest, On the Beach and Rust Never Sleeps. He was a part-time member of Crosby, Stills, Nash & Young.

Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield. In 2000, Rolling Stone named Young No. 34 on their list of the 100 greatest musical artists. According to Acclaimed Music, he is the seventh most celebrated artist in popular music history.

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His guitar work, deeply personal lyrics[8][9][10] and signature high tenor singing voice define his long career. He also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical genres. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname “Godfather of Grunge” and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real. 21 of his albums and singles have been certified Gold and Platinum in U.S by RIAA certification.

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Young directed (or co-directed) films using the pseudonym “Bernard Shakey”, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995).

Young has lived in California since the 1960s but retains Canadian citizenship. He was awarded the Order of Manitoba in 2006 and was made an Officer of the Order of Canada in 2009. He became a United States citizen, taking dual citizenship, in 2020. (wikipedia)

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Landing on Water is the 15th studio album by Neil Young. The album was released on July 21, 1986, by Geffen Records. Several of the songs on the album were resurrected from Neil Young and Crazy Horse’s failed 1984 sessions – a set of sessions where, according to longtime producer David Briggs, the musicians “played like monkeys”. (wikipedia)

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Backed only by co-producer Danny Kortchmar on guitar and Steve Jordan on drums, with all three playing synthesizers, Neil Young turns in an album that attempts to mix the raunchy rock thrust of his Crazy Horse-style music with contemporary trends in pop, especially the tendency to turn the drums way up in the mix. It’s an uneasy combination in which Jordan’s forceful drumming dominates the tracks, with Young’s vocals nearly buried. But that only means that the production has ruined a group of songs few of which were any good anyway. The only one that offers the promise of being one of Young’s better efforts is “Hippie Dream,” a sober criticism of what became of ’60s idealism in general and Young’s erstwhile bandmate David Crosby in particular. But if Landing on Water was not a good album, at least it seemed to point Young away from the stylistic dabbling of his last three albums and back toward the kind of rock he did best, and at least some of his fans returned as a result, giving him a slight uptick in sales. (by William Ruhlmann)

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Personnel:
Steve Jordan (drums, synthesizer, background vocals)
Danny Kortchmar (guitar, synthesizer, background vocals)
Neil Young (vocals, lead guitar, harmonica, synthesizer)
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San Francisco Boys Chorus (vocals on tracks 02. + 05.)

Inlet01A

Tracklist:
01. Weight Of The World 3.38
02. Violent Side 4.18
03. Hippie Dream 4.10
04. Bad News Beat 3.13
05. Touch The Night 4.27
06. People On The Street 4.29
07. Hard Luck Stories 4.05
08. I Got A Problem 3.15
09. Pressure 2.42
10. Drifter 5.02

All songs written by Neil Young

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The official website:
Website

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Roky Erickson – Don’t Slander Me (1986)

FrontCover1Roger Kynard Erickson, 15 July 1947, Dallas, Texas, USA. Erickson came to the fore in the infamous 13th Floor Elevators. He composed ‘You’re Gonna Miss Me’, the band’s most popular single, while his feverish voice and exciting guitar work provided a distinctive edge. This influential unit broke up in disarray during 1968 as Erickson began missing gigs. Arrested on a drugs charge, he faked visions to avoid imprisonment, but was instead committed to Rusk State Hospital for the Criminally Insane. He was released in 1971 and began a low-key solo career, recording several singles with a new backing group, Bleib Alien. In 1980 the guitarist secured a recording contract with CBS Records but the resultant album, Roky Erickson And The Aliens, was a disappointment and compromised the artist’s vision for a clean, clear-cut production. Erickson’s subsequent releases have appeared on several minor labels. Their quality has varied, befitting a mercurial character who remains a genuine eccentric – he has persistently claimed that he is from the planet Mars. His music borrows freely from horror and science fiction films and, when inspired, he is capable of truly powerful performances.

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Erickson was imprisoned in 1990 for stealing mail, but his plight inspired Sire Records’ Where The Pyramid Meets The Eye, wherein 19 acts, including R.E.M. , Jesus And Mary Chain, ZZ Top and the Butthole Surfers interpreted many of his best-known songs, the proceeds of which should ameliorate his incarceration. Following his release from a mental institution a grizzled Erickson recorded 1995’s All That May Do My Rhyme, and against all expectations of a drug-wrecked casualty record, it was one of his better efforts. Like Syd Barrett, Erickson may never return to our cosy and supposedly sane world, but unlike Barrett he is at least still attempting to make new music. (The Encyclopedia of Popular Music by Colin Larkin)

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Don’t Slander Me is a fortunate rarity among Roky Erickson’s solo albums — it actually captures the man playing with a tight and emphatic rock & roll band, and was recorded in a quality recording studio with a competent engineer at the board, and given the amount of shoddy semi-bootleg Erickson releases that have oozed into the market over the years, this alone makes it worth a listen. Even better, Don’t Slander Me is one of Erickson’s strongest rock albums, with his voice sharp as a switchblade and his rhythm guitar work clicking perfectly with Duane Aslaksen’s fierce leads and Billy Miller’s gloriously eccentric autoharp patterns. (Former Jefferson Airplane bassist Jack Casady is also on board, helping to anchor the rhythm section.)

Single

While many of the songs on Don’t Slander Me popped up before (and since) throughout Erickson’s recording career, the versions here are focused and passionate (especially “Bermuda,” “Can’t Be Brought Down,” and the storming title cut), and while Erickson and his band were obviously in a hot-wired frame of mind when they recorded this material, “You Drive Me Crazy,” “Starry Eyes,” and “Nothing in Return” prove they could shine just as brightly on less hard-edged material. While Erickson was at the height of his legendary eccentricity when Don’t Slander Me was recorded, this album sounds passionate, focused, and coherent on all tracks, and if his lyrical bent is a bit strange here, at least he can convince listeners that his madness is more than just a pose. (by Mark Deming)

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Personnel:
Duane Aslaksen  (guitar, vocals)
Jack Casady (bass)
Roky Erickson (vocals, guitar)
Bill Miller (autoharp)
Paul Zahl (drums)
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Bill Burgess (guitar on 06.)
Martin Fierro (saxophone on 02.)
Mike Hinton (guitar on 01., 03.)
Jack Johnson (leadguitar on 09.)
Jeff Sutton (drums on 08.)
John Whitelaw (bass on 08. + 09.

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Tracklist:
01. Don’t Slander Me 3.24
02. Haunt 2.48
03. Crazy Crazy Mama 2.00
04. Nothing In Return 2.47
05. Burn The Flames 6.00
06. Bermuda 3.09
07. You Drive Me Crazy 2.26
08. Can’t Be Brought Down 4.59
09. Starry Eyes 3.05
10. The Damn Thing 4.54

All songs written by Roky Erickson

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More from Roky Erickson:
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Paul Simon – Graceland (1986)

FrontCover1Graceland is the seventh solo studio album by American singer-songwriter Paul Simon. It was produced by Simon, engineered by Roy Halee and released on August 25, 1986, by Warner Bros. Records.

In the early 1980s, Simon’s relationship with his former musical partner Art Garfunkel had deteriorated, his marriage to actress Carrie Fisher had collapsed, and his previous record, Hearts and Bones (1983), had been a commercial failure. In 1984, after a period of depression, Simon became fascinated by a bootleg cassette of South African township music. He and Halee visited Johannesburg, where they spent two weeks recording with South African musicians.

Recorded in 1985 and 1986, Graceland features an eclectic mixture of genres, including pop, rock, a cappella, zydeco, isicathamiya, and mbaqanga. Simon created new compositions inspired by the recordings made in Johannesburg, collaborating with African and American artists. He received criticism for breaking the cultural boycott imposed against South Africa because of its policy of apartheid. Following its completion, Simon toured alongside South African musicians, performing their music and songs from Graceland.

Graceland became Simon’s most successful studio album and his highest-charting album in over a decade; it is estimated to have sold up to 16 million copies worldwide. It was lauded by critics, won the 1987 Grammy Award for Album of the Year, and is frequently cited as one of the best albums of all time. In 2006, it was added to the United States’ National Recording Registry as “culturally, historically, or aesthetically important”.

PaulSimon1982Following the 1970s, in which he had released a series of hit records, Simon fell on hard times. His relationship with his former musical partner Art Garfunkel had again deteriorated; his sixth solo studio album, Hearts and Bones (1983), achieved the lowest sales of his career; and his marriage to actress Carrie Fisher collapsed. “I had a personal blow, a career setback, and the combination of the two put me into a tailspin,” he recalled.

In 1984, Simon became fascinated with a bootleg cassette tape, Gumboots: Accordion Jive Hits, Volume II, loaned to him by Heidi Berg, a singer-songwriter with whom he was working as a producer. He described it as “very good summer music, happy music”, and said it reminded him of 1950s rhythm and blues. He began improvising melodies over it as he listened in his car.

Simon asked his contacts at his label, Warner, to identify the artists on the tape. Through South African record producer Hilton Rosenthal, Warner confirmed that the music was South African and played by either the vocal group Ladysmith Black Mambazo or the Boyoyo Boys.[nb 1] “I first thought, ‘Too bad it’s not from Zimbabwe, Zaire, or Nigeria.’ Life would have been more simple,” Simon said at the time.

Simon considered buying the rights to his favourite song on the tape, “Gumboots”, and using it to write his own song, as he had with the song “El Condor Pasa” in the 70s. Instead, Rosenthal suggested that Simon record an album of South African music, and sent him dozens of records from South African artists.

Paul Simon

In the 1980s, recording in South Africa was dangerous, and the United Nations had imposed a cultural boycott for its policy of apartheid. This forced “all states to prevent all cultural, academic, sporting and other exchanges” with South Africa and ordered “writers, artists, musicians and other personalities” to boycott it. Nonetheless, Simon resolved to go to South Africa, and told The New York Times: “I knew I would be criticized if I went, even though I wasn’t going to record for the government … or to perform for segregated audiences. I was following my musical instincts in wanting to work with people whose music I greatly admired.”

Before leaving for Johannesburg, Simon contributed to “We Are the World”, a charity single benefiting African famine relief. Simon spoke to producers Quincy Jones and Harry Belafonte about recording in South Africa, who encouraged him to do it. The South African black musicians’ union also voted to let Simon come, as it could benefit their culture’s music, placing it on an international stage. At the time, musicians in Johannesburg were typically paid $15 an hour; Simon arranged to pay them $200 an hour, around triple the rate for top players in New York City. Simon said he “wanted to be as above board as I could possibly be”, as many of the musicians did not know who he was and would not be lured by the promise of royalties alone. He also offered writer’s royalties to those he felt had contributed particularly to compositions.

Paul Simon Performing

In February 1985, Simon and his longtime engineer Roy Halee flew to Johannesburg, intending their visit to be secret. Recording sessions took place at Ovation Studios. Halee had feared the studio would be a “horror show”, but was surprised to find it “very comfortable”. The studio was reminiscent of a garage, which Halee feared would be a problem for recording, and none of the musicians wore headphones.

Rosenthal used his connections to assemble the variety of musicians who had inspired Simon, including Lulu Masilela, Tao Ea Matsekha, General M. D. Shirinda and the Gaza Sisters, and the Boyoyo Boys Band.[9] Jam sessions ranged from 10 to 30 minutes, with Simon and Halee intending to assemble an album from them upon their return home. Though the playing style was technically simple, Simon found it difficult to mimic. Outside the studio, the general public was hostile toward Simon, but the Musician’s Union received him warmly. At the end of the two-week trip, Simon found himself relieved of his former personal turmoil and with a revitalized passion for music.

Though Simon described the recording sessions as “euphoric”, he recalled “tension below the surface” due to the effects of apartheid. When recording sessions continued into the evening, the musicians would become tense, as they were not allowed to use public transportation or be on the streets after curfew. Simon recalled, “In the middle of the euphoric feeling in the studio, you would have reminders that you’re living in incredibly tense racial environment, where the law of the land was apartheid.”

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Simon and Halee spent around two weeks recording in Johannesburg before returning to the Hit Factory studio in New York City to edit the material. Simon flew several South African musicians to New York to complete the record three months after the original sessions in Johannesburg. These sessions resulted in “You Can Call Me Al” and “Under African Skies”.

Simon began writing lyrics at his home in Montauk, New York, while listening to the recordings. The process was slow, but he determined he had sufficient material to begin re-recording the tracks. He played the tracks backward to “enhance their sound”, interspersing gibberish to complete the rhythms.

He brought together guest musicians including American singer Linda Ronstad and his childhood heroes the Everly Brothers. Simon’s trip to Louisiana with Richard Landry led to the recording of “That Was Your Mother” with local band Good Rockin’ Dopsie and the Twisters. After seeing the group at a dance hall in Lafayette, he recorded the song with them at a small studio behind a music store. He felt that the accordion, central to zydeco, would make a pleasing transition back to his own culture. Afterward, he contacted Mexican-American band Los Lobos, with whom he recorded “All Around the World or The Myth of Fingerprints” in Los Angeles.

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Engineer Roy Halee edited the album with new digital technology, transferring analog tape recordings to the digital workspace countless times. He said: “The amount of editing that went into that album was unbelievable … without the facility to edit digital, I don’t think we could have done that project.” He used tape echo and delay on every song, and paid particular attention to the bass, saying: “The bassline is what the album is all about. It’s the essence of everything that happened.” Each song was mixed in about two days at the Hit Factory, where most of the vocal overdubs were recorded.

Warner executives were uninterested in the project, viewing Simon as a bad investment due to the failure of his previous two solo albums.[15] The label was much more invested in Prince and Madonna, viewing Simon as a has-been. Simon felt their indifference to him worked in his favor, as it gave him more freedom. According to Halee, he believed executives at the label viewed the duo as “crazy” (by wikipedia)

Singles

 

With Graceland, Paul Simon hit on the idea of combining his always perceptive songwriting with the little-heard mbaqanga music of South Africa, creating a fascinating hybrid that re-enchanted his old audience and earned him a new one. It is true that the South African angle (including its controversial aspect during the apartheid days) was a powerful marketing tool and that the catchy music succeeded in presenting listeners with that magical combination: something they’d never heard before that nevertheless sounded familiar. As eclectic as any record Simon had made, it also delved into zydeco and conjunto-flavored rock & roll while marking a surprising new lyrical approach (presaged on some songs on Hearts and Bones); for the most part, Simon abandoned a linear, narrative approach to his words, instead drawing highly poetic (“Diamonds on the Soles of Her Shoes”), abstract (“The Boy in the Bubble”), and satiric (“I Know What I Know”) portraits of modern life, often charged by striking images and turns of phrase torn from the headlines or overheard in contemporary speech. An enormously successful record, Graceland became the standard against which subsequent musical experiments by major artists were measured. (by William Ruhlmann)

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Personnel:
Demola Adepoju (pedal-steel guitar)
Bakiti Kumalo (bass)
David W. Bargeron (trombone)
Adrian Belew (guitar synthesizer)
Steve Berlin (saxophone)
Randy Brecker (horn)
Ronald E. Brecker (trumpet)
Ronald E. Cuber (saxophone)
Jon Faddis (trumpet)
Babacar Faye (percussion)
Alex Foster (saxophone)
Steve Gadd (drums)
Earl Gardner (trumpet)
Morris Goldberg (penny whistle, saxophone)
David Hildago (accordion, guitar, vocals)
Johnny Hoyt (saxophone)
Alonzo Johnson (bass)
Vusi Khumalo (drums)
Kim Allan Cissel (trombone)
Bakithi Kumalo (bass)
Lloyd Lelose (bass)
Lewis Michael Soloff (trumpet)
Conrad Lozano (bass)
Ralph MacDonald (percussion)
Makhaya Mahlangu (percussion)
Mike Makhalemele (saxophone)
Petrus Manile (drums)
Lulu Masilela (tambourine)
Jonhjon Mkhaladi (accordion)
Forere Motloheloa (accordion)
Rob Mounsey (synthesizer)
Isaac Mtshali (drums)
Youssou N’Dour (percussion)
Teaspoon Ndlela (saxophone)
Louie Pérez (drums)
Chikapa “Ray” Phiri (guitar)
Leonard Pickett (saxophone)
Barney Rachabane (saxophone)
Sherman Robertson (guitar)
Cesar Rosas (guitar, vocals)
Alan Rubin (trumpet)
Alton Rubin (accordion)
Alton Rubin Jr. (drums)
David Rubin (washboard)
Joseph Shabalala (vocals)
Paul Simon (vocals, guitar, bass, synclavier)
Assane Thaim (percussion)
Daniel Xilakazi (guitar)
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background vocals:
Michele Cobbs – Diane Garisto – Linda Ronstadt Guest Artist, Vocals
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The Everly Brothers – Gaza Sisters – Ladysmith Black Mambazo (vocals)

Booklet04ATracklist:
01. The Boy In The Bubble (Motloheloa/Simon) 3.59
02. Graceland (Simon) 4.51
03. I Know What I Know (Shirinda/Simon) 3.13
04. Gumboots (Masilela/Mkhaladi/Simon) 2.45
05. Diamonds On The Soles Of Her Shoes (Shabalala/Simon) 5.48
06. You Can Call Me Al (Simon) 4.40
07. Under African Skies (Simon) 3.37
08. Homeless (Shabalala/Simon) 3.48
09. Crazy Love, Vol. II (Simon) 4.19
10. That Was Your Mother (Simon) 2.52
11. All Around The World Or The Myth of Fingerprints (Simon) 3.15

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Bo Diddley – Hey … Bo Diddley In Concert (Bo’s the Man! (Live On Tour) (1986)

FrontCover1Oh yeah … here´s a real nugget …

Hey… Bo Diddley: In Concert is a 1986 live album by Bo Diddley, recorded on a European tour. His backing band for the performances on the album were Mainsqueeze, featuring guitarist Eric Bell, previously of Thin Lizzy, and Dick Heckstall-Smith, the jazz and blues saxophonist. Other members of the band included bass guitarist Keith Tillman, who, like Heckstall-Smith, had previously played with John Mayall & the Bluesbreakers; and drummer Leonard “Stretch” Stretching, who had performed with Marvin Gaye and Tom Waits.

The album was re-released in the USA in October 2001 on the Aim Trading Group label, and has also been released with different titles. (wikipedia)

Alternate front+backcover:

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Still touring and delighting his fans, this album shows Bo in his element on his last tour of Europe with Dick Heckstall-Smith´s Mainsqueeze featuring Eric Bell (ex – Thin Lizzy) (taken frm the original liner notes)

And this is a hell of a record, because Mainsqueeze played in this fucking good British Blues-Rock style … check the line-up !

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One of the best Bo Diddley recordings ever !

This album was later re-released (2006) as “Bo’s the Man! (Live On Tour)” … with three bonus tracks …

This is my reception against the corona virus !

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Personnel:
Eric Bell (guitar)
Bo Diddley (vocals, guitar)
Dick Heckstall-Smith (saxophone)
Dave “Munch” Moore (keyboards)
Keith Tillman (bass)
Leonard “Stretch” Stretching (drums)

Booklet02A

Tracklist:
01. Intro / Bo Diddley Vamp (McDaniel) 7.26
02. Doctor Jeckyll (McDaniel/Heckstall-Smith) 5.02
03. Everleen (McDaniel)  4.38
04. I Don’t Know Where I’ve Been (McDaniel) 2.17
05. You Can’t Judge A Book Dixon) 3.54
06. Roadrunner (McDaniel) 3,25
07. I’m a Man (Morganfield/London/McDaniel) 10.38
08. Mona (McDaniel) 5.10
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09. I Don’t Know Where I’ve Been (studio recording 1982) (McDaniel) 5.59
10. Juke (live 1967) (Jacobs) 3.32
11. Sad Horse (live 1967) (Jacobs) 5.22

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Ellas McDaniel (born Ellas Otha Bates; December 30, 1928 – June 2, 2008)
known as the one and only Bo Diddley