Curved Air – Alive 1990 (1990)

AlternateFrontCover1Alive, 1990 is a recording from the Curved Air reunion concert 23 September 1990. The lineup reunited Sonja Kristina, Francis Monkman, Florian Pilkington-Miksa and Darryl Way, sixteen years after the last time all four of them played together.

Aside from the ambient introductory piece “Twenty Years On”, all the material was taken from Curved Air’s first three albums, with a particular emphasis on the debut album. Most of the running time is devoted to songs from the debut album.

The introductory track, “Twenty Years On”, was taken from an audience recording on a mono cassette recorder, and hence is of exceptionally poor sound quality. Since the album was compiled chiefly for fans of the group, it was decided that it would be better to include a low-quality recording of the intro than none at all. (by wikipedia)

What’s the connection between the next musicians: Eddie Jobson, Stewart Copeland, Ian Mosley and John Etheridge? Well , the all were members from the legendary Curved Air! Sonja Kristina.jpgHere’s the classic line up featuring Sonja Kristina, Francis Monkman, Florian Pilkington- Miksa, Darryl Way and special guest Rob Martin (bass on “Vivaldi”), sixteen years after they had played together for the last time. The music from Curved Air is eccentric progrock, not really in the vein of ELP, Yes, King Crimson, Gentle Giant or Pink Floyd. Apart from the first track “Twenty years on” (biting wah-wah guitar) the sound quality is good. During the other 12 songs Curved Air showcases their unique sound and great skills: powerful vocals and great electric violin play in “It happened today”, a swinging rhythm and rock & roll with again wah-wah drenched guitar and powerful vocals in “Stretch”, rock & roll meets classic in “Hide and seek”, a beautiful folky climate in “Melinda” (Jobson-like violin and acoustic guitar), more Jobson-like violin and exciting keyboards in “Young mother”, great interplay between electric violin and electric guitar and a long violin improvisation (including a Four Seasons interpretation) in a 10 minutes version of “Vivaldi” and a catchy rhythm featuring haunting vocals and sparklin keyboards in “Everdance”. This reunion gig prooves what a great (often overlooked) progrock band Curved Air was. (Eric Neuteboom)

THIS CD IS A GOOD START TO DISCOVER THEM!

Curved Air

Personnel:
Sonja Kristina (vocals , guitar on 06.)
Francis Monkman (bass, guitar, keyboards)
Florian Pilkington-Miksa (drums, percussion)
Darryl Way (keyboards, violin, background vocals on 13.)
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Rob Martin (bass on 11.)

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Tracklist:
01. Twenty Years On (Intro) (Monkman/Way) 4.09
02. It Happened Today (Kristina/Monkman) 5.31
03. Stretch (Monkman/Way) 4.29
04. Hide And Seek (Kristina/Way) 6.52
05. Marie Antoinette (Kristina/Way) 7.04
06. Melinda (More or Less) (Kristina) 4.14
07. Situations (Martin/Way) 5.43
08. Young Mother (Kristina/Way) 7.06
09. You Know (Kristina/Way) 3.45
10. Propositions (Monkman) 5.15
11. Vivaldi (Way) 9.59
12. Everdance (Monkman) 4.15
13. Backstreet Luv (Eyre/Kristina/Way) 4.26

 

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Twenty years on
And what have we got to show for it?
A little bit saddened
And a little bit bushed.
Flowers power upwards
Through politicians’ undertakings, you can
Hear the message loud and clear, but
You won’t read it in the papers
Somewhere in the mountains
A new dawn is breaking
Clouds hide the sun
But who knows clouds at all?
Oh, no!
Twenty years on
Feels like a long time
Where were you?
Yesterday, Tomorrow, Today

Ticket1990

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Didier Lockwood – Live In Montreux (1990)

FrontCover1Noted French jazz violinist Didier Lockwood, a disciple of the late Stephane Grappelli, has died of a heart attack in Paris, his agent said.

Lockwood, who turned 62 on February 11, died early on Sunday morning. The night before his death, he had performed at Paris jazz venue Bal Blomet.

“His wife, his three daughters, his family, his agent, his co-workers and his record label are sad to announce the sudden passing of Didier Lockwood,” his agent said in a statement.

Lockwood was playing at a jazz festival when he met Grappelli, another French jazz great who founded a string quintet called the Hot Club of France in 1934 with gypsy guitar legend Django Reinhardt.

The violinist invited the then 20-year-old Lockwood to join him on a European tour, kicking off an international career in which he gave around 4,500 concerts and released more than 35 records.

“That was the start of my career, the launchpad that got me into the world of popular jazz,” Lockwood told Radio France in 2008.

DidierLockwood03Lockwood was committed to music education, in 2001 setting up the Didier Lockwood Music Centre in a town south of Paris teaching improvisation according to a jazz violin method he developed.

French culture minister Francoise Nyssen described Lockwood as “deeply generous and outgoing” and said he would be missed by “his friends, music and all the children he wished to enlighten with his passion”.

“He wanted to make music without borders or prejudices,” she added.
(L) Didier Lockwood performs with colleagues

Born in 1956 in Calais to a French-Scottish family, Lockwood, whose father was a music teacher, gained an early taste for improvisation thanks to his elder brother Francis, a jazz pianist.

Aged 17, Lockwood joined a popular French prog rock band called Magma. He later threw himself into a multitude of musical projects and collaborations, experimenting with varied jazz styles, both electric and acoustic, from classical fusion to gypsy swing.

During his career, he wrote two operas, violin and piano concertos, lyrical works and music for films and cartoons.

“France has lost an exceptional musician, a man with rare qualities,” wrote violinist Renaud Capucon on Twitter.

Lockwood’s widow is the coloratura soprano Patricia Petibon, acclaimed for her interpretations of French Baroque music.

The couple had just recorded an album together, said Lockwood’s agent Christophe Deghelt, who called him “Mr. 100,000 volts” and said the musician had a “huge” number of projects under way when he died.

Lockwood was previously married to the singer Caroline Casadesus, with whom he had created a musical called “Jazz and the diva”.(by The Independent)

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“After Stephane Grappelli and Jean-Luc Ponty, France now has a third great violin player, His name is Didier Lockwood.” (Liberation, Paris). Besides Grapelli and Ponty, Lockwood’s influences include Polish violinist Zbigniew Seifert, John Coltrane, and Frank Zappa. Born in 1956, Lockwood was classically trained, but moved on to rock-inspired jazz at an early age. He followed in Ponty’s fusion footsteps with the use of the electric violin, taking it one step further by experimenting in extending the sounds of the violin.

The 1980 Live in Montreux presents Didier Lockwood at his fusion best. He has multi-Grammy winner Jan Hammer (Mahavishnu Orchestra, music for Miami Vice) along for the ride, as well as the intense, soulful American saxophonist Bob Malach. On Fast Travel, the group performs up-tempo musical legerdemain as first Malach, then Hammer, and finally Lockwood pull out their bag of tricks.

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Flyin’ Kitten radiates a bouncy melodic rock-inflected ambiance, while Ballade des Fees portrays a haunting, wispy fairytale. With its infectiously gamboling 2-beat feel, there’s a folkish quality to Zebulon Dance; Lockwood’s plucked violin and Hammer’s guitar-like synth explorations are highlights. Four Strings Bitch shows off the violin’s willful eccentricities in a virtuoso one-man performance that ventures from classic and bluesy acoustic play on through to electronic experimentation.” (unknown source)

Listen to “Four Strings Bitch”: A masteroiece for the elctric violin !

All in all: a sensational album !

Recorded in the Casino Montreux July 16, 1980 and Mountain Recording Studio Montreux.
Mixed in the MPS Studio Villingen July 28, 29, 30, 1980. 

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Personnel:
Gerry Brown (drums)
Jan Hammer (synthesizer)
Didier Lockwood (violin)
Bob Malach (saxophone)
Marc Perru (guitar)
Bo Stief (bass)

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Tracklist:
01 Fast Travel (Lockwood) 7.15
02. Flyin’ Kitten (Lockwood) 7.43
03 Ballade des Fees (Lockwood) 5.01
04. Zebulon Dance (Lockwood) 3.58
05. ADGC (Lockwood) 5:46
06. Four Strings Bitch (Lockwood)3:45
07. Turtle Shuffle (Kajdan) 8.37

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Didier Lockwood (11 February 1956 – 18 February 2018)

Rest In Peace !

Eric Clapton – 24 Nights (1991)

ECFrontCover124 Nights is the fifth live album by Eric Clapton, recorded at the Royal Albert Hall in London, England, in 1990 and 1991. It was released on 8 October 1991.

The album is a “best of” from the 42 concerts Eric Clapton did at the Royal Albert Hall in those two years. Clapton set a record by playing a run of 24 nights at the London Royal Albert Hall between 5 February and 9 March 1991, following an 18-night run in 1990. Clapton reportedly was not satisfied with the 1990 concert recordings and delayed the release of a CD until after the “24 Nights” of the 1991 dates. These concerts were performed with 4 different instrumental formations, 4-piece, blues, 9-piece and orchestra nights, the last featuring the National Philharmonic Orchestra conducted by Michael Kamen. The cover illustration is by Peter Blake.

The 4-piece recordings “Running on Faith”, “White Room” and “Sunshine of Your Love” included on the CD and DVD were recorded on 24 January 1990. The band consisted of Clapton with bassist Nathan East, drummer Steve Ferrone and keyboardist Greg Phillinganes. The Blues Band titles “Worried Life Blues”, “Watch Yourself” and “Have You Ever Loved a Woman” Clapton recorded with Buddy Guy and Robert Cray were shot and recorded on 5 February 1990. The last of the 1990 live recording session took place on 9 February 1990 recording the Orchestra Night. “Bell Bottom Blues”, “Hard Times” and “Edge of Darkness” were used on both the CD and video recording.

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On 10 February 1991, Clapton recorded “Badge” for the CD release. Eight days later the concert for “Pretending”, “Bad Love”, “Old Love” and “Wonderful Tonight” featuring the 9-piece band lineup took place. “No Alibis”, “I Shot The Sheriff” and “Cocaine” had been released on various CD singles of “Wonderful Tonight” since. The versions of “Old Love”, “Wonderful Tonight” and “Pretending” (2nd solo only) on the “24 Nights” video are different from their album counterparts, but they were not taken from the previous night’s show. They may even have been taken the year before. The song “Hoodoo Man” featuring Jimmie Vaughan was recorded on 28 February 1991. (by wikipedia)

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Eric Clapton, who had not released a live album since 1980, had several good reasons to release one in the early ’90s. For one thing, his spare backup band of keyboardist Greg Phillinganes, bassist Nathan East, and drummer Steve Ferrone was his best live unit ever, and its powerful live versions of Cream classics like “White Room” and “Sunshine of Your Love” deserved to be documented. For another, since 1987 Clapton had been playing an annual series of concerts at the Royal Albert Hall in London, putting together various special shows (blues nights, orchestral nights, etc.). 24 Nights, a double album, was culled from two years of such shows, 1990 and 1991, and it demonstrated the breadth of Clapton’s work, from his hot regular band to assemblages of bluesmen like Buddy Guy and Robert Cray to examples of his soundtrack work with an orchestra led by Michael Kamen.

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The result was an album that came across as a lavishly constructed retrospective and a testament to Clapton’s musical stature. But it made little impact upon release (though it quickly went gold), perhaps because events overcame it — three months later, Clapton’s elegy for his baby son, “Tears in Heaven,” was all over the radio, and a few months after that he was redefining himself on MTV Unplugged — a live show as austere as 24 Nights was grand. Still, it would be hard to find a more thorough demonstration of Clapton’s abilities than the one presented here. (by William Ruhlmann)

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Personnel:
Eric Clapton (guitar, vocals)
Nathan East (bass, vocals)
Steve Ferrone (drums)
Greg Phillinganes (keyboards, background vocals)
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Alan Clark (keyboards on 14.)
Ray Cooper (percussion on 09. – 15.)
Richard Cousins (bass on 05. – 07.
Robert Cray (guitar on 05 – 07.
Buddy Guy (guitar, on 05. – 07
Johnnie Johnson (piano on 05. – 08.
Chuck Leavell (keyboards on 08. – 15.)
Jamie Oldaker (drums on 05. – 08.
Phil Palmer (guitar on 09. – 15.)
Jerry Portnoy (harmonica on 08.)
Ed Shearmur (keyboards on 14. + 15.)
Joey Spampinato (bass on 08.)
Jimmie Vaughan (guitar on 08.)
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background vocals (on 09. – 15.)
Katie Kissoon – Tessa Niles
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The National Philharmonic Orchestra conducted by Micheal Kamen (on 14. + 15.)

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Tracklist:
01. Badge (Clapton/Harrison) 6.51
02. Running On Faith (Williams) 6-49
03. White Room (Bruce/Brown) 6.10
04. Sunshine Of Your Love (Bruce/Brown/Clapton) 9.07
05. Watch Yourself (Guy) 5.39
06. Have You Ever Loved A Woman (Myles) 6.52
07. Worried Life Blues (Merriweather) 5.28
08. Hoodoo Man (Wells) 5.40
09. Pretending (Williams) 7.08
10. Bad Love (Clapton/Jones) 6.25
11. Old Love (Clapton/Dray) 13.01
12. Wonderful Tonight (Clapton) 9.07
13. Bell Bottom Blues (Clapton) 6.38
14. Hard Times (Charles) 3.45
15. Edge Of Darkness (Clapton/Kamen) 6.29
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Hubert Sumlin – Healing Feeling (1990)

FrontCover1Hubert Sumlin arguably did his best work during the 23 years he was Howlin’ Wolf’s guitar player, and his ragged, angular guitar style was a big part of Wolf’s rough-and-ready sound. The perfect sideman, Sumlin was by all accounts somewhat shy and reticent about taking center stage, and Healing Feeling, his second album for Black Top Records, much like his first, Hubert Sumlin’s Blues Party, is really more of an all-star blues jam than it is a fully realized project. Recorded May 5 and 6, 1989, at Southlake Recording Studios in Louisiana, with two additional tracks coming from a live show at Tipitina’s in New Orleans earlier in the day on May 5, the sessions were once again organized by guitarist Ronnie Earl, whose band the Broadcasters is used on most of the cuts. The vocal duties were shared by James “Thunderbird” Davis and Darrell Nulisch, with Sumlin singing on “Come Back Little Girl,” “Honey Dumplins,” and the set closer, “Blues for Henry,” all of which gain poignancy because of Sumlin’s somewhat fragile, whispered vocal approach.

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A clear highlight is Sumlin’s solo electric guitar version of “Down the Dusty Road,” which is focused, clear, and intimate. The sound of the album is a little thicker and punchier than Blues Party, but once again Sumlin pulls off the difficult task of sounding like a sideman on his own album project, which is a shame, since when he does step forward, things really start to take on a distinct character. The two Black Top albums (this one was originally released in 1990) are really like blues jam holding patterns recorded when Sumlin was still trying to figure out how to make the transition from ace sideman to revered bandleader. Both suffer a bit from not having a truly assertive Sumlin on board. (by Steve Leggett)

Originally released in 1990 on Black Top Records (BT-1053)

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Personnel:
James “Thunderbird” Davis (vocals on 01., 03., 06. +  08.)
Ronnie Earl (guitar)
Steve Gomes (bass)
Per Hanson (drums)
Mark “Kaz” Kazanoff (saxophone)
Darrell Nulisch (harmonica, vocals)
Richard “Dickie” Reed (keyboards)
Hubert Sumlin (guitar, vocals on 04, 10., 12. + 13.)

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Tracklist:
01. I Don’t Want To Hear About Yours (Nulisch/Gomes) 3.30
02. Healing Feeling (Sumlin/Kazanoff/Hanson/Earl/Gomes) 2.35
03. Just Like I Treat You (Burnett) 3.56
04. Come Back Little Girl (Sumlin) 4.46
05. Play It Cool (King) 5.12
06. Without A Friend Like You (Nulisch/Sumlin/Earl) 3.22
07. I Don’t Want No Woman (Veasey) 3.22
08. Blue Shadows (Fulson) 4.31
09. Down The Dusty Road (Sumlin) 2.50
10. Honey Dumlins (Sumlin) 5.30
11. Blues For Henry (Sumlin/Earl) 4.07

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Various Artists – Gnawa Music Of Marrakesh – Night Spirit Masters (1990)

FronzCover1As Paul Bowles states in his liner notes, the music of the Gnawa (Malinese slaves brought to Morocco in the 16th century) is very different than most of what’s heard in Morocco. Indeed, there’s a healthy strain of the kind of vocal and percussion styles heard in the Gnawa’s West African homeland on this fine collection. And even though the Middle Eastern darbouka drum is occasionally used and the language sung in is Arabic, the predominant sound comes from large, deep-toned drums called the tbola (akin to the talking drum of Ghana) and from the chorus of singers heard on half the cuts (the harmonies produced being similar to those in both traditional and popular West African song).

Sounding like a cross between the oud (the Middle Eastern predecessor to the lute) and the West African kora, the upright string instrument the sentir musically fuses the two cultures. Musicology aside, this Bill Laswell-produced recording is a must for fans of both African and Middle Eastern music. Half the pieces feature lead and group singers in call and response mode buoyed by a full compliment of sentirs, drums, hand clapping, and qrakechs (finger cymbals made from sheet metal). The other portion includes both drum features and sentir and vocal pieces. A great collection. (by Stephen Cook)

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Tracklist + Personnel:

01. Baba L’Rouami1 Baba L’Rouami 3.05
Goblet Drum [Darbouka] – Abdelhak Bou NaamSintir, Vocals – Mustapha BaqbouVocals – Ahmed Hamzaoui, Mahjoub El Khalmouss, Said Oughassal
02. . Mimoun Mamrba 5-12
Castanets [Qrakech] – Abdel Kbir Msolom, Abdellatif OughassalDrums – Abderrahim Oughassal, Abelmar Bou NaamSintir, Vocals – Said OughassalVocals – Abdelqader Oughassal

03. Tramin 2.57
Drums – Abbes Larfaoui, Brahim El Belkani, Mahjoub Jaffer

04. Chabako 6.27
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

05. Moulay Abdellah Ben Hassaine / Moulay Brahim 4.12
Shaker – Ahmed MamzaoiSintir, Vocals – Mustapha Baqbou

06. Toura Toura Tour Kelilah 4.07
Sintir, Vocals – Mustapha BaqbouVocals – Abdel Kbir Mershan, Mahjoub El Khalmouss, Mbarrek Ben Othane

07. Baniya 5.59
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

08. Jillala 4.49
Sintir, Vocals – Abdel Kbir Mershan, Mustapha BaqbouVocals – Mahjoub El Khalmouss, Mohammed Qrifli

09. Said Fafy Drum Solo 2.15
Drums – Said Fafy, Said Oughassal

10. Toura Toura Tour Kelilah #2 3.12
Castanets [Qrakech], Vocals – Mahjoub MethoumHandclaps – Rachid El BelkaniSintir, Vocals – Brahim El Belkani

11. Hamouda 6.00
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

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Lucky Peterson – Triple Play (1990)

FrontCover1Lucky Peterson (born Judge Kenneth Peterson, December 13, 1964, Buffalo, New York) is an American musician who plays contemporary blues, fusing soul, R&B, gospel and rock and roll. He plays guitar and keyboards. Music journalist Tony Russell, in his book The Blues – From Robert Johnson to Robert Cray has said, “he may be the only blues musician to have had national television exposure in short pants.”Lucky Peterson (born Judge Kenneth Peterson, December 13, 1964, Buffalo, New York) is an American musician who plays contemporary blues, fusing soul, R&B, gospel and rock and roll. He plays guitar and keyboards. Music journalist Tony Russell, in his book The Blues – From Robert Johnson to Robert Cray has said, “he may be the only blues musician to have had national television exposure in short pants.”

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Peterson’s father, bluesman James Peterson, owned a nightclub in Buffalo called The Governor’s Inn. The club was a regular stop for fellow bluesmen such as Willie Dixon. Dixon saw a five-year-old Lucky Peterson performing at the club and, in Peterson’s words, “Took me under his wing.” Months later, Peterson performed on The Tonight Show, The Ed Sullivan Show and What’s My Line?. Millions of people watched Peterson sing “1-2-3-4”, a cover version of “Please, Please, Please” by James Brown. At the time, Peterson said “his father wrote it”. Around this time he recorded his first album, Our Future: 5 Year Old Lucky Peterson, for Today/Perception Records and appeared on the public television show, Soul!.

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As a teen, Peterson studied at the Buffalo Academy for Visual and Performing Arts, where he played the French horn with the school symphony. Soon, he was playing backup guitar and keyboards for Etta James, Bobby “Blue” Bland, and Little Milton.[2]
The 1990s were a prolific period for Peterson. Two solo Bob Greenlee produced albums for the Chicago-based Alligator Records (1989’s Lucky Strikes! and the following year’s Triple Play) remain his finest recorded offerings. He then released four more for the record label, Verve Records (I’m Ready, Beyond Cool, Lifetime and Move). While with Verve, Peterson collaborated with Mavis Staples on a tribute to gospel singer Mahalia Jackson, called Spirituals & Gospel. Peterson played electronic organ behind Staples’ singing.

More albums from Peterson came after 2000. He recorded two for Blue Thumb Records (Lucky Peterson and Double Dealin’), and one for Disques Dreyfus entitled, Black Midnight Sun. In 2007, he released Tete a Tete on JSP Records.
In 2013, the Blackbird Music/55 Arts Club DVD of Live At The 55 Arts Club Berlin was nominated for a Blues Music Award.[4]Lucky Peterson in 1984.Current work and lifestyle
Today, Peterson lives in Dallas, Texas, and maintains a rigorous tour schedule performing all over the world.
Peterson has four children. (by wikipedia)

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Even more impressive than his previous Alligator set, thanks to top-flight material like “Don’t Cloud Up on Me,” “Let the Chips Fall Where They May,” and “Locked Out of Love,” the fine house band at Greenlee’s King Snake studios, and Peterson’s own rapidly developing attack on two instruments. (by Bill Dahl)

It’s a shame that Lucky Peterson has still not been discovered by some blues fans; they don’t know what they’re missing. This collection, recorded at Kingsnake Studios in Sanford, FL and released on Alligator Records in 1990, offers some great music from start to finish. Of the ten songs, I could start naming favorites such as “Six O’Clock Blues”, “Let the Chips Fall Where They May”, and the classic “I Found A Love”, but there isn’t a bad track on this disc. While it was originally released many years ago, it still sounds fresh. All in all, “Triple Play” is one well-done album. (by Blue Ox)

Lucky Peterson is a natural born musician and entertainer. He first exposed his bewildering talent during session work for Florida’s King Snake Records. Then, he progressed to holding stints with Little Milton and Bobby `Blue’ Bland. Given the number of artists and CDs that I see and hear annually, Lucky Peterson consistently rates at the top. Unlike the name of this 42-minute album, Peterson is more than a triple threat. He is an exhilarating multi-instrumentalist (capable of playing organ, guitar, bass, drums and trumpet), flamboyant songwriter, passionate singer, and a radiant live entertainer. If you haven’t had the pleasure of experiencing his multiple talents, check out “Let The Chips Fall Where They May” with its slick and funky arrangement. Here, and throughout Peterson plays explosive lead guitar while backed by his sleek organ and vocals. Just 27-years-old at the time this album was released, Peterson shows infinite potential. (by Tim Holek)

In other words: a brilliant album !

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Personnel:
Bryan Bassett (guitar)
Bob Greenlee (bass)
Dale Horton (bass)
Ernie Lancaster (guitar)
Jim Payne (drums)
Lucky Peterson (keyboards, guitar, vocals)
William Pell Pinner III (drums)
George Taylor (guitar)
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The Kingsnake Horns:
Bob Greenlee (saxophone)
Sylvester Polk (trumpet)
Bill Samuel (saxophone)
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Ray Anderson (trombone of 10.)
Ray”Bruce Staelens (trumpet on 10.)
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Funky Ray”Lester Chambers (vocals on 05.)

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Tracklist:
01. Let The Chips Fall Where They May (Greenlee) 4.11
02. Your Lies (Greenlee/Peterson/Payne) 3.11.
03. Six O’Clock Blues (Boylston/Michel) 3.44
04. Repo Man (Payne/Peterson/Boylston/Greenlee) 3.26
05. I Found A Love (Pickett/West/Scofield) 5.47
06. Jammin’ In The Jungle (Payne/Peterson/Greenlee) 3.43
07. Locked Out Of Love (Payne/Peterson/Greenlee) 3.39
08. I’m Free (Payne/Greenlee) 5.18
09. Don’t Cloud Up On Me (Greenlee/Peterson/Boylston) 3.15
10. Funky Ray (Anderson/Peterson/Payne/Greenlee) 5.29

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AC/DC – The Razors Edge (1990)

FrontCover1The Razors Edge is an album by Australian hard rock band AC/DC. It was the band’s eleventh internationally released studio album and the twelfth to be released in Australia. It was a major comeback for the band, featuring the hits “Thunderstruck” and “Are You Ready”, which reached #5 and #16 respectively on Billboard’s Mainstream Rock Tracks Chart, and “Moneytalks”, which peaked at #23 on the Billboard Hot 100. The album went multi-platinum (5 million copies sold) and reached the US top ten. The album reached #2 on the US Billboard 200 and #4 in the UK, a smash commercial success that returned the band to the popularity of its glory years of the late 1970s and early 1980s. The album has been certified 5x platinum (5 million copies sold) in the US, and was re-released in 2003 as part of the AC/DC Remasters series. The album was produced by Bruce Fairbairn.

The Razors Edge was recorded at Windmill Road Studios in Dublin, Ireland and Little Mountain Studios in Vancouver, BC, Canada, and was mixed and engineered by Mike Fraser and produced by Bruce Fairbairn, who had previously worked with Aerosmith and Bon Jovi. According to the book AC/DC: Maximum Rock & Roll, George Young was involved early on but had to bow out because of personal issues. Lead singer Brian Johnson was unavailable for several months while finalising his divorce, so the Young brothers wrote all the songs for the next album, a practice they continued for all subsequent releases (In a 1995 interview, Johnson told Guitar World that he was relieved at not having to deal with the pressure of writing the lyrics anymore).

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The instantly recognizable opening riff to “Thunderstruck” features Young alternating between fretted notes and playing the open string. In a 1993 interview with Guitar World’s Alan Di Perna, the guitarist recalls, “I was just fiddling with my left hand when I came up with that riff; I played it more by accident than anything. I thought, ‘not bad,’ and put it on a tape. That’s how me and Malcolm generally work. We put our ideas down on tape and play them for one another.” He expanded in greater detail in the liner notes of the 2003 re-release of The Razor’s Edge:

It started off from a little trick I had on guitar. I played it to Mal and he said ‘Oh, I’ve got a good rhythm idea that will sit well in the back.’ We built the song up from that. We fiddled about with it for a few months before everything fell into place. Lyrically, it was really just a case of finding a good title…We came up with this thunder thing and it seemed to have a good ring to it. AC/DC = Power. That’s the basic idea.”

ACDC1990

“Moneytalks” is also one of AC/DC’s biggest hits, breaking the top 40 on the Billboard Hot 100, the UK Singles Charts, and the Australian ARIA Singles Chart. It is still the band’s highest charting single in the United States, at number 23 (no other AC/DC single has even cracked the top 30). During their subsequent world tour, thousands of “Angus Bucks” were dropped on the audience during the song. A music video of the song, directed by David Mallet, was also released, featuring a live performance during the tour. Author Murray Engleheart states in his band memoir AC/DC: Maximum Rock & Roll: “On songs like ‘Mistress for Christmas’ and “Moneytalks,’ Malcolm and Angus showed their working-class roots, despite multi-millionaire selling albums, by taking aim at the high flyers in the business world.”

ACDC1990_02

In a February 1991 interview with Guitar World Angus Young stated, “I think the funniest song on this album is ‘Mistress For Christmas.’ That song’s about Donald Trump. He was big news at the time, so we thought we’d have a bit of fun and humor with it.” In the same interview, he declared that his best guitar solo on the LP was on the song “The Razors Edge,” which also features a rare foray into finger picking. Although AC/DC had always remained apolitical when it came to their music, the title track was a commentary of sorts, with Young explaining to Muchmusic in 1992:

“The Razors Edge” comes from an old saying farmers used to use in Britain where you’d have a fine sunny day, you know, a very good day with a hot sun, and then all of a sudden right in the distance you could see these black clouds coming over the horizon, an ominous thing…I thought it was a great title. The world was at peace again and everyone thought, “Ah, the Berlin Wall’s come down and it’s all gonna be fun and games, a party every night,” and you can see now that it’s not that way. It’s just our way of saying the world’s not perfect and never will be. (by wikipedia)

Chris Slade

Although AC/DC’s popularity had decreased by the early ’90s, the band still had a lot of life left in it. Arguably the Australian headbangers’ strongest album in over half a decade, The Razor’s Edge is quintessential AC/DC — rowdy, abrasive, unapologetically fun metal full of blistering power chords, memorable hooks, and testosterone-driven lyrics. Lead singer Brian Johnson sounds more inspired than he had since 1983’s Flick of the Switch, and lead guitarist Angus Young isn’t about to take any prisoners on such hard-hitting material as “Shot of Love,” the menacing title song, and the appropriately titled “Got You By the Balls.” Although not quite in a class with Back in Black, Highway to Hell, or Let There Be Rock — all of which would, for novices, serve as fine introductions to the distinctive band — The RazoYear Of Recording: 1990r’s Edge was a welcome addition to AC/DC’s catalog. (by Alex Henderson)

The 57th Annual GRAMMY Awards - Telecast

Personnel:
Brian Johnson (vocals)
Chris Slade (drums, percussion)
Cliff Williams (bass, background vocals)
Angus Young (lead guitar)
Malcolm Young (guitar, background vocals)

Booklet1

Tracklist:
01. Thunderstruck 4.52
02. Fire Your Guns 2.53
03. Moneytalks 3:48
04. The Razors Edge 4.22
05. Mistress For Christmas 3.59
06. Rock Your Heart Out 4.06
07. Are You Ready 4.10
08. Got You By The Balls 4:30
09. Shot Of Love 3.56
10. Let’s Make It 3.32
11. Goodbye & Good Riddance To Bad Luck 3.13
12. If You Dare 3.08

All songs written by Angus Young and Malcolm Young

CD1
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