Roger Chapman – Hybrid And Lowdown (1990 – 2007)

FrontCover1.jpgIn 1979 Chapman began a solo career and recorded his first solo album Chappo. His backing band became known as The Shortlist at this time and he toured Europe extensively. Mike Oldfield’s song “Shadow on the Wall” from the album Crises (1983) featured Chapman on vocals and became a big hit. He appeared as a guest artist on the second Box of Frogs album Strange Land (1986) singing lead vocals on two songs. Chapman went on to record Walking the Cat (1989) and Hybrid and Low Down (1990). (by wikipedia)

And here´s is a more or less forgotten album by Roger Chapman … an maybe criminally underrated album, not only because all these very fine compositions, not only because this great gang of musicians in the studio (including Micky Moody on slide-guitar), but because of the wonderful voice of Roger Chapman.

At the end of the studios album you can hear a very unique version of the Everly Brothers Hit “Bye, Bye Love”

Inlet 01

On the bonus album we hear another hot live appearance by Roger Chapman and his band (recorded in Germany in November 1990) … oh yes this place was hot ! And you another chance to listen to Micky Moody and his magic slide guitar  on a tune called “Big River” (written by Johny Cash !)


Roger Chapman (vocals, harmonica)
Dave Courtney (drums on 08.)
Simon Edwards (accordion on 03.)
Chris Fletcher (percussion on 01., 04., 06.
Ian Gibbons (keyboards on 06.
John Lingwood (drums on 01., 02., 06., 07., 08.. 09., 10.
Mick Moody (guitar on 01., 04., 08. -10. mandolin, background vocals on 01., slide guitar on 02., 06.
Nick Pentelow (saxophone on 06.
Steve Simpson (guitar on 03., 06., 07.
Philip Spalding (bass on 04., 10.
Henry Spinetti (drums on 04.
Peter Stroud (bass on 01., 02., 06., 08.
background vocals:
Steve Simpson – Bob Tench – Zeitia Massieh – Sonny Spider


01. Hot Night To Rhumba (Simpson/Hinkley) 5.25
02. Holding On (Chapman) 4.31
03. Hideaway (Chapman/Simpson) 3.54
04. Beautifully Indecent (Chapman) 4.42
05. Sushi Roll (Chapman) 4.22
06. Someone Else’s Clothes (Chapman) 4.17
07. Chicken Fingers (Chapman/Simpson) 2.55
08. House Behind The Sun (Chapman/Simpson) 5.06
09. Sushi Rock (Chapman) 2.34
10. Is There Anybody Out Here ? (Chapman/Tench) 4.56
11. Cops In Shades (Chapman/Tench) 3.55
12. Bye Bye Love (F.Bryant/B.Bryant) 5.02
13. Beautifully Indecent (Chapman) 5.53
14. Sushi Roll / Sushi Rock (Chapman) 8.44
15. Someone Else’s Clothes (Chapman) 6.22
16. Moody’s Jump (Moody) / Big River (Cash) 7.04
15. Chicken Fingers (Chapman/Simpson) 8.44




Inspiral Carpets – Life (1990)

FrontCover1.jpgLife is the debut studio album by the British indie rock band Inspiral Carpets. It was released on 23 April 1990 on Cow Records, through Mute Records, during the period dubbed Madchester by the British media. The group released three singles from this album: “Move”, “This Is How It Feels” and “She Comes in the Fall”, with the latter two in different versions from those found on the album.

It was reissued in 2013 with the PlaneCrash and TrainSurfing EPs and an unreleased John Peel session as bonus tracks, plus the 21790 live video on a bonus DVD. The 2013 reissue is based on the original UK CD release.

A slightly modified version of Life was released in North America. It dropped the track “Besides Me” and added “Commercial Rain” (a re-recorded version of a B-side to the “Joe” single) and three tracks from their then-forthcoming Island Head EP. (by wikipedia)


Inspiral Carpets had been honing their skills in their native Manchester, England, when the replacement of their original singer with Too Much Texas’s Tom Hingley–and an increased reliance on the Farfisa organ–soon put them at the forefront of that northern city’s burgeoning Madchester scene. Their debut album, LIFE, finds the group expanding their sound beyond the poignant hit “This Is How It Feels,” which is included here. The Elektra-released U.S. edition of LIFE adds tracks from their ISLAND HEAD EP, released contemporaneously with the album. (by Daniel Fetherston)

In today’s synthesizer era, the cheesy wheedle of an electric organ immediately locks a band into rock nostalgia (remember ”96 Tears”?). As one of the psychedelic retro-pop groups currently dominating British charts, Inspiral Carpets features great big organ chords to distinguish itself from such momentary superstars of the Manchester explosion as Stone Roses and Happy Mondays. But that very act of nonconformity marries the quintet to groups of the past.


Life straddles the post-punk present and the psychedelic ’60s with hook-filled songs that liberally quote specific chapters of rock history amid a dense wall of keyboards and guitars. ”Directing Traffic,” for one, mimics the Doors’ sound and lifts a melody from the Electric Prunes’ ”I Had Too Much to Dream (Last Night)”; ”I’ll Keep It in Mind” stresses folky vocal harmonies and inserts an organ solo straight out of a skating rink. (by Ira Robbins)


Clint Boon (keyboards, vocals)
Craig Gill (drums)
Tom Hingley (vocals)
Graham Lambert (guitar)
Martyn Walsh (bass)


01. Real Thing 3.09
02. Song For A Family 3.04
03. This Is How It Feels 3.05
04. Directing Traffic 3.55
05. Besides Me 2.24
06. Many Happy Returns 3.08
07. Memories Of You 2.15
08. She Comes In The Fall 4.41
09. Monkey On My Back 2.00
10. Sun Don’t Shine 3.35
11. Inside My Head 2:01
12. Move 3.36
12. Sackville 6.43

All songs written by Clint Boon – Craig Gill – Tom Hingley – Graham Lambert – Martyn Walsh




R.E.M – Out Of Time (1991)

FrontCover1.jpgOut of Time is the seventh studio album by American alternative rock band R.E.M., released on March 8, 1991 by Warner Bros. Records. With Out of Time, R.E.M.’s status grew from that of a cult band to a massive international act. The record topped the album sales charts in both the U.S. and the United Kingdom, spending 109 weeks on American album charts and enjoying two separate spells at the summit, and spending 183 weeks on the British charts and a single week at the top. The album has sold over four and a half million copies in the U.S. and over 18 million copies worldwide. The album won three Grammy Awards in 1992: one as Best Alternative Music Album, and two for the first single, “Losing My Religion.”

Out of Time combines elements of pop, folk and classical music heard on their previous album Green, with a new concentration on country elements that would continue on 1992’s Automatic for the People.

Preceded by the release of “Losing My Religion”, which became R.E.M.’s biggest U.S. hit, Out of Time gave them their first U.S. and UK No. 1 album. The band did not tour to support the release. In Germany, it is the band’s best-selling album, selling more than 1,250,000 copies, reaching 5×gold.

The album was featured in Time magazine’s unranked list of The All-Time 100 Albums.


In July 2014, radio show 99% Invisible said that because of this packaging, Out of Time is “the most politically significant album in the history of the United States.”[7] They said that three weeks after the album’s release, “they had received 10,000 petitions, 100 per senator, and they just kept coming in droves,”[7] and a month following its release, the campaign’s political director and members of KMD “wheeled a shopping cart full of the first 10,000 petitions into a senate hearing.” The bill was eventually passed in 1995 by Bill Clinton; one commentary later said this happened “in no small part because of R.E.M.’s lobbying.” (by wikipedia)


Hiding political tics behind faux-formalist boilerplate, pop aesthetes accused them of imposing Solidarity and Agent Orange on their musical material, but in fact such subjects signaled an other-directedness as healthy as Michael Stipe’s newfound elocution. Admittedly, with this one beginning “The world is collapsing around our ears,” I wondered briefly whether “Losing My Religion” was about music itself, but when Stipe says they thought about calling it Love Songs, he’s not just mumbling “Dixie.” Being R.E.M., they mean to capture moods or limn relationships rather than describe feelings or, God knows, incidents, and while some will find the music too pleasing, it matches the words hurt for hurt and surge for surge. The Kate Pierson cameos, the cellos, and Mark Bingham’s organic string arrangements are Murmur without walls–beauty worthy of DeBarge, of the sweetest soukous, of a massed choir singing “I Want To Know What Love Is.” (by Robert Christgau)


Bill Berry (drums, percussion, bass, piano, background vocals)
Peter Buck (guitar, mandolin)
Mike Mills (bass, keyboards)
Michael Stipe (vocals, melodica)
Peter Holsapple (bass guitar on 01., + 03., guitar on 02., 06., 07. + 09.)
Ralph Jones (bass on 01., 03.- 06., 08. + 09.)
Kidd Jordan (saxophone)
John Keane (pedal steel guitar on 09. + 10.)
Kate Pierson (vocals on 04., 06. + 11.)
Cecil Welch (flugelhorn on 05.)
David Arenz – Ellie Arenz – David Braitberg – Dave Kempers
Andrew Cox – Elizabeth Murphy
Reid Harris – Paul Murphy
KRS-One – rapping on 01.)
Scott Litt (echo-loop feed on 01.)


01. Radio Song (featuring KRS-One) 4.16
02. Losing My Religion 4.29
03. Low 4.56
04. Near Wild Heaven 3.20
05. Endgame 3.50
06. Shiny Happy People 3.46
07. Belong 4.07
08. Half A World Away 3.28
09. Texarkana 3.40
10. Country Feedback 4.09
11. Me In Honey 4.06

All songs written by Bill Berry, Peter Buck, Mike Mills and Michael Stipe




Oh, life is bigger
It’s bigger than you and you are not me
The lengths that I will go to the distance in your eyes
Oh no, I’ve said too much, I set it up
That’s me in the corner, that’s me in the spotlight
Losing my religion
Trying to keep up with you and I don’t know if I can do it
Oh no, I’ve said too much, I haven’t said enough

I thought that I heard you laughing
I thought that I heard you sing
I think I thought I saw you try

Every whisper of every waking hour I’m choosing my confessions
Trying to keep an eye on you
Like a hurt lost and blinded fool, fool
Oh no, I’ve said too much, I set it up
Consider this, consider this, the hint of the century
Consider this the slip that brought me to my knees, failed
What if all these fantasies come flailing around?
Now I’ve said too much

But that was just a dream
That was just a dream

That’s me in the corner, that’s me in the spotlight
Losing my religion
Trying to keep up with you and I don’t know if I can do it
Oh no, I’ve said too much, I haven’t said enough

But that was just a dream
Try, cry, why try?
That was just a dream, just a dream
Just a dream, dream

Nils Lofgren – Keith Don’t Go (2013)

FrontCover1.jpgGiven his high profile status as a pianist and guitarist for both Neil Young and Bruce Springsteen, it’s sometime forgotten that Nils Lofgren enjoyed a 4 year span with Grin, before embarking on his on-going solo career in 1975. ‘Keith Don’t Go – Live at the Town & Country Club, London 1990’ dips back into his early career, for an acoustic to eclectic sweep of his formative years.

Best known as flamboyant guitarist occasionally given to trampolining – hence the album title of his last big label album ‘Flip’ – Lofgren is also a consistent song writer with a penchant for ballads and melodic pop rock as well as firebrand rocking.

And while this live set might disappoint some fans, especially as its light on material from his best studio albums ‘Cry Tough’ and ‘I Came To Dance’, he does a good job of reinvigorating some early career gems. The acoustic ‘Secrets In The Street’ and ‘Keith Don’t Go’ are given new spark while the autobiographical melodic pop-rock of ‘The Sun Hasn’t Set (On This Boy Yet)’ comes from his early Grin era.

The equally old ‘See What Love Can Do’ puts the accent more on a reggae/funk feel with a fiery vocal performance and inspired ensemble playing.

Nils Lofgren

Given this live album represents 50 odd minutes of a full show, there’s still an integral dynamic to a set that builds incrementally. The band smoulders on ‘Rock And Roll Crook’ – one of the few songs that doesn’t sound much better with the passing of time – before igniting on the up tempo rocking of ‘Moon Tears’.

The song originally received its greatest exposure on the ‘I Came To Dance’, but goes back to the first Grin album, and is a riff driven gem with jangling, unison guitars and sparkling band interplay.

Inevitably there’s room for some lyric driven ballads such as ‘No Mercy’ and the love song ‘Shine Silently’ before Nils climaxes the show with the guitar driven ‘I Came To Dance’. The audience response suggests it’s that facet of his music that his fans love best.

This album is a decent snap shot of an in demand session musician with a rich solo career of his own. (by petefeenstra)

Or, just simple: An excellent album !

Recorded live at The Town & Country Club, London 1990
Digitally remastered from the original British television recording.


Larry Cragg (guitar, organ)
Nils Lofgren (guitar, vocals)
Tommy Lofgren (keyboards, guitar, vocals)
Ronnie Newmyer (bass)
Max M. Weinberg (drums)


01. Secrets In The Street (N.Lofgren) 4.00
02. Keith Don’t Go (N.Lofgren) 5.41
03. Goin’ Back (Goffin/King) 4.11
04. Rock And Roll Crook (N.Lofgren) 3.05
05. Moon Tears (N.Lofgren) 3.57
06. The Sun Hasn’t Set (On This Boy Yet) (N.Lofgren) 2.57
07. Anytime At All (Lennon/McCartney) 2.38
08. No Mercy (N.Lofgren) 4.21
09. Shine Silently (Wagner/N.Lofgren) 7.30
10. See What Love Can Do? (N.Lofgren) 6.46
11. I Came To Dance (N.Lofgren) 7.33




The neons are hot tonight baby
Light me up, take me in your arms
There’s so much we ought to learn baby
That ain’t in books or schools of charm
Ain’t in any university standin’ right atop the law’s long arm
Out in the streets you can get a real view and hope is the charm

The secrets in the street are waiting to remind you
Secrets in the street, high hopes will never blind you
Secrets in the street, they’ll teach you about survival
Secrets in the street and not the self denial we’ve been sold

Been so uninspired and lonely
Been studying hard
The values of pain bottomed out, went waikin’ at midnight
The streets breathed life
I danced with the rain
Gotta move my mind and heart from the celler
Out in the street where you get a real view
In the street where you find the real dreams
Know that some do come true

Ernestine Anderson – Live At The Concord Jazz Festival Third Set (1990)

FrontCover1.jpgAlthough there is no official leader on the CD, this is really an Ernestine Anderson date. Pianist Gene Harris and his quartet (with guitarist Ed Bickert, bassist Lynn Seaton and drummer Harold Jones) romp through Oscar Pettiford’s “Blues in the Closet” and then the singer takes over for the final six numbers; Frank Wess guests on tenor during “I Should Care” and altoist Marshall Royal is heard from on “Skylark.” Ernestine Anderson is in top form during her well-rounded set with highlights including the lengthy “I Should Care,” a swinging “There Is No Greater Love,” “On My Own” and a definitive 15-minute version of “Never Make Your Move Too Soon.” (by Scott Yanow)

One thing Concord Jazz cannot be accused of is failing to document Ernestine Anderson’s live performances. When the veteran jazz singer was recording for Concord in the late ’70s, ’80s, and early ’90s, the label put out several live albums that featured her extensively. Here’s the thing: Not all of those albums were released under Anderson’s own name — she was employed as a featured vocalist for pianist George Shearing, the Frank Capp/Nat Pierce Juggernaut, and a band that was billed as the Concord All Stars. Anderson’s live performances of 1987-1990 are the focus of this excellent two-CD set, which Concord assembled in 2002 — and none of the recordings are from the singer’s own albums. The all-star release Live at the 1990 Concord Jazz Festival (Third Set) is heard in its entirety. (

Ernestine Anderson1

Ernestine Anderson (vocals)
Ed Bickert (guitar)
Gene Harris (piano)
Harold Jones (drums)
Lynn Seaton (bass)
Marshall Royal (saxophone on 05.)
Frank Wess (saxophone on 03.)

01. Blues In The Closet (Pettiford) 7.32
02. I Let A Song Go Out Of My Heart (Ellington/Mills/Nemo/Redmond 4.42
03. I Should Care (Stordahl/Weston/Cahn) 10.22
04. There Is No Greater Love (Jones/Symes) 5.23
05. Skylark (Mercer/Carmichael) 7.14
06. On My Own (Sager/Bacharach) 4.58
07. Never Make Your Move Toon Soon (Hooper/Jennings) 15.15



Ernestine Anderson2.jpg

Ernestine Anderson (November 11, 1928 – March 10, 2016)

Phil Collins – Serious Hits … Live (1990)

FrontCover1.jpgSerious Hits… Live! is the name of Phil Collins’ 1990 live album, released on vinyl and CD. It is also the title of the 2003 DVD video release of his concert at Berlin’s Waldbühne on 15 July 1990. (The original 1990 VHS and Betamax version of the video was titled Seriously Live.) The songs on the CD version are taken from various concerts during the Seriously, Live! World Tour. At the Brit Awards in 1992, the album brought Collins a nomination for British Male Artist.

When compiling the tracks for the album, instead of providing the experience of a complete live concert, the producers took the approach of putting together a “hits only” selection of songs. On the final song of the album, Collins thanks the fans in Chicago.

The live video and DVD version features one entire concert. The live performance at Berlin’s Waldbühne has been hailed by Collins as his best performance due to the energy of the German people after the fall of the Berlin Wall. The DVD presents an in-depth look at his solo concert experience. Special moments include the crowd not allowing the concert to continue with prolonged applause after “Something Happened on the Way to Heaven” and the lighter vigil during “Doesn’t Anybody Stay Together Anymore”. (by wikipedia)


Along with being a multi-talented musician and an excellent songwriter, Phil Collins is one of the best live performers in rock. His songs usually stay true to their original form, he puts plenty of fire into his vocals, and best of all, every one of his in-concert qualities transfers well into album form. Serious Hits…Live! is a wonderful example of this, with not only 15 tracks, but 15 of Phil’s best tracks, performed with an overcharged amount of enthusiasm and energy. There’s an equal number of ballads and fast songs on the album, but even on the slow stuff, Collins puts a lot of passion and feeling into the lyrics. Efforts such as “One More Night,” “Do You Remember?,” and especially his best ballad, “Against All Odds (Take a Look at Me Now)” are heartfelt and unhindered. His moods shift easily without any false emotional dramatics, which in turn enhances the ambience of the songs. The tracks are taken from a number of shows during his Serious Tour in 1990, but his performance level remains enthusiastic the whole album through and the change of venues goes unnoticed, which is again another plus.


Collins is just as sharp on the quicker tunes, with some wonderful percussion filling in behind him. The drumming is stellar on “Easy Lover” and again on “Sussudio,” but the album’s only downfall is its lack of credits, leaving the identities of the musicians a mystery. The album makes up for this with a spine-chilling version of “In the Air Tonight” as Collins does a good job of capturing the song’s haunting air, and from here the album switches gears with “You Can’t Hurry Love” but doing so with undefiled perfection. Almost all of the songs here broke Billboard’s Top Ten, and five of these tracks hit number one, which makes Serious Hits…Live! truly live up to it’s name. (by Mike DeGagne)


Brad Cole (keyboards)
Phil Collins (vocals, piano, drums)
Leland Sklar (bass)
Daryl Stuermer (guitar)
Chester Thompson (drums)
The Phenix Horns:
Rahmlee Michael Davis (trumpet)
Harry Kim (trumpet)
Don Myrick (saxophone)
Louis “Lui Lui” Satterfield (trombone)
The Seriousettes (background vocals):
Bridgette Bryant – Arnold McCuller – Fred White


01. Something Happened On The Way To Heaven (Collins/Stuermer) 5.00
02. Against All Odds (Take A Look At Me Now)  (Collins) 3.29
03. Who Said I Would (Collins) 4.28
04. One More Night (Collins) 5.49
05. Don’t Lose My Number (Collins) 4.42
06. Do You Remember? (Collins) 5.40
07. Another Day In Paradise (Collins) 5.36
08. Separate Lives (Bishop) 5.17
09. In The Air Tonight (Collins) 6.35
10. You Can’t Hurry Love (Dozier, E.Holland/B.Holland) 2.54
11. Two Hearts (Collins/Lamont/Dozier) 3.07
12. Sussudio (Collins) 7.14
13. A Groovy Kind Of Love (Bayer-Sager/Wine) 3.30
14. Easy Lover (Bailey/Collins/East) 4.46
15. Take Me Home (Collins) 8.39




The Christians – Colour (1990)

FrontCover1.jpgThe Christians are a musical ensemble from Liverpool, England, who had the highest selling debut album of any artist at Island Records and international chart hits in the late 1980s and early 1990s.

The name of the band refers to the surname of the three brothers that were originally in the line-up, and is also coincidentally guitarist Henry Priestman’s middle name.

Garry Christian (born 27 February 1955, Liverpool) (lead vocals), Roger Christian (born 13 February 1950; died 8 March 1998 from brain tumour) (vocals, instrumentalist), Russell Christian (born 8 July 1956) (keyboards, saxophone, vocals), and Henry Priestman (born Henry Christian Priestman, 21 June 1955, in Kingston upon Hull, brought up in Liverpool) (keyboards, guitars, vocals) formed the band in 1985. Paul Barlow (drums), Mike Bulger (guitar/vocals) and Tony Jones on bass were also early members. Because of a reluctance to tour, Roger left in 1987.

TheChristians01In Rock: The Rough Guide, critic Charles Bottomley, described them as “The Temptations in ripped jeans, producing gritty-centred songs in a sugary vocal shell”.

Colour is the second album by British soul group The Christians. It was released in January 1990 by Island Records and peaked at number one on the UK Albums Chart. It also reached the Top 20 in several European countries due, notably, to the success of its lead single “Words”. (by wikipedia)

Given the obvious talent at the Christians’ disposal, it’s odd how uninspiring their music is. Gary Christian has a remarkable voice, soulful without resorting to the showy mannerisms that derail so many lesser singers. In his previous band, the Yachts, keyboardist Henry Priestman revealed himself to be one of the wittiest and most melodically subtle songwriters of the post-punk age, as well as one of its most immediately distinctive instrumentalists. The subtle melodicism is still there on 1990’s Colour, but the cleverness and distinctive personality are pretty much gone. The lyrics are uniformly po-faced and mushily inspirational, with none of the sparkling wit of the Yachts, and Laurie Latham’s ultra-slick production doesn’t even have the over-the-top sonic gimmickry of his earlier albums for Squeeze and Paul Young, making Colour musically indistinguishable from the likes of Phil Collins and Simple Minds.


Worst of all, the songs are absurdly elongated, stretching three minutes’ worth of musical and lyrical content into tracks that tend to stretch into the five- to seven-minute range. Despite the title, Colour is stultifyingly monochromatic. The closing “In My Hour of Need” is a charming sendoff, though, by far the most memorable track on the album. (by Stewart Mason)


Garry A. Christian (vocals)
Russell Christian (saxophone, vocals)
Henry Priestman (keyboards, guitar, vocals)
Steve Ferrone (drums)
Pino Palladino (bass)
The London Community Gospel Choir (on 09.)


01. Man Don’t Cry (Priestman) 4.46
02. I Found Out (Priestman) 4.30
03. Greenbank Drive (Priestman) 4.25
04. All Talk (Priestman) 4.37
05. Words (Traditional/Priestman) 7.04
06. Community Of Spirit (G.Christian) 5.13
07. There You Go Again (Priestman) 6.00
08. One More Baby In Black (Priestman) 5.42
09. In My Hour Of Need (Priestman) 6.24



Labels.jpgThe labels of the vinyl edition