Stephen Edmundson – Silver Apples Of The Moon (1989)

FrontCover1Stephan Edmundson revives with his music the now rare Hamered Dulcimer dulcimer, a form of the dulcimer.
Traditional music from Ireland from Ireland, England, Scotland, Wales and Brittany. In addition, there are pieces from the from the Renaissance, classical music and an international folk repertoire.
Acoustically and visually striking is the
Hammered Dulcimer. It was made by British and
Irish emigrants to America in the past centuries. The instrument gets its special character from its brilliant bell-like sound gives the instrument its intensity.

This sound has not left Stephen Edmundson since he first heard it as a child.

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The study of music, of composition and other musical traditions deepened this. Stephan Edmundson plays in this formation besides the classical flute, an old wooden flute, the “timber flute” and the Irish whistle.
Numerous arrangements as well as own compositions with the lively and harmonious music
on the hammered dulcimer, the Irish harp and other are on his CD’s . “Silver Apples of the Moon” and “Journey beyond the Isles”.

Both have enjoyed great popularity for years with their and their relaxing character have been popularity for years (press release).

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And here´s his first solo album, recorded at the Bear Creek Studios, Los Gatos, California/USA.

Such a beautful album … close your eyes and start dreaming !


Stephan Edmundson (harp. dulcimer, flute, vocals, penny-whistle)
Hannah Beckham (violoncello)
Jeb Hogan (guitar)
Todd Hicks (guitar)


01. Fanny Poer (O´Carolan) 3.21
02. Winter Has Come (Traditional) 2.30
03 Jenny Plucked The Pear (Traditional) 1.17
04. An Hani a Garan (Traditional) 2.13
05. Molly MacAlpin (Connellan) 3.05
06. Lark On The Strand (Traditional) 1.40
07. The Kid On The Mountain (Traditional) 1.59
08. Gaelic Waltz (Traditional) 3.14
09. White Hart (Traditional) 1.41
10. Greensleeves (Traditional) 1.19
11. La Guabina (Ortiz) 2.12
12. Voices Of The Rain Forest (Edmundson) 3.31
13. Bird Of Paradise (Edmundson) 0.54
14. Bailecito (Traditional) 2.32
15. Enchanted Valley (Edmundson) 4.16
16. Lyenda (Albeniz) 4.07
17. Charm Danse (Traditional) 3.30
18. Yedid Nefesh (Traditional) 3.56



The offical website:

The Beautiful South – Welcome To The Beautiful South (1989)

LPFrontCover1The Beautiful South were an English pop rock group formed in 1988 by Paul Heaton and Dave Hemingway, two former members of the Hull group The Housemartins, both of whom performed lead and backing vocals. Other members throughout the band’s existence were former Housemartins roadie Sean Welch (bass), Dave Stead (drums) and Dave Rotheray (guitar). The band’s original material was written by the team of Heaton and Rotheray.

After the band’s first album (recorded as a quintet), they were joined by a succession of female vocalists. All of the following artists performed lead and backing vocals alongside Heaton and Hemingway – Briana Corrigan for albums two and three after appearing as a guest vocalist on one, followed by Jacqui Abbott for the fourth to seventh albums, and finally Alison Wheeler for the final three Beautiful South albums.

The group broke up in January 2007, claiming the split was due to “musical similarities”, having sold around 15 million records worldwide.

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Welcome to the Beautiful South is the debut album by English band The Beautiful South, released in October 1989 by Go! Discs and the next year in the United States by Elektra Records. Three singles were released from the album, which became top 40 hits in the United Kingdom: “Song for Whoever” (#2), “You Keep It All In” (#8) and “I’ll Sail This Ship Alone” (#31).

The original album cover depicted two pictures by Jan Saudek, one of a woman with a gun in her mouth, and another with a man smoking. Woolworths refused to stock the album, in the words of the band, to “prevent the hoards [sic] of impressionable young fans from blowing their heads off in a gun-gobbling frenzy, or taking up smoking”;[6] An alternative cover featuring a picture of a stuffed toy rabbit and a teddy bear was therefore made. A second alternative cover was also prepared for the Canadian edition of the album; this version omitted the picture of the woman, and featured only the smoking man.

NME included it in their “Top 100 Albums You’ve Never Heard” list in 2012. (wikipedia)


The Beautiful South’s 1989 debut would be important if only to mark the partial continuance of the Housemartins’ legacy. But when vocalist Paul Heaton and drummer Dave Hemmingway greeted the world with Welcome to the Beautiful South, the handshake came with a Cheshire grin. Nothing in the Beautiful South was as it seemed. Where there was jaunty, jazzy pop, crossed fingers warned of murderous lyrics. If a single featured a fluttering flute, it was filled with familial terror. “Woman in the Wall,” featuring one of the year’s most memorable melodies and Heaton’s plaintive lead vocal, also featured lines like “He’d enjoyed the thought of killing her before” and “when the rotting flesh began to stink.”

The Beautiful South01

But even in the album’s most gruesome moments, the streak of cynical, caustic sarcasm running through it was as clear as crop circles. This fact only made Welcome’s twee goodness that much more fun, for with each well-placed barb it further proved what the Housemartins had started: pop didn’t have to be stupid. (by Johnny Loftus)


Paul Heaton (vocals)
Dave Hemingway (vocals)
Dave Rotheray (guitar)
Dave Stead (drums)
Sean Welch (bass)
Gary Barnacle (saxophone, flute)
Briana Corrigan (vocals)
Martin Ditcham (percussion)
John Thirkell (trumpet, fluglehorn)
Peter Thoms (trombone)
Mel Wesson (keyboards, drum programs)
Pete Wingfield (keyboards)


01. Song For Whoever 6.10
02. Have You Ever Been Away? 5.12
03. From Under The Covers 4.04
04. I’ll Sail This Ship Alone 4.40
05. Girlfriend 2.54
06. Straight In At 37 (MC and CD bonus track) 4.29
07. You Keep It All In 2.54
08. Woman In The Wall 5.16
09. Oh Blackpool 3.01
10. Love Is… 7.04
11. I Love You (But You’re Boring) 4.31

All songs written by Paul Heaton and Dave Rotheray,
except 05.: written by Antonio Reid & Kenneth “Babyface” Edmonds



More from The Beautiful South:

Little River Band – Get Lucky (1990)

LPFrontCover1Little River Band (LRB) is a rock band originally formed in Melbourne, Australia in March 1975. The band achieved commercial success in both Australia and the United States. They have sold more than 30 million records; six studio albums reached the top 10 on the Australian Kent Music Report albums chart including Diamantina Cocktail (May 1977) and First Under the Wire (July 1979), which both peaked at No. 2. Nine singles appeared in the top 20 on the related singles chart, with “Help Is on Its Way” (1977) as their only number-one hit. Ten singles reached the top 20 on the Billboard Hot 100 with “Reminiscing” their highest, peaking at No. 3.

Little River Band have received many music awards in Australia. The 1976 line-up of Beeb Birtles, David Briggs, Graeham Goble, Glenn Shorrock, George McArdle and Derek Pellicci, were inducted into the Australian Recording Industry Association (ARIA) Hall of Fame at the 18th Annual ARIA Music Awards of 2004. Most of the group’s 1970s and 1980s material was written by Goble and/or Shorrock, Birtles and Briggs. In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th anniversary celebrations, named “Cool Change”, written by Shorrock, as one of the Top 30 Australian songs of all time. “Reminiscing”, written by Goble, received a 5-Million Broadcast Citation from BMI in 2020.

Little River Band01

The group have undergone numerous personnel changes, with over 30 members since their formation, including John Farnham as lead singer after Shorrock first departed in 1982. None of the musicians now performing as Little River Band are original members, nor members in the 1970s. In the 1980s, members included Farnham, Wayne Nelson, Stephen Housden, David Hirschfelder and Steve Prestwich. As from October 2020 the line-up is Nelson, Rich Herring, Chris Marion, Ryan Ricks and Colin Whinnery – none of whom are Australian. Various legal disputes over the band’s name occurred in the 2000s, with Housden filing suit against Birtles, Goble and Shorrock.

Get Lucky is the eleventh studio album by Australian group, Little River Band, released in April 1990, the album peaked at number 54 on the Australian ARIA Charts.(wikipedia)

Little River Band03

This album was recorded in 1990 and features three of the original and best members of a band with many lineup changes over the years.They now tour and record with no original members and their lead vocalist is Wayne Nelson who joined in 1980 at the tail end of their most successful period.The rights to the name `Little River Band’ belong to guitarist `Steve Housden’ who joined in 1981 and hasn’t toured with them since 2006 and he forbids the original singers and writers to use the name when they tour.Shame they can’t come to some amicable arrangement.

Little River Band04

This is a good but not essential LRB album.Apart from a couple of not so great ballads at the end the songs are catchy and the trademark harmonies are there.The production is very glossy which I found off-putting in some songs making the band sound like another version of Foreigner and the like.

All up a worthwhile purchase and the last time you’ll hear original lead vocalist `Glen Shorrock’ sing on a `Little River Band’ album. (R.Angel)


Graham Goble (guitar, background vocals)
Stephen Housden (lead guitar)
Wayne Nelson (bass, background vocals, vocals on 07. + 09.)
Derek Pellicci (drums)
Glenn Shorrock (vocals)
Claude Gaudette (keyboards, programming)
Dennis Lambert (keyboards, programming)
Jamie Paddle (keyboards, programming)
John Robinson (drums)


01. If I Get Lucky (Chapman) 4.15
02. There’s Not Another You (Goble) 3.50
03. Second Wind (Lambert/Reswick/Werfel) 4.15
04. Every Time I Turn Around (Beckett/Lambert) 4.38
05. I Dream Alone (Pellicci/Shorrock) 4.51
06. Time And Eternity (Goble) 4.09
07. Two Emotions (Goble) 4.29
08. As Long As I’m Alive (Goble/M.Nelson/G.Nelson) 4.36
09. The One That Got Away (Lambert/W.Nelson/Gaudette) 3.57
10. Listen To Your Heart (Kelly/Steinberg) 4.52



A road sign to Little River, on a trip by the fledgling band from Melbourne to Geelong, inspired Glenn Shorrock to suggest the band name:
Little River Band02

The official website:

Michelle Shocked – Captain Swing (1989)

FrontCover1Michelle Shocked (born Karen Michelle Johnston; February 24, 1962) is an American singer-songwriter. Her music entered the Billboard Hot 100, was nominated for Grammy award for Best Contemporary Folk Recording, and received a Folk Album of the Year at the CMJ New Music Awards.

Shocked was born Karen Michelle Johnston on February 24, 1962, in Dallas, Texas, at the Baylor University Medical Center. Her stepfather was in the US Army and the family moved from base to base, eventually settling in Gilmer, Texas. Her mother was Mormon and she was raised in that faith. Her mother had her committed to a psychiatric hospital for a time during years of drug abuse.Johnston went through a punk rock phase, wearing a Mohawk hairdo and squatting in abandoned buildings in San Francisco, California.

In 1984, Johnston adopted the stage name “Michelle Shocked,” a play on the expression “shell shocked,” she said in a 1992 interview with Green Left Weekly: “The term ‘Miss shell shocked’ is a direct reference to the thousand-yard stare, which was a term that they first used to describe the victims of shell-shock in World War I. These people from outward appearances had survived the war quite well when in fact inside their minds were blown. I first used that name in 1984 at the Democratic Convention in San Francisco where I was arrested for protesting and demonstrating against corporations who contribute money to both the Democratic Party and the Republican Party campaigns.”

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Shocked received her first international exposure after Pete Lawrence recorded her performance on a portable tape recorder at the Kerrville Folk Festival in Texas. Lawrence released the tape in Europe as The Texas Campfire Tapes (1986) (later released as The Texas Campfire Takes). The album’s success brought major labels asking her to sign a contract. Shocked was resistant to what she saw as the machinations of the music industry, and worked to retain a degree of creative control.

Her first US success came with the release of her 1988 debut album, Short Sharp Shocked, on college radio rotations around the country, which was met with strong acclaim from listeners. The debut single, “Anchorage”, broke into the Billboard Hot 100, but a follow-up single from the album, “When I Grow Up”, did not chart. Short Sharp Shocked was the first album in what Shocked later described as a “trilogy” for Mercury Records.

Michelle Shocked02

The second album in the trilogy, Captain Swing, was released in 1989. Described by reviewer Chris Woodstra as an album of “swing and big-band music” that “no one expected,”[9] the album was promoted with the release of “On the Greener Side”, a gender-reversed parody of Robert Palmer’s 1986 single “Addicted to Love”, in which topless male models performed the motions made famous by the female models in Palmer’s video.

The trilogy concluded with her 1992 album, Arkansas Traveler. Her desire to have the cover portray her in blackface in tribute to the roots of the music featured on the album drew criticism and a change in the cover art. However, the album received little commercial notice, and Shocked parted ways with the label following an acrimonious lawsuit.

In 1995, Shocked contributed an original song to the soundtrack for the film Dead Man Walking called “Quality of Mercy.” In 1996, she released a studio version of an underground release (Kind-Hearted Woman (black cover)) on the short-lived Private Music label.

Michelle Shocked03

Starting in 2002 with the release of Deep Natural, Shocked established her own label, Mighty Sound. She reissued expanded versions of her entire catalog, made possible by having retained complete ownership of her work when she signed with Mercury in 1987.

An acoustic version of her song “How You Play the Game” was featured as the opening and credits soundtrack on the DVD of the 2004 documentary film Bush’s Brain.

Shocked continues to make music as an independent artist. In June 2005, she released a trilogy of albums called Threesome (Don’t Ask Don’t Tell, Mexican Standoff and Got No Strings). In May 2007, she released the album ToHeavenURide; and in September 2009, Soul of My Soul.

Soul of My Soul remains Shocked’s last released recording to date. She toured consistently through 2013, then took time off before resuming live performances and touring in 2016.

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In 1992, Shocked married journalist Bart Bull. They divorced in 2004. She reported in 2007 that she was in a relationship with Disney artist David Willardson, with whom she had first worked in 2001 when he designed the branding for her record label Mighty Sound. Willardson has since designed album covers for Deep Natural and for Shocked’s album reissues. Willardson and Shocked share an artist’s studio in the Biscuit Company Lofts.

According to Gay 100 author Paul Russell, in 1989 she joked to a US broadcast television audience that the Grammy award for Best Contemporary Folk Recording, whose nominees included herself, eventual winner Tracy Chapman, Phranc, and Indigo Girls, should have been called “Best Lesbian Vocalist”. Shocked herself remembers that she joked the award “could have been called ‘They Might Be Lesbians'”. After an Earth Day performance in Chicago in April 1990, she gave an interview to Christie L. Nordhielm of Outlines, a Chicago newspaper for the gay community. Accompanied by future husband, journalist Bart Bull, she told Nordhielm she felt boxed in by listener expectations that she was either straight or gay; she said “I would like a much broader definition for myself.” She explained her wish to be politically and sexually subversive by saying, “I resent like hell that I was maybe 18 years old before I even heard the ‘L’ word. I mean, that’s understood, growing up sheltered in a Mormon environment. But it would have made all the difference for me had I grown up knowing that the reason I didn’t fit in, was because they hadn’t told me there were more categories to fit into.” She said she did not condone the outing activities engaged in by members of ACT UP. Since then, Shocked has been listed as bisexual in reference books,[20][21] and does not self-identify as a lesbian. In a 2013 interview with CNN, Shocked stated “I am, for the last 10 years, so deeply in love with a man that the idea of living my life without him is impossible. I know how much I love him, and knowing that passion that I have for him, would I ever want to deny that to anyone else? Absolutely not.”

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While performing at the Wild Goose Festival in June 2011, a Christian event at which the inclusion of gay Christians was debated, Shocked responded to an audience member’s question about homosexuality by saying “Who drafted me as a gay icon? You are looking at the world’s greatest homophobe. Ask God what He thinks.”

On March 17, 2013, Shocked made an impromptu speech against same-sex marriage during a concert at Yoshi’s nightclub in San Francisco, which led some audience members to leave in protest and the club’s management to end the show. All venues eventually cancelled scheduled performances of her “Roadworks Tour” in response to reports of Shocked’s remarks.[26] In a March 20, 2013, email to the news media, Shocked apologized, saying that her comments had been misinterpreted, and that she was not describing her own opinions about homosexuality, but rather those of some Christians. An audio recording of the performance was reported as contradicting Shocked’s post-performance explanation.

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On April 1, 2013, Shocked appeared on CNN’s Piers Morgan Live to clarify her remarks. Morgan asked Shocked three times whether she was “homophobic.” Eventually, Shocked stated “If you want to keep this simple for the audience, let me just give you a straight no, I’m not homophobic. But the truth, I don’t think, lies in the simplicity. It’s in the nuance, and that’s been completely lost in this…” She said that the meaning behind her prior comments was misinterpreted.

A photograph of Shocked being detained during a protest that appears on the cover of her 1988 album Short Sharp Shocked was taken by Chris Hardy of the San Francisco Examiner at a protest in San Francisco during the 1984 Democratic National Convention. Years later, Shocked was arrested during the November 29, 2011, eviction of the Occupy Los Angeles movement.

Shocked was honored as having the Folk Album of the Year at the CMJ New Music Awards ceremony in late October 1989, taped in New York City for later broadcast. The award recognized the popularity of Short Sharp Shocked with college radio listeners.

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Captain Swing is a mixed genre album by American folk singer-songwriter Michelle Shocked. It was first released by Mercury Records in 1989 and later reissued by Shocked’s own label Mighty Sound in 2004. It was named after Captain Swing, the pseudonymous rebel leader who penned threatening letters during the rural English Swing riots of 1830. The album was a cross-country inventory of swing musical styles—from Dixieland to Western, Big Band to BeBop. (wikipedia)


Shocked made a big jump from The Texas Campfire Tapes to Short Sharp Shocked, but no one expected the direction she would take for Captain Swing. Rather than continuing as a folky singer/songwriter, she opted instead to take on western swing and big-band music, complete with horn-heavy arrangements and bright orchestration. And although the cartoon image of her on the cover gives a smirk and a sly wink, the album is surprising devoid of irony. She treats the genre with affection and she’s obviously having a good time swinging. Captain Swing may have confused fans of Short Sharp Shocked, but the album has several great moments, and most of all, it offers a good time. (by Chris Woodstra)

And “Looks Like Mona Lisa” reminds me very much on “Hit The Road Jack” !


Pete Anderson (guitar, bass)
John Begzian (emulator program)
Lenny Castro (percussion)
Jeff Donavan (drums)
Skip Edwards (keyboards)
Freebo (a.k.a. Daniel Friedberg) (tuba)
Dominic Genova (bass)
Paul Glasse (mandolin)
Steve Grove (saxophone)
Don Reed (strings)
Zachary Richard (accordion)
Michelle Shocked (vocals, guitar)
Beverly Dahlke-Smith (saxophone, clarinet)
David Stout (trombone)
Lee Thornburg (trumpet)
Dusty Wakeman (bass)
James Cruce (drums on 02.)


01. God Is A Real Estate Developer 3.13
02. On The Greener Side 2.56
03. Silent Ways 2.40
04. Sleep Keeps Me Awake 2.44
05. The Cement Lament 3.07
06. (Don’t You Mess Around with) My Little Sister 2.38
07. Looks Like Mona Lisa 2.32
08. Too Little Too Late 2.15
09. Streetcorner Ambassador 3.28
10. Must Be Luff 2.44
11. Russian Roulette (Mystery Song) (hidden track) 3.33

All songs written by Michelle Shocked
except 01., written by Michelle Shocked & Matt Fox




The official website:

Adrian Snell – Song Of An Exile (1989)

FrontCover1Adrian Snell (born 1954) is an English pianist, keyboard player, singer and composer.

Classically trained at the Leeds College of Music and with a music diploma to his name (LGSM), Adrian’s musical career spans nearly four decades. During this time he has produced twenty-three original albums: seventeen solo albums and six major concept works. His major commissions include: ‘The Virgin’ from the BBC, ‘The Passion’, recorded with the Royal Philharmonic Orchestra and premièred on BBC Radio One, ‘The Cry: A Requiem for the Lost Child’, premièred at St Paul’s Cathedral in aid of Save the Children, and numerous Dutch commissions including HTV’s special musical documentary ‘Song of an Exile’ recorded at Yad Vashem Holocaust Memorial, Jerusalem. He has performed extensively in the United Kingdom, Israel, the United States, Australia, and throughout Europe, and has had many TV and radio performances worldwide.

In the late 1990s Adrian semi-retired as a professional musician to train as a music therapist. This was a bold move by an artist whose albums and concerts attracted audiences across Europe. He completed the post graduate diploma in Music Therapy Adrian Snell 3(Dip. Mus. Th.) awarded by the University of Bristol through the Faculty of Medicine. Adrian now works as a Music Therapist and Arts Therapy Consultant for children with special needs at Three Ways School, Bath, and regularly visits a school in Korce, Albania.

June 1995 saw the premier release of Adrian’s major, two album concept work ‘City of Peace’. The work explores the Jewish roots of the Christian faith, drawing on poems written by Jewish authors spanning from six thousand years ago to the present day. City of Peace also comes as a climax to eleven years of searching and discovery that began with a journey into the lives of Jewish men, women, and children caught up in the Nazi Holocaust.

It is eleven years since I walked through the gates of Bergen Belsen. I shall never forget that day; it changed me in ways I couldn’t have imagined. Music is, in the end, the language of my heart, so not surprisingly much of my writing since then expresses the search for answers and meaning in all that the Holocaust and Jewish history opens up in us.

Through his work as a music therapist Adrian has drawn inspiration to record a new album, ‘Fierce Love’. The album draws inspiration both from the relationships he has formed, and the extraordinary range of instruments that are central to his work and now contribute to the unique soundscape of the album. ‘Fierce love’ has all the hallmarks of an Adrian Snell album: rich sound textures, haunting melodies, intelligent lyrics – and a remarkable ability to connect the listener with the subject of the songs at a profound level. ‘Fierce Love’ was released on 28 September 2013. You can purchase a copy from this website, iTunes and Amazon.

His daughter, Carla Jae, has followed in her father’s footsteps and is now an accomplished singer/songwriter with ‘The Carla Jae Band’ also featuring William Rutherford and Blain Weller. His son Jamie has also pursued a music career and is currently part of the London-based band ‘Bird of Prey’. (wikipedia)

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After Adrian’s ‘life changing’ experience in Bergen-Belsen, it was no surprise that his journey continued with this beautiful and moving exploration of Jewish Poetry. ‘Song of an Exile’ contains two interpretations of poems written by children who died in Auschwitz, and these form the beginning of a very significant chapter in Adrian’s work, as he seeks to give a voice to children who have lost their childhood. (press-release)


“Song of an exile” takes Jewish poetry through the centuries from Psalms to a poem by a girl trying to survive in the Warshaw ghetto during WO II and puts it to contemporary music. The result is an overwhelming journey through Jewish history, though rather through an emotional and spiritual perspective then a strictly historical.
“Song of an exile” shows a lot of empathy with a people which endured many struggles through the centuries.
Apart from that it is – in my opinion – a musical masterpiece. (J. vd Hoef)

I concur with J Vd Hoef. Some of the transitions between pieces are less than smooth, and Snell’s voice is more like a good musical actor than a great professional singer. The emotion he puts into singing these poems, though, is spot-on perfect. But the music–very well done and varied– provides the perfect space between some very powerful exile and labor-camp poems, and short pieces of Scripture. Prepare to be gripped. And, strangely, uplifted (I love collections that save the best for last!). This poetry needs to be remembered. (R. Miller)

I´m impressed, too  … a real important album !


Paul Allen (bass)
Dave Bainbridge (guitar, keyboards, drum programming)
Debbie Bainbridge (oboe)
Paul Burgess (drums)
David Fitzgerald (ssaxophone, flute, flageolet, recorder)
Tim Hines (percussion)
Adrian Snell (keyboards, vocals)
Melanie Williams (vocals on 05. + 07.)
background vocals:
Barrington Stewart – Vivienne Dixon – Melanie Williams

01. Roads To Zion 4.41
02. The Song Of An Exile (Shir Golah) 3.16
03. Lament For Jerusalem (How Deserted Lies The City) 6.10
04. Terezin 8.34
05. Fear
B2 Roads To Zion (Part 2)
B3 God’s Beloved
B4 If I Were

Music & lyrics by Adrian Snell




Neil Young – Live At Jones Beach Music Theater, Wantagh, NY (1989)

FrontCover1This is a real great Neil Young bootleg, a solo unplugged concert:

The Jones Beach concert is comes off rather lifeless and uninspired…the excellent production simply accentuates a lack of passion here. It’s Neil solo and you are missing Crazy Horse after awhile. I never thought I’d say that because just Neil with a guitar, harmonica & piano is a wonderful thing…usually. The highlight is the closing encore with Bruce Springsteen on “Down By The River”. The Boss’ presence gives Neil a little kick in the ass.

Jumping ahead to the SNL performances…the broadcast portion is common to us all but the rehearsals are really something! Neil is a possessed animal and there is the best version of “Rockin’ In The Free World” featured in this segment, hands down. This is Neil at his most passionate ever. I remember seeing the original broadcast and going “holy shit!”. I did the same thing again upon viewing this portion of the DVD. Great stuff!

The sound and video both are superb and makes this an easy purchase for Neil Young fans. (


Ben Keith (dobro, keyboards, vocals)
Frank Sampedro (guitar. mandolin, vocals)
Neil Young (guitar, vocals, hrmonica, piano)
Bruce Springsteen (guitar, vocals on 20.)

Alternate frontcover:

01. 1. My My, Hey Hey (Out Of The Blue) 3.57
02. Rockin’ In The Free World 5.12
03. Comes A Time 3.16
04. Sugar Mountain 6.10
05. Pocahontas 5.10
06. Helpless 5.41
07. Crime In the City (Sixty To Zero Part 1) 6,37
08. For The Turnstiles 5.49
09. This Old House 4.58
10. Roll Another Number 3.39
11. Too Far Gone 3.18
12. This Note’s For You 3,29
13. The Needle And The Damage Done 2.16
14. No More 5.13
15. After The Gold Rush 5.21
16. Heart Of Gold 3.25
17. Ohio 4.40
18. Rockin’ In The Free World 6.34
19. Powderfinger 5.51
20. Down By The River 9.35

All songs written by Neil Young


More from Neil Young:

Well I dreamed I saw the knights in armor comin’
Sayin’ something about a queen
There were peasants singin’ and drummers drummin’
And the archer split the tree
There was a fanfare blowin’ to the sun
That was floating on the breeze
Look at Mother Nature on the run
In the 1970s
Look at Mother Nature on the run
In the 1970s

I was lyin’ in a burned out basement
With the full moon in my eyes
I was hopin’ for replacement
When the sun burst though the sky
There was a band playin’ in my head
And I felt like getting high
I was thinkin’ about what a friend had said
I was hopin’ it was a lie
Thinkin’ about what a friend had said
I was hopin’ it was a lie

Well, I dreamed I saw the silver space ships flyin’
In the yellow haze of the sun
There were children cryin’ and colors flyin’
All around the chosen ones
All in a dream, all in a dream
The loadin’ had begun
Flying Mother Nature’s silver seed
To a new home in the sun
Flying Mother Nature’s silver seed
To a new home

Mick Taylor – Live At The Zeche, Bochum/Germany (1989)


Michael Kevin Taylor (born 17 January 1949) is an English musician, best known as a former member of John Mayall’s Bluesbreakers (1967–69) and the Rolling Stones (1969–74). He has appeared on some of the Stones’ classic albums, including Let It Bleed (1969), Get Yer Ya-Ya’s Out! The Rolling Stones in Concert (1970), Sticky Fingers (1971) and Exile on Main St. (1972).

Since leaving the Rolling Stones in December 1974, Taylor has worked with numerous other artists and released several solo albums. From November 2012 onwards he participated in the Stones’ 50th-Anniversary shows in London and Newark, and in the band’s 50 & Counting tour, which included North America, Glastonbury Festival and Hyde Park in 2013. The band decided to continue in 2014 with concerts in the UAE, Far East & Australia and Europe for the 14 On Fire tour. He was ranked 37th in Rolling Stone magazine’s 2011 list of the 100 greatest guitarists of all time. Guns N’ Roses guitarist Slash states that Taylor had the biggest influence on him.


Mick Taylor performed the lead guitar solo on the 1988 Joan Jett & the Blackhearts top-10 single, “I Hate Myself for Loving You.” Taylor guested with the Grateful Dead on 24 September 1988 at the last show of that year’s Madison Square Garden run in New York. Taylor lived in New York throughout the 1980s. He battled with addiction problems before getting back on track in the second half of the 1980s and moving to Los Angeles in 1990.[citation needed] During this time Taylor did session work and toured in Europe, America and Japan with a band including; [29] either Eric Parker or Bernard Purdie on drums Wilbur Bascomb on bass and Max Middleton (formerly of the Jeff Beck Group), Shane Fontayne, and Blondie Chaplin. In 1990, his CD Stranger in This Town was released by Maze Records, backed up by a mini-tour including the record release party at the Hard Rock Cafe as well as gigs at the Paradise Theater. (by wikipedia)

And here´s a superb and excellent audience tape from this period, another item from my audience tapes collection.

And we hear a great Mick Taylor with his beautiful blues guitar and a real good band … they set the place on fire .. includig a cover version of the ZZ Top song “Goin´ Down To Mexico” and a pretty good version of “Red House ”

And the last encore was a killer version of “Jumpin´ Jack Flash” …


Wilbur Bascomb (bass)
Shayne Fontane (guitar)
Max Middleton
Eric Parker (drums)
Mick Taylor (leadguitar, vocals)


01. I Wonder Why (You´re So Mean To Me) (Lyons) 5.51
02. Announcement 0.18
03. Laundromat Blues (King) 5.31
04. Leather Jacket (Taylor) 6.09
05. Goin´ Down To Mexico (Gibbons/Hill/Ham) 7.18
06. Redhouse (Hendrix) 10.18
07. Goin´South (Part 1) (Oden) 11.30
08. Goin´South (Part 2) (Oden) 6.19
09. Announcement 0.20
10. Blues In The Morning (King) 8.47
11. Little Red Rooster (Dixon) 5.52
12. Announcement 0.13
13. Boogie Man (King) 7.38
14. Stranger In Town (Taylor) 5.55
15. Jumpin´ Jack Flash (Jagger/Richards) 6.12
16. Live at the Zeche (uncut edition, Part 1) 47.20
17. Live at the Zeche (uncut edition, Part 2) 43.45



Scott McKenzie – San Francisco Remix `89 (1989)

FrontCover1Scott McKenzie (born Philip Wallach Blondheim III; January 10, 1939 – August 18, 2012) was an American singer and songwriter. He was best known for his 1967 hit single and generational anthem, “San Francisco (Be Sure to Wear Flowers in Your Hair)”.

“San Francisco (Be Sure to Wear [Some] Flowers in Your Hair)” is a psychedelic pop song, written by John Phillips (August 30, 1935 – March 18, 2001), and sung by Scott McKenzie. The song was produced and released in May 1967 by Phillips and Lou Adler, who used it to promote their Monterey International Pop Music Festival held in June of that year.

John Phillips played guitar on the recording and session musician Gary L. Coleman played orchestra bells and chimes. The bass guitar of the song was supplied by session musician Joe Osborn. Hal Blaine played drums. The song became one of the best-selling singles of the 1960s in the world, reaching the fourth position on the US charts and the number one spot on the UK charts. In Ireland, the song was number one for one week, in New Zealand the song spent five weeks at number one, and in Germany it was six weeks at number one.

Scott McKenzie

McKenzie’s version of the song has been called “the unofficial anthem of the counterculture movement of the 1960s, including the Hippie, Anti-Vietnam War and Flower power movements.”

According to Paul Ingles of NPR, “…local authorities in Monterey were starting to get cold feet over the prospect of their town being overrun by hippies. To smooth things over, Phillips wrote a song, “San Francisco (Be Sure To Wear Flowers In Your Hair).” Phillips reported writing the song in about 20 minutes.

The song, which tells the listeners, “If you’re going to San Francisco, be sure to wear some flowers in your hair”, is credited with bringing thousands of young people to San Francisco, California, during the late 1960s.

Different issues of the recording use slightly different titles, including: “San Francisco (Be Sure to Wear Flowers in Your Hair)”; “San Francisco (Be Sure to Wear Some Flowers in Your Hair)”; and “San Francisco ‘Wear Some Flowers In Your Hair'”.

Released on May 13, 1967, the song was an instant hit. By the week ending July 1, 1967, it reached the number four spot on the Billboard Hot 100 in the US, where it remained for four consecutive weeks. Meanwhile, the song rose to number one in the UK Singles Chart, and most of Europe. In July 1967, McKenzie’s previous record label, Capitol, claimed that the “follow-up” to this song was a re-release of his earlier single, “Look in Your Eyes.” The single is purported to have sold over seven million copies worldwide.In Central Europe, young people adopted “San Francisco” as an anthem, leading the song to be widely played during Czechoslovakia’s 1968 Prague Spring uprising.

John Phillips

The song has been featured in several films, including Frantic, The Rock, and Forrest Gump. It was also played occasionally by Led Zeppelin as part of the improvised section in the middle of “Dazed and Confused”. U2’s Bono also led the audience in singing this song during their PopMart performances in the San Francisco Bay Area on June 18 and 19, 1997. New Order covered the song on July 11, 2014, at the Bill Graham Civic Auditorium in San Francisco. A cover of the song by Michael Marshall appears in the 2019 film The Last Black Man in San Francisco (wikipedia)

And CBS released a remix by Peter Slaghuis in 1989 :

Peter Slaghuis (21 August 1961 – 5 September 1991) was a Dutch DJ, producer and remixer, whose work was mostly released under the name Hithouse (a literal translation of his last name — slag, a hit, a beat; and huis, house).

Slaghuis was born in Rijswijk, Netherlands. He was a figure in the European dance music scene in the 1980s, producing popular remixes of various hits (most notably the “Long Vocal Dutch Mix” of “I Can’t Wait” by Nu Shooz). Slaghuis stated “I hated that song so much… I just had to put a hook over it.” With the arrival of house music in Europe, Slaghuis took up the pseudonym Hithouse and began using his sampling techniques in this field. His best known work, “Jack to the Sound of the Underground”, reached #14 on the UK Singles Chart in 1988. His next few works did not attain the same level of success, though “Jack to the Sound of the Underground” remained in public consciousness in the UK when used as the theme for both the radio and television versions of the BBC comedy show The Mary Whitehouse Experience.

Peter Slaghuis

He was part of the VideoKids group, which released the song “Woodpeckers from Space” in 1985, featuring Slaghuis in the video.

Slaghuis also delivered remixes to the Disco Mix Club which published them on their monthly and compilation CDs. One of his most famous mixes was Madonna’s “La Isla Bonita”. He also remixed Petula Clark’s “Downtown” as “Downtown ’88” which hit the British top 10 in December 1988.

Slaghuis’ career was cut short by his death, at the age of 30, in a car accident in 1991, when his car, traveling at a speed of 220 km/h (140 mph), crashed into an oncoming truck. (by wikipedia)

What a fucking and stupid cover version !


Scott McKenzie
some fucking overdubs


01. San Franciasco Remix `89 (1) 4.46
02. San Franciasco Remix `89 (Original version) 2.55
03. San Franciasco Remix `89 (2) 3.00

Written by John Phillips


Anderson, Bruford, Wakeman, Howe – Same (1989)

FrontCover1Anderson Bruford Wakeman Howe were a progressive rock band active from 1988 to 1990 that comprised four past members of the English progressive rock band Yes. Singer Jon Anderson left Yes as he felt increasingly constrained by their commercial and pop-oriented direction in the 1980s. He began an album with other members from one of the band’s line-ups from the 1970s, namely guitarist Steve Howe, keyboardist Rick Wakeman, and drummer Bill Bruford, who invited Tony Levin to play bass.

The group released their sole studio album, Anderson Bruford Wakeman Howe, in June 1989 which reached number 14 in the UK and number 30 in the US. Their 1989–90 world tour was well-received and spawned two live albums, An Evening of Yes Music Plus (1993) and Live at the NEC – Oct 24th 1989 (2012). In 1990, tracks for a second studio album were included with songs recorded by Yes to make the thirteenth Yes album, Union (1991). This marked the end of Anderson Bruford Wakeman Howe and the start of the eight-member Yes formation until 1992, comprising Anderson Bruford Wakeman Howe and Yes musicians Chris Squire, Trevor Rabin, Tony Kaye, and Alan White.

And “Anderson Bruford Wakeman Howe” is the only studio album by the English progressive rock band Anderson Bruford Wakeman Howe, released in June 1989 on Arista Records.


The project began in 1988. At that time vocalist Jon Anderson had felt artistically constrained within Yes’s current format, where the songwriting of Trevor Rabin had taken the band in a commercially very successful but musically and lyrically different direction. Anderson regrouped with Steve Howe, Rick Wakeman and Bill Bruford. Bruford, who had at various times been a member of King Crimson, recruited his Crimson band mate Tony Levin as their bassist. The group was unable to use the name Yes for legal reasons. However, the group did have Arista assign the catalog number of 90126 to the original releases of the CD and cassette. This was a subtle way of stamping this as the next Yes album after 90125 (1983).

Pre-production recording took place at La Frette Studios near Paris with Anderson putting down an outline of much of the album’s songs with guitarist Milton McDonald. Anderson notably built on several demos provided by Howe, some of which Howe released on his solo album Homebrew (1996) and subsequent releases. Recording then relocated at AIR Studios on the island of Montserrat with Wakeman, Bruford and Levin. Most of the album was recorded using C-Lab’s Notator software.[2] Howe recorded his guitar parts separately at SARM West Studios in London. Mixing took place at Bearsville Studios in Bearsville, New York.


The final section of “Brother of Mine” draws on an unrecorded Asia track “Long Lost Brother of Mine” written by Howe and Geoff Downes.

The song “Birthright” concerns the British nuclear tests at Maralinga and incorporates some material originally written by Howe and Max Bacon for their post-GTR band Nerotrend.

The song “Quartet” contains lyrical references to several classic Yes songs, such as “Long Distance Runaround”, “Roundabout” and others.

“Let’s Pretend” was originally composed by Anderson and Vangelis in 1986 for their Jon and Vangelis project and rearranged as a voice and guitar duet for Anderson and Howe.


The artwork for the album was created by artist Roger Dean, known for designing album covers for Yes in the 1970s. It features two paintings, the front titled “Blue Desert” and the back titled “Red Desert”. Most releases of this album represent only a truncated version of “Blue Desert”. There was, however, a special release with a gatefold cover, though “Blue Desert” was horizontally inverted in that version.

The album was released on 20 June 1989. Anderson Bruford Wakeman Howe peaked at number 14 on the UK Album Chart and number 30 in the US. It went on to reach the top 30 in Canada, Switzerland, Germany, France, Norway, and Sweden. On August 30, 1989, the album was certified gold by the Recording Industry Association of America (RIAA) for selling 500,000 copies in the US. Yes biographer Chris Welch wrote the album sold approximately 750,000 copies. “Brother of Mine” released as an edited single and peaked at No. 2 on the Billboard Mainstream Rock Tracks chart. Its music video was directed by Storm Thorgerson.


The album was re-released in a remastered limited edition by Gonzo Multimedia on 18 March 2011, with a bonus CD with extra tracks, including alternate edits and live versions of tracks on the main album, as well as “Vultures in the City” (originally titled “Vultures” and previously available only as the b-side to the “Brother of Mine” 7-inch vinyl and CD single). This edition was initially only available only from Gonzo …  (by wikipedia)


File under “Yes.” When this version of the band couldn’t obtain rights to the name, they put their album out under their combined names, but it’s still Yes by any other name. Jon Anderson’s tenor wails through spacy lyrics, Rick Wakeman constructs cathedrals of synthesized sound, Steve Howe rips high-pitched guitar leads, and Bill Bruford makes his drums sound like timpani. For all that, it’s a pedestrian effort for these veterans, not as bombastic as some of their stuff, not as inspired as others, but it definitely has the “Yes” sound. “She Gives Me Love” even refers to “Long Distance Runaround.” (by William Ruhlmann)


Jon Anderson (vocals)
Bill Bruford (drums, percussion)
Steve Howe (guitar)
Rick Wakeman (keyboards)
Matt Clifford (keyboards, programming, orchestration, vocals)
Tony Levin (bass, chapman stick, vocals)
Milton McDonald (guitar)
background vocals:
The Oxford Circus Singers:
Deborah Anderson – Tessa Niles – Carol Kenyon – Frank Dunnery

J.M.C. Singers:
Jon – Matt – Chris

Emerald Isle Community Singers + In Seine Singers



CD 1:
01. Themes 5.58
01.1. Sound (Anderson/Howe/Wakeman/Bruford)
01.2.Second Attention (Anderson/Howe/Wakeman/Bruford)
01.3. Soul Warrior

02. Fist Of Fire (Anderson/Howe/Wakeman/Bruford) 3.32

03. Brother Of Mine 10.24
03.1. The Big Dream (Anderson/Howe/Wakeman/Bruford)
03.2. Nothing Can Come Between Us (Anderson/Howe/Wakeman/Bruford)
03.3. Long Lost Brother Of Mine (Anderson/Howe/Wakeman/Bruford/Downes)

04. Birthright (Anderson/Howe/Wakeman/Bruford/Bacon) 6.07
05. The Meeting (Anderson/Howe/Wakeman/Bruford) 4.26

06. Quartet 9.25
06.1. I Wanna Learn (Anderson/Howe/Wakeman/Bruford)
06.2. She Gives Me Love (Anderson/Howe/Wakeman/Bruford/Dowling)
06.3. Who Was the First (Anderson/Howe/Wakeman/Bruford)
06.4. I’m Alive (Anderson/Howe/Wakeman/Bruford)

07. Teakbois (Anderson/Howe/Wakeman/Bruford) 7.44

08. Order Of The Universe 9.02
08.1. Order Theme (Anderson/Howe/Wakeman/Bruford)
08.2. Rock Gives Courage (Anderson/Howe/Wakeman/Bruford/Lawrence)
08.3. It’s So Hard To Grow (Anderson/Howe/Wakeman/Bruford)
08.4. The Universe (Anderson/Howe/Wakeman/Bruford)

09. Let’s Pretend (Anderson/Howe/Wakeman/Bruford/Vangelis) 2.56


CD 2:
01. Rick Wakeman Intro’s (Wakeman) 2.52
02. Brother Of Mine (Edit) (Anderson/Howe/Wakeman/Bruford/Downes) 6.32
03. Brother Of Mine (Radio Edit) (Anderson/Howe/Wakeman/Bruford) 3.24
04. Vultures In The City (Anderson/Howe/Wakeman/Bruford) 5.55
05. Order Of The Universe (Edit) (Anderson/Howe/Wakeman/Bruford/Lawrence) 4.53
06. Order Of The Universe (Long Edit) (Anderson/Howe/Wakeman/Bruford/Lawrence) 6.03
07. Quartet (I’m Alive) (Single Edit) (Anderson/Howe/Wakeman/Bruford) 3.18
08. Brother Of Mine (Live) (Anderson/Howe/Wakeman/Bruford/Downes) 10.52
09. And You And I (Live) (Anderson/Howe/Wakeman/Bruford) 10.34
10. Order Of The Universe (Live) (Anderson/Howe/Wakeman/Bruford/Lawrence) 9.42
11. Children Of Light (Bonus track) (Anderson/Howe/Wakeman/Bruford) 5.00




Brendan Croker And The 5 O´Clock Shadows – Same (1989)

FrontCover1Born. 15 August 1953, Bradford, Yorkshire, England. Croker studied sculpture at art school before becoming a British Rail guard, a refuse collector, and a theatre set designer. It was while toiling away at the last job that he met fellow guitarist Steve Phillips, with whom he formed the duo Nev And Norris. During the early 80s, when Phillips temporarily retired from music to concentrate on his own art career, Croker set about assembling his own band, the 5 O’Clock Shadows, comprising Croker, Marcus Cliffe (bass), and Mark Cresswell (guitar). Cresswell also played alongside Tanita Tikaram. The 5 O’Clock Shadow’s debut, A Close Shave, emerged on the Leeds independent label Unamerican Activities, and was promoted with the single ‘That’s The Way All My Money Goes’ in 1986. They moved to Red Rhino but released an album and single before that company ceased trading. Croker gained a high profile for his work with Mark Knopfler, Guy Fletcher and Steve Phillips as the Notting Hillbillies and was signed to Andrew Lauder’s Silvertone label. In 1989, the Notting Hillbillies released a self-titled album, with guest appearances by Tikaram, Eric Clapton, Steve Goulding and Katie Kissoon (of Mac And Katie Kissoon) amongst others. Croker and Cresswell also guested on Tikaram’s Ancient Heart. Croker enjoyed some success in Nashville as a songwriter during the 90s, writing ‘What It Takes’ for Wynonna’s debut album. His solo career, meanwhile, has continued to follow an eccentric path.


For his major-label debut, Silvertone Records threw a lot of resources at Brendan Croker, including a hefty production budget that allowed Brendan Croker & the Five O’Clock Shadows to feature a gaggle of session musicians. This turns out to be a bit of a mixed blessing — the opening number, “No Money at All,” is so dominated by the guitar of Mark Knopfler that it sounds like a lost Dire Straits track rather than the work of a new artist. Fortunately, after that Croker is allowed to bring more of his own sound to the fore, and while the gentle picking of Dire Straits is certainly one reference point to that sound, there are many others throughout this album. Obvious influences range from Woody BrendanCroker02Guthrie to John Hartford or Pete Seeger in terms of lyrical content, and from Northern soul to American country to Yorkshire folk in terms of music. Being a Brit who writes largely about social injustice has also earned Croker a number of comparisons to Billy Bragg, although musically Croker has a much wider-ranging palette. He gets to show this off to good effect on Brendan Croker & the Five O’Clock Shadows, jumping between bluesy numbers (“This Kind of Life,” “That’s Why I’m Leaving Here”) and mellow country tunes (“Just an Old Waltz”), as well as rearranging a traditional folk song (“All Mixed Up”) into a smoldering soul workout. While the production by John Porter may be a little too slick for longtime Croker fans who are used to a rawer mix, this well-written, eclectic album will serve as an excellent introduction for anyone who has heard Croker as a member of the Notting Hillbillies and wants to further explore the genesis of that band’s polished-but-rootsy sound. (by K.A. Scott)


Mark Cresswell (guitar)
Brendan Croker (guitar, vocals, banjo on 12., slide-guitar)
Marcus Cliffe (bass)
Eric Clapton (vocals on 08.)
Alan Clark (organ)
Martin Drover (trumpet)
Molly Duncan (saxophone)
Guy Fletcher (piano on 05., bass on 01., keyboards, bass on 01., drums on 11., strings on 06., 10. + 11.)
Steve Goulding (drums)
Preston Heyman (percussion)
Mark Knopfler (guitar on 01.)
Rob Mason (harmonica on 07.)
Steve Phillips (vocals on 11.)
John Porter (guitar on 09., slide guitar on 03., programming on 07. + 12., drums on 13.)
Neil Sidwell (trombone)
Tanita Tikaram (harmony vocals on 06.)
background vocals on 03.:
Katie Kissoon – Tessa Niles

01. No Money At All 3.37
02. You Don’t Need Me Here 3.25
03. Shine On 4.25
04. This Man 3.10
05. Wrong Decision 3.56
06. That’s Why I’m Leaving Here 2.23
07. All Mixed Up 3.36
08. This Kind Of Life 3.17
09. My Government 3.10
10. Ain’t Gonna Smile 3.10
11. Just An Old Waltz 2.57
12. Mister 4.15

All songs written by Brendan Croker except 07, which was a Traditional




I got this wonderful from album from the greygoose … Thank you very much !