Kinothek Percussion Ensemble (Dna Hoover) – Adventure (1987)

FrontCover1KPE consists of Californian composer, musician & performer DNA Hoover. He plays percussion instruments and found objects, but his main instrument is a multitrack studio where he assembles what will form his albums: musical pieces that explore thematic film music.
The actual (original) principle of KPE was developed in 1919 by the Italian composer Giuseppe Becce, who published “Kinobibliothek”, a catalogue of film scores from which directors could select suitable pieces to accompany their films (which at the time had no soundtrack). “Kinobibliothek” was the most successful of similar publications and soon became an industry standard; later it was simply called “Kinothek”.
DNA Hoover not only adopted the name ‘Kinothek’, but works similarly to Becce – instead of written compositions, he publishes recordings containing music for films, real ones or for ‘cinema in the head’.

Liner Notes

On ‘Industrie !’ Hoover has expanded his musical ‘library’ with many ‘found’ sounds of mechanical origin. These sounds from a system of interactive ‘templates’ create a moving tide of polyrhythms based on 55,110,165 and 220 beats per minute. It sounds like a walk through a factory. No brutal noise, but unobtrusive, repetitive and dense soundscapes of mechanical repairs, more related to ambient sounds than to the clumsiness of the so-called industrial scene.


One man show. Kinothek Percussion Ensemble is the project of a California-based percussionist, sound experimenter and sculptor named Dna Hoover. He has made only 3 albums, besides Adventure, Suspense (1989) and Industry! Volume 3 (1992). Neither has been reissued yet. Don’t expect any drum and percussion solos. Through the masterful use of electronics, noise, various hard-to-specify sounds, voices and pre-recorded tapes, he achieves a highly dramatic score that might be appropriate for a horror or sci-fi film. Experimental, noise, industrial. In fact, he uses the word “kinothek” to refer to the Italian film music composer Giuseppe Becce (1877-1973), who in 1919-1933 invented the “cinema library”, a kind of musical archive from which filmmakers would select ready-made incidental music for their films. I highly recommend the Kinothek Percussion Ensemble, my friends. (Jiří Kalemba)

Very interesting sound variations, at times a little disturbing.

This, and subsequent KPE albums are explorations of the kinothek concept – a collection of visually provocative music, catalogued by dramatic mood.


Dna Hoover (all instruments)

Dna Hoover01

01. Near Miss 3.48
02. Premonition 0.32
03. Unseen Perils 2.55
04. Confrontation 3.01
05. Maelstrom / Coaxed By Wile 6.19
06. In Wait 2.07
07. In Search Of 4.06
08. Discovery 1.53
09. A Change En Route 4.20
10. Passage 1.38
11. Determination 1.59
12. Out Of Control 3.15
13. Incident 0.42

Music: Dna Hoover



Born in Timberville, Virginia in 1956, Dna Hoover studied sculpture at Virginia Commonwealth University before attending SFAI in 1978. In 1979, he cofounded the nonprofit art space ARE in downtown SF. In 1980, Dna cofounded the performance art group For Further Information, performing in the bay area and on a cross country trip that culminated in a three channel video installation at the Berkeley Art Museum. Over the next couple of decades, Dna collected and built musical instruments and released several albums under the pseudonym Kinothek Percussion Ensemble.

Dna Hoover02
Currently, Dna lives with his wife, artist Joan E Jusell in Vacaville, California and runs Dna Hoover/Housewright, a small design/build company

Signed FrontCover1

Dna Hoover on facebook:

Chris Isaak – Same (1987)

LPFrontCover1Christopher Joseph Isaak (born June 26, 1956) is an American musician and occasional actor. He is widely known for his hit “Wicked Game”, as well as the songs “Baby Did a Bad Bad Thing” and “Somebody’s Crying”. He is known for his signature 1950s rock & roll style and crooner sound, as well as his falsetto and reverb-laden music. He is closely associated with film director David Lynch, who has used his music in numerous films and gave him a role in the film Twin Peaks: Fire Walk with Me. His songs generally focus on the themes of love, loss, and heartbreak. With a career spanning four decades, he has released a total of 12 studio albums, toured, and received numerous award nominations. He has been called the Roy Orbison of the 1990s and is also often compared to Elvis Presley, Ricky Nelson, and Duane Eddy.

Chris Isaak01

Chris Isaak is the second album by Chris Isaak, released in 1987. After the poor commercial success of his debut, Isaak honed his style to a sophisticated R&B for his follow-up.[5] The song “Blue Hotel” was a hit in France, and in the U.K. after being re-released in 1991 making the Top 20. (wikipedia)

Having established a winning musical combination on Silvertone, Chris Isaak and his band essentially continue it with little variation on his second album, 11 songs of smoky, wounded romance and dark menace given great all-around performances. Isaak’s gift for capturing a perfect blend of early rock & roll twang and making it sound perfectly of the now is his greatest strength, and if later albums showed him finding new ways to twist and develop his approach, the relatively straight-up work here is more than fine. “Blue Hotel” is easily the killer track on the album, James Wilsey’s spaghetti Western lead guitar and Isaak’s yearning, lost singing perfectly matched.


There are plenty of other reasons to listen in, though. “You Owe Me Some Kind of Love” is in many ways the precursor to Forever Blue’s “Baby Did a Bad, Bad Thing,” only before the breakup, though still charged with a threat of desire and need. Wilsey’s concluding guitar solo is especially sharp, and the way Isaak delivers the chorus balances between melancholy and urgency. For all the Roy Orbison comparisons Isaak won, “Cryin'” is in fact an original, but Isaak does tip his hat another direction with an attractive remake of the Yardbirds’ “Heart Full of Soul,” making it sound very much like an Isaak original instead of a worshipful carbon copy. Erik Jacobsen’s production again emphasizes Kenney Dale Johnson’s drumming without making it suffer from late-’80s corporate rock disease, while touches like the sax on “Lie to Me” and the buried strings and wordless backing vocals elsewhere adds depth and lushness to the album in just-right amounts. The whole experience is pure doom-haunted passion, elegantly on the run away from — or towards — someone. All that and a killer cover photo as well, the iris of Isaak’s eye only just in the light. (by Ned Raggett)


Pat Craig (keyboards)
Chris Isaak (vocals, guitar)
Kenney Dale Johnson (drums, vocals)
Prairie Prince (drums)
John Robinson (drums)
Rowland Salley (bass)
Chris Solberg (bass)
James Calvin Wilsey (guitar)

01. You Owe Me Some Kind Of Love 3.52
02. Heart Full Of Soul 3.20
03. Blue Hotel 3.12
04. Lie To Me 4.13
05. Fade Away 4.16
06. Wild Love 2.56
07. This Love Will Last 2.46
08. You Took My Heart 2.30
09. Cryin’ 2.32
10. Lovers Game 2.55
11. Waiting For The Rain to Fall 3.39

All songs written by Chris Isaak;
except 02., written by Graham Gouldman



More from Chris Isaak:

The offical website:

Heart – Bad Animals (1987)

FrontCover1Heart is an American rock band formed in 1967 in Seattle, Washington, as The Army. Two years later they changed their name to Hocus Pocus. The year following they changed their name to White Heart, and eventually changed the name a final time to Heart, in 1973. By the mid-1970s, original members Roger Fisher (guitar) and Steve Fossen (bass guitar) had been joined by sisters Ann Wilson (lead vocals and flute) and Nancy Wilson (rhythm guitar, backing and occasional lead vocals), Michael Derosier (drums), and Howard Leese (guitar and keyboards) to form the lineup for the band’s initial mid- to late-1970s success period. These core members were included in the band’s 2013 induction into the Rock and Roll Hall of Fame.


Heart rose to fame with music influenced by hard rock and heavy metal, as well as folk music. The band’s popularity declined in the early 1980s, and the band began a successful comeback in 1985 which continued into the mid-1990s. Heart disbanded in 1998, resumed performing in 2002, went on hiatus in 2016, and resumed performing in the summer of 2019.[5] Heart’s US Top 40 singles include “Magic Man” (1975), “Crazy on You” (1976), “Barracuda” (1977), “What About Love” (1985), “Never” (1985), and “All I Wanna Do Is Make Love to You” (1990), along with no. 1 hits “These Dreams” (1986) and “Alone” (1987).


Heart has sold over 35 million records worldwide, including approximately 22.5 million albums in the United States. They have placed top 10 albums on the Billboard 200 in the 1970s, 1980s, 1990 and 2010s. Heart was ranked number 57 on VH1’s “100 Greatest Artists of Hard Rock” and ranked number 49 on Ultimate Classic Rock’s Top 100 Classic Rock Artists.


Bad Animals is the ninth studio album by American rock band Heart, released on June 6, 1987, by Capitol Records. The album continues the mainstream hard rock style from the band’s 1985 self-titled release, all while enjoying similar success. It peaked at number two on the US Billboard 200 in August 1987, and was certified triple platinum by the Recording Industry Association of America (RIAA) on June 4, 1992. Internationally, Bad Animals charted within the top five in Canada, Finland, Norway, Sweden, and Switzerland.

The album spawned the US number-one single “Alone”, while “Who Will You Run To” reached number seven, “There’s the Girl” reached number 12, and “I Want You So Bad” reached number 49. Bad Animals received a nomination for Best Rock Performance by a Duo or Group with Vocal at the 30th Annual Grammy Awards in 1988.

The album features a few cover songs: “Alone” was originally recorded by the duo i-Ten on their 1983 album Taking a Cold Look, while “Wait for an Answer” was originally recorded by Dalbello on her 1984 album Whomanfoursays.

The album’s name refers to a situation the band encountered at a hotel in Charlotte, North Carolina. Ann Wilson’s dog was at the hotel with her, and hotel security informed the band that a North Carolina law made it a crime to bring an animal into a hotel room. The band’s tour manager solved the problem by going outside with the dog for three hours. (wikipedia)


Switching from Epic to Capitol with 1985’s Heart proved to be a wise move for the Wilson sisters, who experienced a major resurgence in popularity and gained many new followers. Heart’s arena rock sound had become even glossier, and the band was selling more albums than ever. But for all its production gloss (courtesy of Ron Nevison) and pop slickness, Bad Animals comes across as sincere rather than formulaic or cynical. From the rockers “You Ain’t Too Tough” and “Easy Target” to the power ballads “Alone” and “Wait for an Answer,” all of the songs are quite memorable. The folk elements and acoustic leanings that characterized many of Heart’s early ballads were long gone, and the Wilson sisters keep the volume high but slow the tempo. (by Alex Henderson)


Mark Andes (bass)
Denny Carmassi (drums)
Howard Leese (guitar, keyboards, background vocals)
Ann Wilson (vocals)
Nancy Wilson (guitar, keyboards, vocals)
Duane Hitchings (keyboards)
Mike Moran (keyboards)
Tom Kelly (background vocals)
Holly Knight (keyboards)
Efrain Toro (drums)


01. Who Will You Run To (Warren) 4.06
02. Alone (Kelly/Steinberg) 3.39
03. There’s The Girl (N.Wilson/Knight) 3.50
04. I Want You So Bad (Kelly/Steinberg) 4.22
05. Wait For An Answer (Dal Bello) 4.32
06. Bad Animals (A.Wilson/N.Wilson/Carmassi/Andes/Leese) 4.54
07. You Ain’t So Tough (Kipner/Beckett) 4.06
08. Strangers Of The Heart (Hitching/Shifrin/Andes) 3.42
09. Easy Target (A.Wilson/N.Wilson/Ennis) 3.59
10. RSVP (A.Wilson/N.Wilson/Ennis) 3.39LabelB1*


Carlos Santana – Blues For Salvador (1987)

FrontCover1Because his pioneering Latin rock band shared his surname, it’s easy to conflate Carlos Santana with Santana, especially since the guitarist functioned as the group’s leader and spokesperson. Nevertheless, Carlos ventured outside of the confines of his namesake band to pursue adventurous collaborations with jazz musicians — his first non-band album, 1973’s Love Devotion Surrender, was recorded with John McLaughlin and Mahavishnu Orchestra; his second was made with Alice Coltrane — in addition to smoother material, like the kind showcased on 1983’s Havana Moon and 1987’s Grammy-winning Blues for Salvador. Throughout these solo excursions, as well as his work with his band, one thing remained constant: Carlos’ exceptional lead guitar work, characterized by its Carlos Santana02warm, saturated tone and fluid, lyrical phrasing. (by Stephen Thomas Erlewine)

Carlos Humberto Santana Barragán (born July 20, 1947) is an American guitarist who rose to fame in the late 1960s and early 1970s with his band Santana, which pioneered a fusion of rock ‘n’ roll and Latin American jazz. Its sound featured his melodic, blues-based lines set against Latin American and African rhythms played on percussion instruments not generally heard in rock, such as timbales and congas. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2015, Rolling Stone magazine listed him at No. 20 on their list of the 100 greatest guitarists. He has won 10 Grammy Awards and three Latin Grammy Awards, and was inducted along with his namesake band into the Rock and Roll Hall of Fame in 1998.

Blues for Salvador is a 1987 album by Carlos Santana, dedicated to his son Salvador. The record was released by Carlos Santana as a solo project, not with the Santana band. It won the 1989 Grammy Award for Best Rock Instrumental Performance, his first Grammy ever. (wikipedia)

Carlos Santana01

On previous “solo” albums, Carlos Santana had made noticeable stylistic changes and worked with jazz, pop, and even country musicians. On this, his fourth Carlos Santana release, the line between a “solo” and a “group” project is blurred; this record is really a catchall of Santana band outtakes and stray tracks. For example, included are an instrumental version of “Deeper, Dig Deeper” from Freedom, and an alternate take of “Hannibal” from Zebop!, as well as “Now That You Know” from the group’s 1985 tour.

Flexi promo disc:
Flexi Promo Disc

Given the variety of material, the album is somewhat less focused than most Santana band albums, but there are individual tracks that are impressive, notably “trane,” which features Tony Williams on drums. (Blues for Salvador won the Grammy Award for Best Rock Instrumental Performance). (by William Ruhlmann)


Sterling Crew (keyboards, synthesizer)
Alphonso Johnson (bass)
Graham Lear (drums, percussion)
Alex Ligertwood (percussion, vocals)
Buddy Miles (background vocals)
Armando Peraza (percussion, vocals)
Raul Rekow (percussion, vocals)
Carlos Santana (guitar)
Chris Solberg (guitar, vocals)
Chester D. Thompson (keyboards)
Orestes Vilató (flute, percussion, timbales, background vocals)
Greg Walker (vocals)
Tony Williams (drums)

01. Bailando/Aquatic Park (Santana/Thompson/Vilató) 5.45
02. Bella (Crew/Santana/Thompson) 4.30
03. I’m Gone (Crew/Santana/Thompson) 3.08
04. Trane (Santana) 3.11
05. Deeper, Dig Deeper (Crew/Miles/Santana/Thompson) 6.09
06. Mingus (Crew/Santana/Thompson) 1.26
07. Now That You Know (Santana) 10.28
08. Hannibal (Ligertwood/Pasqua/Rekow) 4.28
09. Blues For Salvador (Santana/Thompson) 5.57



More from (Carlos) Santana:

The official website:

Various Artists – 2th Blues Festival Bonn 1987 (1988)

FrontCover1As everyone here probably knows, I am a great lover of blues music (regardless of whether it is black or white blues music).

And here is a very special rarity, recorded live at the 2th Blues Festival in Bonn/Germany.

I guess this album was only released in Germany.

So, This are one of the hardest recordings of bands like Canned Heat, Chicken Shack, Man (they were of course not a blues band) and Dr. Feelgood … all bands I like very much …

… and I m guess there are still many fans of these bands and their music.


So enjoy this album (including the jam session as an encore… !) … I call it: Excellent stuff and you should not miss it !

Recorded live at the Biskuithalle, Bonn/Germany, September, 27, 1987



Chicken Shack:
Bev Smith (drums)
Wayne Terry (bass)
Stan Webb (guitar, vocals)
David Wilkie (keyboards)

Dr. Feelgood:
Lee Brilleaux (vocals, guitar)
Philipp Mitchell (bass, vocals)
Drums, Vocals – Kevin Morris (drums, vocals)
Gordon Russell (guitar)

Martin Ace (bass, vocals)
Micky Jones (guitar, vocals)
Deke Leonard (guitar, vocals)
Terry Williams (drums, vocals)

Canned Heat:
Adolpho „Fito“ De LaParra (drums)
Larry Taylor (bass, vocals)
James Thornberry (guitar, vocals, flute)
Henry Vestine (guitar)



Chicken Shack:
01. The Thrill Has Gone (Darnell/Hawkins) 7.52
02. Have You Ever Loved A Woman (Myles) 10.57
03. I’d Rather Go Blind (Jordan) 6.44

Dr. Feelgood:
04. Down At The Doctors (Jupp) 4.13
05. See You Later Alligator (Guidry) 3.27
06. Back In The Night (Johnson) 4.06
05. Milk And Alcohol (May/Lowe) 2.47

06. What A Night (Roger/Leonard) 3.26
07. Jumping Like A Kangaroo (Ace) 4.58
08. Bananas (John/Jones/Ryan/Williams) 8.31

Canned Heat:
09. Going Up The Country (Wilson) 3.01
10. Rollin’ And Tumblin’ (Morganfield) 4.19
11. Amphetamine Annie (Wilson/Hite/Parra/Vestine/Taylor) 4.22

All Star Jam Session:
12. Dust My Broom (James) 8.53




Alternate frontcover:

Neil Larsen – Through Any Window (1987)

FrontCover1Neil Larsen (born August 7, 1948) is an American jazz keyboardist, musical arranger and composer. He was born in Cleveland, Ohio and grew up in Sarasota, Florida before relocating to New York and then, in 1977, Los Angeles.

Larsen was born in Cleveland, Ohio and grew up in Sarasota, Florida. He learned piano, drawing inspiration from jazz artists John Coltrane, Miles Davis and the Modern Jazz Quartet, and from contemporary rock acts.

In 1969, he was drafted to serve in the Vietnam War. During his time in Vietnam, he worked as a band director, co-ordinating musical entertainment for US armed forces personnel. After his discharge, he moved to New York to work as a musician.

While in New York in the early 1970s, Larsen wrote television jingles and played on sessions for various recording artists He formed the band Full Moon with jazz guitarist Buzz Feiten, and their self-titled debut album was released in 1972. Larson was briefly a member of the Soul Survivors. He contributed as keyboardist, writer and arranger on their 1974 self-titled album on the TSOP label. He began touring as a member of Gregg Allman’s band in 1975.

Neil Larsen01

In 1977, Larsen relocated to Los Angeles, where he played on sessions by producers such as Tommy LiPuma, Russ Titelman and Herb Alpert. These projects led to Larsen signing with Alpert’s record company, A&M Records, for which he recorded on the Horizon label. Larsen’s first album, Jungle Fever, was released in September 1978. Larsen toured the US in support of the release with a band that included Feiten.

The title track from his second album, High Gear, was nominated for the 1980 Grammy Award for Best Rock Instrumental Performance. The album peaked at number 153 on the Billboard Top LPs & Tape chart in the US and included musical contributions from Feiten, Michael Brecker, Steve Gadd and Paulinho da Costa.

Larsen collaborated further with Feiten in the jazz–rock fusion groups the Larsen Facts Band and the Larsen-Feiten Band. The latter released The Larsen-Feiten Band in 1980 on Warner Bros. Records. He has also recorded and toured with guitarist Robben Ford, who contributed to Larsen’s 2007 album Orbit.

Neil Larsen02

His compositions have also been recorded by George Benson and Gregg Allman, among others. Larsen took part in Miles Davis’s Rubberband sessions in 1985–86. His song “Carnival” was later adapted by Davis into the piece “Carnival Time”.

Larsen has worked as a session musician for many rock artists, including Rickie Lee Jones, George Harrison, Kenny Loggins and Don McLean. He was the pianist and musical arranger for the 20th Century Fox Television show Boston Legal, and musical director for jazz singer Al Jarreau.

From 2008, he toured and recorded as a member of Leonard Cohen’s band. Larsen performed on Cohen’s Old Ideas album and on the singer’s final world tour, in 2012–13. Cohen regularly introduced him on stage as “today’s foremost exponent of the Hammond B-3 organ”. (wikipedia)

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Through Any Window is the fourth solo album by Neil Larsen, released in 1987

Neil Larsen is a great keyboardist and composer and his 2 previous efforts are among the few fusion records released in the 70s that hold up after time. This was largely due to Neil’s avoiding the trendy synth stuff and using a Hammond organ as his instrument of choice. His partner, guitarist, Buzz Feiten also contributed his stellar talents to these recordings to make them even more enduring. This Cd released in the late 80s suffers from some of the synth crazy sounds he had previously avoided, but still has its moments which include a searing tenor solo from Michael Brecker on “Carnival” and great playing once again from Larsen and Feiten. (A.E. Pagano)

And the best track is a cover version of the classic Booker T. Jones & The MG´s tune “Hip Hug-Her” … hot, very hot …


Lenny Castro (percussion)
Nathan East (bass)
Buzz Feiten (guitar)
Steve Ferrone (drums)
Neil Larsen (keyboards)
Michael Brecker (saxophone on 01.)
Brandon Fields (saxophone on 07. + 09.)
Stephen ‘Doc’ Kupka (saxophone on 07.)
Steve Lukather (guitar on 04.)
Ricky Minor (bass on 04.+ 06.)
David Sanborn (saxophone on 05.)


01. Carnival 3.59
02. Alborada 4.00
03. Miss Baby Larue 4.39
04. Blind Spot 5.04
05. Tonar 4.04
06. Tropic Lightning 4.37
07. Last Call 3.43
08. Through Any Window 4.41
09. Hip Hug-Her 4.29

Music composed by Neil Larsen
except 09., written by Steve Cropper – Donald Dunn – Al Jackson Jr. – Booker T. Jones



Neil Larsen04

Van Morrison & The Danish Radio Big Band – Live at the Kulturcafe, Centersal, Ishoj, Denmark (1987)

FrontCover1Sir George Ivan “Van” Morrison OBE (born 31 August 1945) is a Northern Irish singer-songwriter, instrumentalist and record producer. His professional career began as a teenager in the late 1950s playing a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands, covering the popular hits of that time. Van Morrison rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band Them, with whom he recorded the garage band classic “Gloria”. His solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single “Brown Eyed Girl” in 1967. After Berns’s death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks (1968). Though this album gradually garnered high praise, it was initially a poor seller.

Morrison has a reputation for being at once stubborn, idiosyncratic, and sublime. His live performances at their best are seen as transcendental and inspired; while some of his recordings, such as the studio albums Astral Weeks and Moondance, and the live album It’s Too Late to Stop Now, are highly acclaimed.

Moondance (1970) established Morrison as a major artist, and he built on his reputation throughout the 1970s with a series of acclaimed albums and live performances. He continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains.

VanMorrison (1987)

Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl”, “Jackie Wilson Said (I’m in Heaven When You Smile)”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz and stream-of-consciousness narrative, such as the album Astral Weeks and the lesser known Veedon Fleece and Common One. The two strains together are sometimes referred to as “Celtic soul”. He has received two Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, the 2017 Americana Music Lifetime Achievement Award for Songwriting and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2016, he was knighted for services to the music industry and to tourism in Northern Ireland. He is known by the nickname Van the Man to his fans. (by wikipedia)


And here´s a wonderful, a brilliant live concert together with The Danish Radio Big Band … what a great addition to every Van Morrison collection … it´s a must to have !

I had a request for this recently and to save myself some transfer time i thought i’d see if this already existed here [Dime]. What i found of this well-known Van show was a bootleg of the incomplete show just including the songs Van sang plus a couple of tracks from another show. After grabbing this i went back to my 31-year-old cassette. I remembered it being longer and it was. My tape has what I believe to be the complete FM broadcast including a version of one of the songs not included on the bootleg. i also believe my copy is better quality. I got this a few months after the show was on the radio. (davmar77, September 2018)

Recorded live at the Kulturcafe, Centersal, Ishoj, Denmark; February 28, 1987
Very good FM broadcast.


Van Morrison (vocals)
The Danish Radio Big Band:
Palle Bolvig (trumpet)
Lennart Gruvstedt (drums)
Ole Kock Hansen (piano)
Steen Hansen (trombone)
Lars Hougaard (trombone)
Bent Jædig (saxophone)
Uffe Karskov (saxophone)
Fleming Knudsen (saxophone)
Perry Knudsen (trumpet)
Ture Larsen (trombone)
Vincent Nilsson (trombone)
Benny Rosenfeld (trumpet)
Bjarne Roupé (guitar)
Jesper Thilo (saxophone)
Lars Togeby (trumpet)
Mads Vinding (bass)
Jan zum Vohrde (saxophone)
Ethan Weisgard (percussion)
Axel Windfeld (trombone)
Jens Winther (trumpet)

Alternate front + backcover:

01. Say It (instrumental) (Nilsson) 5.18
02. DJ talk 0.36
03. I Will Be There (Morrison) 2.49
04. DJ talk 0.49
05. A New Kind Of Man (Morrison) 3.41
06. DJ talk 0.26
07. Haunts Of Ancient People 6:06
08. DJ talk 0.29
09. Celtic Swing (instrumental) (Morrison) 5.16
10. Listen To The Lion (Morrison) 5:52
11. DJ talk 0.33
12. Vanlose Stairway (Morrison) 5.01
13. DJ talk 0.51
14. Scarborough Fair (instrumenta) (Traditional) 6.27
15. DJ talk 0.22
16. Got To Go Back (Morrison) 5.06
17. DJ talk 0.21
18. Here Comes The Night (Berns) 3.31



The Cult – Electric (1987)

FrontCover1Electric is the third album by British rock band The Cult, released in 1987. It was the follow-up to their commercial breakthrough Love. The album equalled its predecessor’s chart placing by peaking at number four in the UK but exceeded its chart residency, spending a total of 27 weeks on the chart (the most successful run for an album by The Cult).[1]

The album marked a deliberate stylistic change in the band’s sound from gothic rock to more traditional hard rock. Rick Rubin, the producer on Electric, had been specifically hired to remake the band’s sound in an effort to capitalize on the popularity of hard rock and heavy metal in the 1980s. The album was featured in the book 1001 Albums You Must Hear Before You Die.

In 2013 the album was re-released as a double CD set under the title Electric Peace, with one disc featuring the originally released album and the second containing the entire Peace album recorded during the Manor Sessions.


After the breakthrough success of their second album, Love, the Cult began working on a follow-up with producer Steve Brown. In the summer of 1986, they recorded twelve tracks at the Manor Studio in Oxfordshire. These recordings, which came to be known as the Manor Sessions, were to make up a new album, tentatively entitled Peace. However upon completion of the recording sessions, the band decided that they were unhappy with the sound, and began to look for a new producer.

The band went on to choose Rick Rubin, who was known for producing albums for hip hop artists and thrash metal band Slayer. These new recordings, with a slightly different track-list and running order, became the album that was released. (by wikipedia)


The roots of Electric lay in another album entirely, Peace, which was recorded with Love producer Steve Brown in a series of sessions that the band found increasingly pressure-filled and fraught with tension. A chance meeting with Def Jam supremo Rick Rubin at an American awards ceremony turned out to be the charm, resulting in the saucy chest-baring stomp of Electric. Rubin chucked all the old recordings for a series of new sessions, stripping everything down and essentially transforming Billy Duffy into the logical successor to AC/DC’s Angus Young. Thankfully Ian Astbury decided not to become Brian Johnson, and while his macho yells can’t help being cartoonish, he’s clearly having fun throughout.


Though both band and album caught a lot of flak for their perceived wallowing in dinosaur sounds and styles, the end result is still a fist-punching yelp of energy that demands to be heard at maximum volume in arenas, with a brusque punch in Les Warner’s drums to match Duffy’s power-chord action. “Love Removal Machine” is still the album’s calling card, another in the series of instantly catchy Cult singles. “Li’l Devil” is almost as worthy, while other cuts like “Wild Flower” and “King Contrary Man” would have sounded good in 1973 and sound just as good in a new century. There are a couple of missteps — “Peace Dog” starts good but ends up being what happens when the Doors are used as a model in the wrong way, while the version of the Steppenwolf classic “Born to Be Wild” should be taken out and shot. Otherwise, an enjoyable pleasure from start to finish — even if Astbury sings “plastic fantastic lobster telephone” at one point. (by Ned Raggett)


Ian Astbury (vocals)
Billy Duffy (guitar)
Jamie Stewart (bass)
Les Warner (drums)


01. Wild Flower 3.38
02. Peace Dog 3.35
03. Lil’ Devil 2.44
04. Aphrodisiac Jacket 4.11
05. Electric Ocean 2.49
06. Bad Fun 3.34
07. King Contrary Man 3.12
08. Love Removal Machine 4.18
09. Born To Be Wild 3.55
10. Outlaw 2.52
11. Memphis Hip Shake 4.01

All songs written by Ian Astbury and Billy Duffy,
except 09., which was written by Mars Bonfire




Jazz Fiddlers – (N)Evergreens (1987)

FrontCover1.JPGUnfortunately, I don´t know very much about the Jazz Fiddlers …

… but what I know that the Jazz Fiddlers in an amazing group, an ensemble which celebrates all these classics from the early days of Jazz history.

The Jazz Fiddlers were an outstanding and exciting ensemble of traditional jazz.

And here´s an overview ot the their history:


So, it´s time to discover The Jazz Fiddlers all over the world … And here´s your first chance !

Liste and enjoy !

Recorded at the FISYO Studio, Prague, June 1987


Vít Fiala (bass)
Jiří Frühauf (banjo)
Petr Hasman (clarinet)
Jaromír Helešic (drums)
Petr Karen (saxophone)
Michal Pálka (clarinet)
Petr Skočdopole (piano)
Jiří Sova (trombone)
Vítězslav Marek (guitar on 11. – 13.)
Jitka Vrbová (vocals on 07. + 12.)
Josef Šťastný (bass on 02., 05. + 08.)

Jazz Fiddlers2011.jpgTracklist:
01. She Is The Great, Great Girl (Woods) 2.47
02. Davenport Blues (Bismarck/Beiderbecke) 3.04
03. Big Butter & Egg Man (Armstrong/Venable) 2.47
04. Limehouse Blues (Furber/Braham) 3.20
05. Blues In The Air (Bechet) 5.32
06. San (McPhail/Michels) 3.01
07. All By Myself (Berlin) 3.46
08. That Da-Da Strain (Dowell/Medina) 3.27
09. Lonesome Road (Austin/Shilkret) 2.59
10. If I Had You (Campbell/Connelly/Shapiro) 2.41
11. Voodte (Hawkins) 4.35
12. Raisin’ The Rent (Arlen/Koehler) 4.40
13. Easy Going Bounce (Lovett) 3.22



Jazz Fiddlers1972

Vladimir Horowitz – Horowitz The Poet (1991)

FrontCover1.jpgVladimir Samoylovich Horowitz (October 1 [O.S. September 18] 1903 – November 5, 1989) was an American classical pianist and composer born in the Russian Empire. He was acclaimed for his virtuoso technique, his tone color, and the excitement engendered by his playing. He is widely regarded as one of the greatest pianists of all time. (by wikipedia)

Vladimir Horowitz had a complicated relationship with Schubert’s last piano Sonata. He revered the Sonata from the 1930s on, but felt it was too small scale a work for performance in today’s large concert halls. He finally gave it a try in 1953, playing it at the 25th Anniversary of his American Debut. One critic wrote that “Horowitz subjects poor, innocent Schubert to the most neurotic bombardment.” The hypertense, oversized 1953 performance is one of the most uncomfortable piano recordings ever made.


Despite his difficulties in bringing it to life, Horowitz remained fond of the Sonata and often played it at home. His conception mellowed over the years, and friends urged him to perform it again. Horowitz played the Schubert at several recording sessions in March of 1986, about one month before his Moscow concert. So, his mind may have been elsewhere during these sessions. On the positive side, there is a welcome sense of relaxation, he plays the often neglected first movement repeat, and he gets the tempos right. It’s nice to hear the second movement, marked Andante sostenuto, played at the intended tempo – instead of Adagio or even Largo. But there are too many negatives here: Horowitz gussies up the piano writing (adding fifths in the left hand and lowering bass notes), breaks apart phrases, and generally disrupts the flow of the music to the extent that what is left is a parody of Schubert’s most sublime piano sonata. He’s also not quite up to snuff technically in the last movement.


The pianist himself recognized the problems with this performance – calling it “fussy” – and refused to grant Deutsche Grammophon permission to release it. (Other pieces recorded during those sessions, Schubert’s Moment Musical No. 3, the Schubert-Liszt Serenade, and Soirees de Vienna No. 6, were released on the “Horowitz at Home” CD in 1989.) In 1991, Wanda Toscanini Horowitz overrode her late husband’s rejection and allowed the Sonata to be released. It says something about Mrs. Horowitz’s musical judgment that she approved the release of a substandard performance of a highly regarded musical work, but she refused RCA permission to release Horowitz’s astounding live performances of Balakirev’s Islamey and Liszt’s St. Francis Walking on the Water because she felt they were unmusical warhorses. She was clearly more interested in associating her husband’s name with snob repertoire than in great performances.


Horowitz had a more steady relationship with Schumann’s Kinderszenen. The pianist played it frequently in concert from the 1940s on. This version, his fourth official recording of the work, is from a live performance in Vienna’s Great Golden Hall in May of 1987, one of Horowitz’s last concerts. In many ways, it’s also his finest recording of Kinderszenen. Horowitz’s two studio renderings, from 1950 and 1962, are fairly straightforward accounts, with occasional lapses into pianistic micromanagement and hints of nervousness when there should be repose. A 1982 live recording is almost the opposite, with bizarre rubatos, distended ritards, slack rhythm, and almost no coherence. But here, in 1987, Horowitz has pulled himself together and plays with simplicity, controlled freedom, and conviction. It is often said that the elderly sometimes return to a childlike state. In old age, Horowitz had achieved communion with Schumann’s visions of childhood lost.

The sound is fine in both works, with remarkably little audience noise during the live Kinderszenen. (by Hank Drake)


Vladimir Horowitz (piano)



Franz Schubert: Piano Sonata In B Flat Major, D 960:
01. Molto Moderato 19.12
02. Andante Sostenuto 8.02
03. Scherzo: Allegro Vivace Con Delicatezza 4.12
04 Allegro Ma Non Troppo 7.38

Robert Schumann: Kinderszenen:
05. Von Fremden Ländern Und Menschen 1.35
06. Kuriose Geschichte 1.05
07 Haschemann 0.32
08. Bittendes Kind 0.50
09. Glückes Genug 0.40
10 Wichtige Begebenheit 0.51
11. Träumerei 2.34
12. Am Kamin 1.19
13. Ritter vom Steckenpferd 0.40
14. Fast zu ernst 1.29
15. Fürchtenmachen 1.38
16. Kind Im Einschlummern 1.40
17. Der Dichter spricht 2.07



VladimirHorowitz1October 1, 1903 – November 5, 1989)