R.E.M. – Automatic For The People (1992)

FrontCover1R.E.M. was an American rock band from Athens, Georgia, formed in 1980 by drummer Bill Berry, guitarist Peter Buck, bassist Mike Mills, and lead vocalist Michael Stipe, who were students at the University of Georgia. Liner notes from some of the band’s albums list attorney Bertis Downs and manager Jefferson Holt as non-musical members. One of the first alternative rock bands, R.E.M. was noted for Buck’s ringing, arpeggiated guitar style; Stipe’s distinctive vocal quality, unique stage presence, and obscure lyrics; Mills’s melodic bass lines and backing vocals; and Berry’s tight, economical drumming style. In the early 1990s, other alternative rock acts such as Nirvana and Pavement viewed R.E.M. as a pioneer of the genre. After Berry left the band in 1997, the band continued its career in the 2000s with mixed critical and commercial success. The band broke up amicably in 2011 with members devoting time to solo projects after having sold more than 85 million albums worldwide and becoming one of the world’s best-selling music acts. (wikipedia)


Automatic for the People is the eighth studio album by American alternative rock band R.E.M., released by Warner Bros. Records on October 5, 1992 in the United Kingdom and Europe, and on the following day in the United States. R.E.M. began production on the album while their previous album, Out of Time (1991), was still ascending top albums charts and achieving global success. Aided by string arrangements from John Paul Jones, Automatic for the People features ruminations on mortality, loss, mourning and nostalgia.

Upon release, it received widespread acclaim from critics, reached number two on the US Billboard 200, and yielded six singles. Rolling Stone reviewer Paul Evans concluded of the album, “This is the members of R.E.M. delving deeper than ever; grown sadder and wiser, the Athens subversives reveal a darker vision that shimmers with new, complex beauty.” Automatic for the People has sold more than 18 million copies worldwide.


What would become Automatic for the People had its origins in the mixing sessions for R.E.M.’s previous album Out of Time, held at Paisley Park Studios in December 1990. There, demos for “Drive”, “Try Not to Breathe” and “Nightswimming” were recorded. After finishing promotional duties for Out of Time, the members of R.E.M. began formal work on their next album. Starting the first week of June 1991,[13] guitarist Peter Buck, bassist Mike Mills, and drummer Bill Berry met several times a week in a rehearsal studio to work on new material. Once a month they would take a week-long break. The musicians would often trade instruments: Buck would play mandolin, Mills would play piano or organ and Berry would play bass. Buck explained that writing without drums was productive for the band members.[14] The band, intent on delivering an album of harder-rocking material after Out of Time, made an effort to write some faster rock songs during rehearsals, but came up with less than a half-dozen prospective songs in that vein.

The musicians recorded the demos in their standard band configuration. According to Buck, the musicians recorded about 30 songs. Lead singer Michael Stipe was not present at these sessions; instead, the band gave him the finished demos at the start of 1992. Stipe described the music to Rolling Stone early that year as “[v]ery mid-tempo, pretty fucking weird […] More acoustic, more organ-based, less drums”. In February, R.E.M. recorded another set of demos at Daniel Lanois’ Kingsway Studios in New Orleans.


The group decided to create finished recordings with co-producer Scott Litt at Bearsville Studios in Woodstock, New York, starting on March 30. The band recorded overdubs in Miami and New York City. String arrangements were recorded in Atlanta. After recording sessions were completed in July, the album was mixed at Bad Animals Studio in Seattle.

Despite R.E.M.’s initial desire to make an album of rocking, guitar-dominated songs after Out of Time, music critic David Fricke noted that instead Automatic for the People “seems to move at an even more agonized crawl” than the band’s previous release. Peter Buck took the lead in suggesting the new direction for the album. The album dealt with themes of loss and mourning inspired by “that sense of […] turning 30”, according to Buck. “The world that we’d been involved in had disappeared, the world of Hüsker Dü and The Replacements, all that had gone […] We were just in a different place and that worked its way out musically and lyrically.” “Sweetness Follows”, “Drive”, and “Monty Got a Raw Deal” in particular expressed much darker themes than any of the band’s previous material and “Try Not to Breathe” is about Stipe’s grandmother dying.


The songs “Drive”, “The Sidewinder Sleeps Tonite”, “Everybody Hurts” and “Nightswimming” feature string arrangements by former Led Zeppelin bassist John Paul Jones. Fricke stated that “ballads, in fact, define the record”, and noted that the album featured only three “rockers”: “Ignoreland”, “The Sidewinder Sleeps Tonite” and “Man on the Moon”.

“It pretty much went according to plan,” Litt reported. “Compared to Monster, it was a walk in the park. Out of Time had an orchestral arrangement—so, when we did Automatic, judging where Michael was going with the words, we wanted to scale it down and make it more intimate.”
A live version of “Drive” recorded at this November 19, 1992 show appears on Alternative NRG.
A live version of “Drive” recorded at this 11/19/1992 show appears on Alternative NRG.


Automatic for the People was released in October 1992. In the United States, the album reached No. 2 on the Billboard 200 album charts. The album reached No. 1 in the United Kingdom, where it topped the UK Albums Chart on four separate occasions. Despite not having toured after the release of Out of Time, R.E.M. again declined to tour in support of this album. Automatic for the People has been certified four times platinum in the US (four million copies shipped), six times platinum in the United Kingdom (1.8 million shipped), and three times platinum in Australia (210,000 shipped). The album has sold 3.52 million copies in the US, according to Nielsen SoundScan sales figures as of 2017.

Automatic for the People yielded six singles over the course of 1992 and 1993: “Drive”, “Man on the Moon”, “The Sidewinder Sleeps Tonite”, “Everybody Hurts”, “Nightswimming” and “Find the River”. Lead single “Drive” was the album’s highest-charting domestic hit, reaching No. 28 on the Billboard Hot 100. Other singles charted higher overseas: “Everybody Hurts” charted in the top ten in the United Kingdom, Canada, and Australia.[29]

A live, harder, version of “Drive” appears on the Alternative NRG, recorded at Athens’ 40 Watt Club on November 19, 1992, during an invitation-only concert supporting Greenpeace Action. A re-recorded, slower version of “Star Me Kitten”, featuring William S. Burroughs, was released on Songs in the Key of X: Music from and Inspired by the X-Files. (wikipedia)

A live version of “Drive” recorded at this 11/19/1992 show appears on Alternative NRG:
Greenpeace Action

Turning away from the sweet pop of Out of Time, R.E.M. created a haunting, melancholy masterpiece with Automatic for the People. At its core, the album is a collection of folk songs about aging, death, and loss, but the music has a grand, epic sweep provided by layers of lush strings, interweaving acoustic instruments, and shimmering keyboards. Automatic for the People captures the group at a crossroads, as they moved from cult heroes to elder statesmen, and the album is a graceful transition into their new status. It is a reflective album, with frank discussions on mortality, but it is not a despairing record — “Nightswimming,” “Everybody Hurts,” and “Sweetness Follows” have a comforting melancholy, while “Find the River” provides a positive sense of closure. R.E.M. have never been as emotionally direct as they are on Automatic for the People, nor have they ever created music quite as rich and timeless, and while the record is not an easy listen, it is the most rewarding record in their oeuvre. (by Stephen Thomas Erlewine)


Bill Berry (drums, percussion, keyboards, bass, background vocals, melodica on 12.)
Peter Buck (guitar, mandolin, bass, bouzouki on 07.)
Mike Mills (bass, guitar, keyboards, accordion, background vocals)
Michael Stipe (vocals)
Scott Litt (harmonica, clavinet)
Deborah Workman (oboe on 01., 03., 04. + 11.)
Denise Berginson-Smith – Lonnie Ottzen – Patti Gouvas – Sandy Salzinger – Sou-Chun Su –  Jody Taylor

Knox Chandler – Kathleen Kee – Daniel Laufer – Elizabeth Proctor Murphy

Reid Harris – Paul Murphy – Heidi Nitchie

01. Drive 4.31
02. Try Not To Breathe 3.50
03. The Sidewinder Sleeps Tonite 4.09
04. Everybody Hurts” 5.20
05. New Orleans Instrumental No. 1 2.16
06. Sweetness Follows 4.21
07. Monty Got A Raw Deal 3.17
08. Ignoreland” 4.27
09. Star Me Kitten 3.16
10. Man On The Moon 5.14
11. Nightswimming 4.18
12. Find The River 3.49

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



More from R.E.M.:

The official website:

Aretha Franklin – What You See Is What You Sweat (1991)

FrontCover1Aretha Louise Franklin (March 25, 1942 – August 16, 2018) was an American singer, songwriter and pianist. Referred to as the “Queen of Soul”, she has twice been placed ninth in Rolling Stone’s “100 Greatest Artists of All Time”. With global sales of over 75 million records, Franklin is one of the best-selling music artists from the second half of the 20th century to the present.

Franklin began her career as a child, singing gospel at New Bethel Baptist Church in Detroit, Michigan, where her father C. L. Franklin was a minister. At the age of 18, she embarked on a music career as a recording artist for Columbia Records. While her career did not immediately flourish, Franklin found acclaim and commercial success once she signed with Atlantic Records in 1966. Commercial hits such as “I Never Loved a Man (The Way I Love You)”, “Respect”, “(You Make Me Feel Like) A Natural Woman”, “Chain of Fools”, “Think”, and “I Say a Little Prayer”, propelled Franklin past her musical peers.

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Franklin continued to record acclaimed albums such as I Never Loved a Man the Way I Love You (1967), Lady Soul (1968), Spirit in the Dark (1970), Young, Gifted and Black (1972), Amazing Grace (1972), and Sparkle (1976), before experiencing problems with the record company. Franklin left Atlantic in 1979 and signed with Arista Records. The singer appeared in the 1980 film The Blues Brothers before releasing the successful albums Jump to It (1982), Who’s Zoomin’ Who? (1985) and Aretha (1986) on the Arista label. In 1998, Franklin returned to the Top 40 with the Lauryn Hill-produced song “A Rose Is Still a Rose”; later, she released an album with the same name.

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Franklin recorded 112 charted singles on the US Billboard charts, including 73 Hot 100 entries, 17 top-ten pop singles, 100 R&B entries and 20 number-one R&B singles. Besides the foregoing, the singer’s well-known hits also include “Ain’t No Way”, “Call Me”, “Don’t Play That Song (You Lied)”, “Spanish Harlem”, “Rock Steady”, “Day Dreaming”, “Until You Come Back to Me (That’s What I’m Gonna Do)”, “Something He Can Feel”, “Jump to It”, “Freeway of Love”, “Who’s Zoomin’ Who” and “I Knew You Were Waiting (For Me)” (a duet with George Michael). Franklin won 18 Grammy Awards, including the first eight awards given for Best Female R&B Vocal Performance (1968–1975), a Grammy Awards Living Legend honor and Lifetime Achievement Award.

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Franklin received numerous honors throughout her career. She was awarded the National Medal of Arts and the Presidential Medal of Freedom. In 1987, she became the first female artist to be inducted into the Rock and Roll Hall of Fame. She also was inducted into the UK Music Hall of Fame in 2005 and into the Gospel Music Hall of Fame in 2012. In 2010, Rolling Stone ranked Franklin number one on its list of the “100 Greatest Singers of All Time”.[6] In 2019, the Pulitzer Prize jury awarded the singer a posthumous special citation “for her indelible contribution to American music and culture for more than five decades”. In 2020, Franklin was inducted into the National Women’s Hall of Fame.

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What You See Is What You Sweat is the thirty-third studio album by American singer Aretha Franklin, released on June 25, 1991, by Arista Records. It peaked at #153 on Billboard’s album chart, dropping off after seven weeks. This was Aretha’s first new release in the Nielsen SoundScan era. (wikipedia)


“Yo, gang! let’s kick the ballistics!” shouts Aretha Franklin in the opening moments of “Everyday People,” her spirited house-music remake of Sly Stone’s classic hippie anthem. The song, which is heard in regular and remixed versions on What You See Is What You Sweat, is one of the high points of an album that credits nine producers and production teams. Although the material runs a gamut of styles, Franklin infuses her personality so indelibly into every song that somehow it all holds together.


“I Dreamed a Dream,” a stentorian ballad from the Broadway musical Les Miserables, is turned into an obstacle course of vocal challenges, with Franklin tossing around saucy embellishments and shivering melismata and bearing down so convincingly on the line “Tigers tear your dreams” that you can almost feel the teeth and hear the rips. Two Burt Bacharach-Carole Bayer Sager ballads, “Ever Changing Times” (a duet with Michael McDonald) and “Someone Else’s Eyes,” about the changes and identity crises in relationships, are effectively milked for their last drops of pop-psychology truth.


On the funky side, there is “Mary Goes Round,” a grown-up “Mary Had a Little Lamb,” which sassily examines serial heartbreak. Two decent Franklin originals, the feisty “You Can’t Take Me for Granted” and the contemplative “What Did You Give,” find Franklin demanding respect with an intensity that has hardly diminished in more than two decades. The album’s biggest disappointment, “Doctor’s Orders,” is a trivial up-tempo duet with Luther Vandross that is too choppy to allow their voices to synchronize interestingly.

Because Franklin brings more spirit than usual to the record, What You See Is What You Sweat stands as one of her better albums. If the songs are uneven, they don’t prevent the Queen of Soul from exuberantly expressing the breadth of her musical personality, from regal pop-gospel diva to funky everyday person. (Stephen Holden)


Nat Adderley Jr. (keyboards)
Skip Anderson (keyboards)
Burt Bacharach (keyboards)
Jean-Marc Benais (guitar)
Dominique Bertram (bass)
Louis Biancaniello (keyboards, programming)
Vernon Black (guitar)
Michael Boddicker (keyboards, programming)
David Boruff (saxophone)
André Ceccarelli (drums)
Paulinho da Costa (percussion)
Candy Dulfer (saxophone)
Hubert Eaves III (keyboards, drum programming)
Thierry Eliez (piano)
David Foster (keyboards, programming)
Aretha Franklin (vocals, piano)
Larry Fratangelo (percussion)
Rick Iantosca (guitar)
Paul Jackson Jr. (guitar)
Oliver Leiber (keyboards, drum programming, guitar)
Michel Legrand (synthesizer)
Gene Lennon (programming)
Buster Marbury (drums)
Jason Miles (keyboards)
Marcus Miller (bass)
Dean Parks (guitar)
Onita Sanders (harp)
Charles Scales (synthesizer)
Peter Schwartz (keyboards)
Rudolph Stansfield (piano)
Joshua Thompson (keyboards, guitar, synthesizer)
Franck Thore (pan pipes)
David Townsend (guitar)
Al Turner (bass)
Guy Vaughn (drum programming)
Narada Michael Walden (drums, programming)
Randy Waldman (keyboards)
Teddy F. White (guitar)
Larry Williams (programming)
Elliot Wolff (keyboards, drum programming)
Bobby Wooten (keyboards, drum programming, synthesizer)
background vocals:
Cindy Mizelle – Jesse Richardson – Sandra Feva – Brenda Corbett – Fonzi Thornton – Diane Green – Sherry Fox – Portia Griffin – Margaret Branch – Jarvis Barker – Nikita Germaine – Skyler Jett – Jeanie Tracy – Tony Lindsay – Gwen Guthrie – Tawatha Agee – Donna Davis – Marj Harber – Esther Ridgeway – Gloria Ridgeway – Gracie Ridgeway

01. Everyday People (Stone) 3.51
02. Ever Changing Times (duet with Michael McDonald) (Bacharach/Conti/Sager) 4.56
03. What You See Is What You Sweat (Conley/Culler/Lennon/Thompson) 4.25
04. Mary Goes Round (Wolff/Leiber) 3.08
05. I Dreamed A Dream (Boublil/Kretzmer/Natel/Schonberg) 4.19
06. Someone Else’s Eyes (Roberts/Bacharach/Sager) 4.58
07. Doctor’s Orders (duet with Luther Vandross) (Vandross/Eaves III) 4.37
08. You Can’t Take Me For Granted (Franklin) 5.13
09. What Did You Give (Franklin) 5.02
10. Everyday People (Shep Pettibone Remix) (Stone) 4.08




More from Aretha Franklin:

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R.E.M – Out Of Time (1991)

FrontCover1R.E.M. was an American rock band from Athens, Georgia, formed in 1980 by drummer Bill Berry, guitarist Peter Buck, bassist Mike Mills, and lead vocalist Michael Stipe, who were students at the University of Georgia. Liner notes from some of the band’s albums list attorney Bertis Downs and manager Jefferson Holt as non-musical members. One of the first alternative rock bands, R.E.M. was noted for Buck’s ringing, arpeggiated guitar style; Stipe’s distinctive vocal quality, unique stage presence, and obscure lyrics; Mills’s melodic bass lines and backing vocals; and Berry’s tight, economical drumming style. In the early 1990s, other alternative rock acts such as Nirvana and Pavement viewed R.E.M. as a pioneer of the genre. After Berry left the band in 1997, the band continued its career in the 2000s with mixed critical and commercial success. The band broke up amicably in 2011 with members devoting time to solo projects after having sold more than 85 million albums worldwide and becoming one of the world’s best-selling music acts.


R.E.M. released its first single, “Radio Free Europe”, in 1981 on the independent record label Hib-Tone. It was followed by the Chronic Town EP in 1982, the band’s first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years with similarly acclaimed releases every year from 1984 to 1988: Reckoning, Fables of the Reconstruction, Lifes Rich Pageant, Document and Green, including an intermittent b-side compilation Dead Letter Office. Don Dixon and Mitch Easter produced their first two albums, Joe Boyd handled production on Fables of the Reconstruction and Don Gehman produced Lifes Rich Pageant. Thereafter, R.E.M. settled on Scott Litt as producer for the next 10 years during the band’s most successful period of their career. They also started co-producing their material and playing other instruments in the studio apart from the main ones they play. With constant touring, and the support of college radio following years of underground success, R.E.M. achieved a mainstream hit with the 1987 single “The One I Love”. The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.


R.E.M.’s most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), put them in the vanguard of alternative rock just as it was becoming mainstream. Out of Time received seven nominations at the 34th Annual Grammy Awards, and lead single “Losing My Religion”, was R.E.M.’s highest-charting and best-selling hit. Monster (1994) continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three of the band members. In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract ever. The tour was productive and the band recorded the following album mostly during soundchecks. The resulting record, New Adventures in Hi-Fi (1996), is hailed as the band’s last great album and the members’ favorite, growing in cult status over the years. Berry left the band the following year, and Stipe, Buck, and Mills continued as a musical trio, supplemented by studio and live musicians, such as multi-instrumentalists Scott McCaughey and Ken Stringfellow and drummers Joey Waronker and Bill Rieflin. They also parted ways with their longtime manager Jefferson Holt and band’s attorney Bertis Downs assumed managerial duties. Seeking to also renovate their sound, the band stopped working with Scott Litt, co-producer and contributor to six of their studio albums and hired Pat McCarthy as co-producer, who had participated before that as mixer and engineer on their last two albums.


After the electronic experimental direction of Up (1998) that was commercially unsuccessful, Reveal (2001) was referred to as “a conscious return to their classic sound” which received general acclaim. In 2007, the band was inducted into the Rock and Roll Hall of Fame, in its first year of eligibility and Berry reunited with the band for the ceremony and to record a cover of John Lennon’s “#9 Dream” for the compilation album Instant Karma: The Amnesty International Campaign to Save Darfur to benefit Amnesty International’s campaign to alleviate the Darfur conflict. Looking for a change of sound after lukewarm reception for Around the Sun (2004), the band collaborated with co-producer Jacknife Lee on their last two studio albums—the well-received Accelerate (2008) and Collapse into Now (2011)—as well as their first live albums after decades of touring. R.E.M. disbanded amicably in September 2011, with former members having continued with various musical projects, and several live and archival albums have since been released.


Out of Time is the seventh studio album by American alternative rock band R.E.M., released on March 12, 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 United States and the United Kingdom, spending 109 weeks on U.S. 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 more than four and a half million copies in the United States and more than 18 million copies worldwide.[2][3] 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 the band’s previous album Green, with a new concentration on country elements that would continue on 1992’s Automatic for the People. It features guest appearances by KRS-One and Kate Pierson from The B-52’s.


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, although it did make occasional appearances on television or at festivals. In Germany, it is the band’s best-selling album, selling more than 1,250,000 copies, reaching 5×gold.[5] Out of Time was the first R.E.M. album to have an alternative expanded release on compact disc, including expanded liner notes and postcards. In Spain, a contest was held to have a limited edition cover with the winner being an abstract oil painting.

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.”[8] 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,”[8] 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.”[8] The bill was eventually passed in 1993 by Bill Clinton and was in effect January 1, 1995; one commentary later said this happened “in no small part because of R.E.M.’s lobbying.” (wikipedia)


The supporting tour for Green exhausted R.E.M., and they spent nearly a year recuperating before reconvening for Out of Time. Where previous R.E.M. records captured a stripped-down, live sound, Out of Time was lush with sonic detail, featuring string sections, keyboards, mandolins, and cameos from everyone from rapper KRS-One to the B-52’s’ Kate Pierson. The scope of R.E.M.’s ambitions is impressive, and the record sounds impeccable, its sunny array of pop and folk songs as refreshing as Michael Stipe’s decision to abandon explicitly political lyrics for the personal. Several R.E.M. classics — including Mike Mills’ Byrds-y “Near Wild Heaven,” the haunting “Country Feedback,” and the masterpiece “Losing My Religion” — are present, but the album is more notable for its production than its songwriting. Most of the songs are slight but pleasant, or are awkward experiments like “Radio Song”‘s stab at funk, and while this sounds fine as the record is playing, there’s not much substantive material to make the record worth returning to. (by Stephen Thomas Erlewine)


This Stephen Thomas Erlewine review is fairly ridiculous in that they only give this classic REM album only 2.5 stars. Yet they go on to say in the review that there are indeed multiple all-time great pop songs on this record. Please. Any album with this many great songs, whether they be “over produced” or not, should get 4 stars minimum. (by David Haab)

There are not enough words to describe the beauty of “Out of Time”: the compositions, the lyrics, the soul imprinted in each moment of music. The AllMusic review and rating (?!) couldn’t be more off in so many ways… It’s true that it is mellow and experimental, but these songs will grow deeply into you. It’s a remarkable balance of southern rock, folk and pop. The more I listen to it (+20 years), the more I appreciate its subtlety and great execution. Not to forget that it contains two of the most iconic songs of R.E.M. (Losing… & Shiny…) (by Diego Felipe Reyes)


Bill Berry – drums, percussion, bass guitar on 08- + 10., piano on 04, background vocals)
Peter Buck (guitar, mandolin on 02. + 08.)
Mike Mills (bass, keyboards, percussion, vocals on 04. + 09.)
Michael Stipe (vocals, melodica on 05.)
Peter Holsapple (bass on 01. + 03., guitar on 01., 02., 06., 07., + 09.)
Ralph Jones (bass on 01., 03. – 06., 08. + 09.)
Kidd Jordan (saxophone, clarinet)
John Keane (pedal steel-guitar on 09. + 10.)
Kate Pierson (background vocals on 01., 06. + 11.)
Cecil Welch (flugelhorn on 05.)
violin on 01., 03. – 06., 08. +09.:
David Arenz – Ellie Arenz – David Braitberg – Dave Kempers

cello on 01., 03. – 06., 08. +09.:
Andrew Cox – Elizabeth Murphy

viola on 01., 03. – 06., 08. +09.:
Reid Harris – Paul Murphy

KRS-One (rapping on 01.)
Scott Litt (echo-loop feed on 01.)


01. Radio Song” (featuring KRS-One) – 4:12
02. Losing My Religion” – 4:28
03. Low” – 4:55
04. Near Wild Heaven” – 3:17
05. Endgame” – 3:48
06. Shiny Happy People” – 3:44
07. Belong” – 4:03
08. Half a World Away” – 3:26
09. Texarkana” – 3:36
10. Country Feedback 4.09
11. Me In Honey 4.06

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




The official website:

The Commitments – The Commitments Vol. 2 (1992)

FrontCover1The Commitments is a 1991 comedy-drama film directed by Alan Parker. A film adaptation of Roddy Doyle’s novel of the same name, the film tells a story of working class Dubliners who form a soul band. With a screenplay adapted by Dick Clement, Ian La Frenais, and Doyle himself, The Commitments is an international co-production between companies in Ireland, the United Kingdom, and the United States. It was filmed on location in Dublin.

Jimmy Rabbitte aspires to manage the world’s greatest band, with only one music in mind: soul. Disgusted with bands in Ireland, he assembles a soul band in the tradition of Otis Redding, Aretha Franklin, and Wilson MoviePoster1Pickett. Jimmy holds auditions at his parents’ home and assembles a group of young musicians. Unlike his idols, Jimmy’s band is white. With the help of Joey “The Lips” Fagan, the veteran musician of the band who has unlikely stories about meeting and working with famous musicians, Jimmy begins to whip the members into shape – coming together beautifully onstage, only to have the group fall apart in a clash of egos.

The Commitments gained a positive reception from critics, as it holds an 88% rating on Rotten Tomatoes based on 40 reviews.

The Commitments was voted best Irish film of all time in a 2005 poll sponsored by Jameson Irish Whiskey and launched a generation of Irish musicians and actors.

An image of four of the actors, in character, was featured on an Irish postage stamp as part of the Ireland 1996: Irish Cinema Centenary series issued by An Post.[9] The image includes band manager Jimmy Rabbitte (portrayed by Arkins), along with the three female backup singers Imelda Quirke (portrayed by Ball), Natalie Murphy (Doyle) and Bernie McGloughlin (Gallagher).


And here´s the soundtrack, Volume 2:

Alan Parker’s adaptation of Roddy Doyle’s crackerjack novel The Commitments kept its focus on the music — the classic American R&B and soul the titular workingman band cranked out in pubs across Ireland. As a book and film, The Commitments was all about love of music, so it didn’t matter if the soundtrack offered workmanlike versions of oldies the band and audience knew by heart: as long as it was done with some, well, soul, the film would work, and the soundtrack would too.


In that sense, the Commitments were a cousin to the Blues Brothers, John Belushi and Dan Aykroyd’s tribute to the very same music but where Jake and Elwood managed to hire Stax’s house band (such are the perks of stardom) , the group Parker assembled were working Irish musicians. This would seem to lend The Commitments some degree of authenticity and it does to a certain extent, as these guys can crank out familiar favorites without missing a step, but the description of working musicians suggests that there is some grit here, which there’s not. After all, this is music for a movie, so it is cleanly produced: the horns have a punch, the guitars are crisp, the drums tight and neat, all the better to showcase the bar band growl of Andrew Strong — his Otis worship comes out like Rod Stewart crossed with Mick Hucknall — and Maria Doyle’s salute to Aretha Franklin. All of this sounds fine, if a bit generic: these are great songs performed ably and if they’re not distinctive, they at least suit the spirit of the film’s open-hearted hero worship.(by Stephen Thomas Erlewine)


The actors:
Andrew Strong – Angeline Ball – Bronagh Gallagher – Dave Finnegan – Dick Massey – Félim Gormley – Glen Hansard – Johnny Murphy – Kenneth McCluskey –  Maria Doyle –  Michael Aherne – Robert Arkins

The musicians:
Alex Acuña (percussion)
Angeline Ball (vocals)
Conor Brady (guitar)
Paul Bushnell (bass)
Robbie Casserly (Titel: A2 to A6, B3, B5)
Ronan Dooney (trumpet)
Eamonn Flynn (keyboards)
Carl Geraghty (saxophone)
Félim Gormley (saxophone)
Andrew Strong (vocals)
Fran Breehan (drums on 01., 07., 08. +10.)
Mitchell Froom (keyboards on 02. – 06., 09. + 11.)


01. Hard To Handle (Jones/Isbell/Redding) 2.24
02. Grits Ain’t Groceries (Turner) 3.44
03. I Thank You (Porter/Hayes) 3.40
04. That’s The Way Love Is (B.Strong/Whitfield) 4.08
05. Show Me (Tex) 2.57
06. Saved (Leiber/Stoller) 2.55
07. Too Many Fish In The Sea (Holland/Whitfield) 2.45
08. Fa-Fa-Fa-Fa-Fa (Sad Song) (Redding/Cropper) 2.52
09. Land Of A Thousand Dances (Domino/Kenner) 3.16
10. Nowhere To Run (Holland/Whitfield) 3.40
11. Bring It On Home To Me (Cooke) 3.42





More from The Commitments:

Bonnie Raitt – Luck Of The Draw (1991)

FrontCover1Bonnie Lynn Raitt ( born November 8, 1949) is an American blues singer, guitarist, songwriter, and activist. During the 1970s, Raitt released a series of roots-influenced albums that incorporated elements of blues, rock, folk, and country. She was also a frequent session player and collaborator with other artists, including Warren Zevon, Little Feat, Jackson Browne, The Pointer Sisters, John Prine and Leon Russell. In 1989, after several years of critical acclaim but little commercial success, she had a major hit with the album Nick of Time. The following two albums, Luck of the Draw (1991) and Longing in Their Hearts (1994), were multimillion sellers, generating several hit singles, including “Something to Talk About”, “Love Sneakin’ Up On You”, and the ballad “I Can’t Make You Love Me” (with Bruce Hornsby on piano).

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Raitt has received ten competitive Grammy Awards as well as a Grammy Lifetime Achievement Award. She is listed as number 50 in Rolling Stone’s list of the “100 Greatest Singers of All Time” and number 89 on the magazine’s list of the “100 Greatest Guitarists of All Time”. Australian country music artist Graeme Connors has said, “Bonnie Raitt does something with a lyric no one else can do; she bends it and twists it right into your heart.”

Bonnie Raitt01

Luck of the Draw is the eleventh album by Bonnie Raitt, released in 1991.

After being nominated for Grammy awards in four different categories for the album Nick of Time, Raitt went for a creative retreat in Northern California to begin work on Luck of the Draw. “I did it on purpose to see if I could come up with anything,” Raitt said in 1991. “In case I won, I wanted to make sure that I had done some writing and didn’t feel that Nick of Time was a fluke. I didn’t want to win just ’cause I quit drinking and spent twenty years not making any money, you know? There wasn’t enough. So I basically forced myself to go to songwriting boot camp. There were three of four days when it didn’t happen — but because I didn’t have alcohol or unhappiness or anything to get in the way, it started to open up and I started three of the four songs of mine that are on this album. And then it didn’t matter if I won or not, because I had proved to myself that it was okay.”


The album surpassed Nick of Time’s commercial success, having sold seven million copies in the United States alone by 2010, and was supported by a 180-date tour from 1991 to 1993. It replicated much of her U.S. success overseas as well, selling two million in France and Italy[citation needed]. It remains Raitt’s biggest-selling recording to date.

In the liner notes, Raitt dedicated this album to blues guitarist Stevie Ray Vaughan, who died in 1990 and had encouraged her to stop abusing alcohol, writing: “still burning bright”.

“Good Man, Good Woman” is a Grammy Award-winning duet with Delbert McClinton and also appears on his album, Never Been Rocked Enough. (wikipedia)


Nick of Time not only was an artistic comeback for Bonnie Raitt; it brought her largest audience yet, so there was no reason to mess with success for its sequel, Luck of the Draw. And sequel is the appropriate word, since Luck of the Draw is nothing if it isn’t Nick of Time, Pt. 2. True, there’s a heavier reliance on original material this time around, but the sound and feel of the record is identical to its predecessor. There is one slight difference — several of the songs appear tailor-made for crossover success, whereas Nick of Time felt organic. Nevertheless, Luck of the Draw is an unqualified success, filled with strong songs — including the hits “Something to Talk About” and “I Can’t Make You Love Me,” plus the Delbert McClinton duet “Good Man, Good Woman” — appealing productions, and just enough dirt to make old-school fans feel at home. (by Stephen Thomas Erlewine)


Curt Bisquera (drums on 01. + 02.)
Tony Braunagel (drums on 03.)
Stephen Bruton (guitar on 01., background vocals on 09.)
Steve Conn (accordion on 09.)
Paulinho da Costa (percussion on 03., 07., 11. + 12.)
Phil Cunningham (penny whistle on 07.)
Debra Dobkin (percussion on 01., 02., 04. – 06., 08. – 10.,  background vocals on 10.)
Ricky Fataar (drums on 01., 04., 05.,06., 08., 09. + 10.)
Robben Ford (lead guitar on 10.)
Mark Goldenberg (guitar on 08. + 10.)
John Hiatt (guitar, background vocals on 06.)
Bruce Hornsby (keyboards on 03.)
James “Hutch” Hutchinson (bass on 01. – 06., 08., 10. + 11.)
Randy Jacobs (guitar on 02.)
Delbert McClinton (vocals, harmonica on 02.)
Ivan Neville (keyboards on 02. + 04.)
Jeff Porcaro (drums on 11.)
Bonnie Raitt (vocals, guitar, slide guitar, piano on 07. + 12.)
Johnny Lee Schell (guitar on 05.)
Aaron Shaw (bagpipes on 12.)
Benmont Tench (organ on 03., 07. 08. + 11., piano on 08.)
Richard Thompson (guitar on 08. + 11., background vocals on 11.)
Scott Thurston (keyboards on 01. + 11., guitar on 10. + 11.)
Billy Vera (guitar on 09.)
Don Was (jug bass on 09.)
horn section (Tower of Power Horns):
Greg Adams (trumpet)
Emilio Castillo (saxophone)
Steve Grove (saxophone)
Stephen “Doc” Kupka (saxophone)
Lee Thornburg (trumpet)
string section on 12. (conducted by David Campbell):
Carole Castillo (viola)
Larry Corbett (cello)
Ernest Ehrhardt (cello)
Rick Gerding (viola)
Pamela Goldsmith (viola)
Dennis Karmazyn (cello)
Novi Novog (viola)
background vocals:
Sweet Pea Atkinson – Sir Harry Bowens – David Lasley – Arnold McCuller –  Kris Kristofferson – Paul Brady – Glen Clark – Daniel Timms


01. Something To Talk About (Eikhard) 3.47
02. Good Man, Good Woman (C.Womack/L.Womack) 3.33
03. I Can’t Make You Love Me (Shamblin) 5.33
04. Tangled And Dark (Raitt) 4.53
05. Come To Me (Raitt) 4.20
06. No Business (Hiatt) 4.24
07. One Part Be My Lover (Raitt/O’Keefe) 5.06
08. Not The Only One (Brady) 5.03
09. Papa Come Quick (Jody and Chico) (Vera/Taylor/Hirsch) 2.43
10. Slow Ride (Hayes/McNally/Pessis) 3.59
11. Luck Of The Draw (Brady) 5.17
12. All At Once (Raitt) 5.03



More from Bonnie Raitt:

The official website:

Dire Straits – On Every Street (1991)

FrontCover1Dire Straits were a British rock band formed in London in 1977 by Mark Knopfler (lead vocals and lead guitar), David Knopfler (rhythm guitar and backing vocals), John Illsley (bass guitar and backing vocals) and Pick Withers (drums and percussion). They were active from 1977 to 1988 and again from 1991 to 1995.

Their first single, “Sultans of Swing”, from their 1978 self-titled debut album, reached the top ten in the UK and US charts. It was followed by hit singles including “Romeo and Juliet” (1981), “Private Investigations” (1982), “Twisting by the Pool” (1983), “Money for Nothing” (1985), and “Walk of Life” (1985). Their most commercially successful album, Brothers in Arms (1985), has sold more than 30 million copies; it was the first album to sell a million copies on compact disc and is the eighth-bestselling album in UK history. According to the Guinness Book of British Hit Albums, Dire Straits have spent over 1,100 weeks on the UK albums chart, the fifth most of all time.


Dire Straits’ sound draws from various influences, including country, folk, the blues rock of J. J. Cale, and jazz. Their stripped-down sound contrasted with punk rock and demonstrated a roots rock influence that emerged from pub rock. There were several changes in personnel, with Mark Knopfler and Illsley being the only members who lasted from the beginning of the band’s existence to the end. After their first breakup in 1988, Knopfler told Rolling Stone: “A lot of press reports were saying we were the biggest band in the world. There’s not an accent then on the music, there’s an accent on popularity. I needed a rest.” They disbanded for good in 1995, after which Knopfler launched a solo career full-time. He has since declined reunion offers.

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Dire Straits were called “the biggest British rock band of the 80s” by Classic Rock magazine; their 1985–1986 world tour, which included a performance at Live Aid in July 1985, set a record in Australasia.[10] Their final world tour from 1991 to 1992 sold 7.1 million tickets. Dire Straits won four Grammy Awards, three Brit Awards (Best British Group twice), two MTV Video Music Awards, and various other awards. They were inducted into the Rock and Roll Hall of Fame in 2018. Dire Straits have sold over 120 million units worldwide, including 51.4 million certified units, making them one of the best-selling music artists.


On Every Street is the sixth and final studio album by British rock band Dire Straits, released on 9 September 1991 by Vertigo Records internationally, and by Warner Bros. Records in the United States. The follow-up to the band’s massively successful album Brothers in Arms, On Every Street reached the top of the UK Albums Chart and was also certified platinum by the RIAA.

On Every Street was released more than six years after the band’s previous album, Brothers in Arms, and was Dire Straits’ final studio album. It reached number 12 in the United States and number one in the United Kingdom and numerous European countries. The album was produced by Mark Knopfler and Dire Straits.


By this time, the band comprised Knopfler, John Illsley, Alan Clark and Guy Fletcher, and the album features session musicians including Paul Franklin, Phil Palmer, Danny Cummings and American drummer Jeff Porcaro from Toto.

Dire Straits promoted the album with a world tour which lasted until the end of 1992. The group disbanded in 1995, after which Mark Knopfler pursued a solo career. (wikipedia)

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It took Mark Knopfler more than six years to craft a followup to Dire Straits’ international chart-topper, Brothers In Arms, but though On Every Street sold in the expected multi-millions worldwide on the back of the band’s renown and a year-long tour, it was a disappointment. Knopfler remained a gifted guitar player with tastes in folk (“Iron Hand”), blues (“Fade To Black”), and rockabilly (“The Bug”), among other styles, but much of the album was low-key to the point of being background music. The group had long-since dwindled to original members Knopfler and bassist John Illsley, plus a collection of semi-permanent sidemen who provided support but no real musical chemistry. The closest thing to a successor to “Money For Nothing,” the big hit from Brothers In Arms, was the sarcastic rocker “Heavy Fuel.” It became an album rock radio favorite (though not a chart single), and fans still filled stadiums to hear “Sultans Of Swing,” but On Every Street was not the comeback it should have been. (by William Ruhlmann)


The sound of Mark Knopfler at a major professional and personal career crossroads; it’s the early ’90s, he’s now a few years removed from album-rock-tinged-with-new-wave-made-for-MTV mega stardom, his marriage is showing the strains of it, he’s a bit older, his taste in music has audibly changed during his sidelines with Chet Atkins and the Notting Hillbillies and he’s happy enough composing his film soundtracks, yet all the while there is nagging public and record company pressure to reform the band of brothers who joined arms and made everybody at Warner Bros. and Vertigo very rich half a decade earlier.

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So here’s the result, an album which comes out as a now-obvious hybrid of who Dire Straits used to be and who Knopfler would eventually go on to be. Some of the songs, such as the lead single ‘Calling Elvis’ and ‘My Parties’ are an underwhelming comeback from a man who deep down doesn’t really want to do this anymore. Having said that, there are a few songs – ‘Heavy Fuel’, ‘The Bug’, the title track and ‘Iron Hand’ – which give one final chink of light at the end of the tunnel, providing either the memorable hooks, witty lines or stark storytelling that made this man one of the greatest songwriters of the ’70s and the ’80s, not to mention one of the most gifted and tasteful guitar players of all time.

Nevertheless, the end of the road had clearly come and frankly it had probably arrived in Mark’s mind by 1987. Brothers in Arms would have been the better way to bow out, but this doesn’t disgrace the Straits catalogue. (Azapro Nineoneone)


Alan Clark (keyboards, synthesizer)
Guy Fletcher (synthesizer, background vocals)
John Illsley (bass)
Mark Knopfler (guitar, vocals)
Danny Cummings (percussion)
Paul Franklin (pedal steel-guitar, acoustic lap-steel on 06.)
Vince Gill (guitar, background vocals on 05.)
Manu Katché (drums, percussion on 07. + 11.)
Phil Palmer (guitar)
Jeff Porcaro (drums, percussion)
Chris White (flute, saxophone)


01. Calling Elvis 6:26
2. “On Every Street” 5:04
3. “When It Comes to You” 5:02
4. “Fade to Black” 3:49
5. “The Bug” 4:18
6. “You and Your Friend” 5:59
Side twoNo. Title Length
7. “Heavy Fuel” 4:57 / 5:10 ^
8. “Iron Hand” 3:09
9. “Ticket to Heaven” 4:26
10. “My Parties” 5:32
11. “Planet of New Orleans” 7:47
12. “How Long” 3:53

All songs written by Mark Knopfler



More from Dire Straits:

Modern Jazz Quartet – Live At Monterey (1991)

FrontCover1The Modern Jazz Quartet (MJQ) was a jazz combo established in 1952 that played music influenced by classical, cool jazz, blues and bebop. For most of its history the Quartet consisted of John Lewis (piano), Milt Jackson (vibraphone), Percy Heath (double bass), and Connie Kay (drums). The group grew out of the rhythm section of Dizzy Gillespie’s big band from 1946 to 1948, which consisted of Lewis and Jackson along with bassist Ray Brown and drummer Kenny Clarke. They recorded as the Milt Jackson Quartet in 1951 and Brown left the group, being replaced on bass by Heath. During the early-to-mid-1950s they became the Modern Jazz Quartet, Lewis became the group’s musical director, and they made several recordings with Prestige Records, including the original versions of their two best-known compositions, Lewis’s “Django” and Jackson’s “Bags’ Groove”. Clarke left the group in 1955 and was replaced as drummer by Connie Kay, and in 1956 they moved to Atlantic Records and made their first tour to Europe.


Under Lewis’s direction, they carved their own niche by specializing in elegant, restrained music that used sophisticated counterpoint inspired by baroque music, yet nonetheless retained a strong blues feel. Noted for their elegant presentation, they were one of the first small jazz combos to perform in concert halls rather than nightclubs. They were initially active into the 1970s until Jackson quit in 1974 due to frustration with their finances and touring schedule, but re-formed in 1981. They made their last released recordings in 1992 and 1993, by which time Kay had been having health issues and Mickey Roker had been his replacement drummer while Kay was unavailable. After Kay’s death in 1994, the group operated on a semi-active basis, with Percy Heath’s brother Albert Heath on drums until the group disbanded permanently in 1997. (wikipedia)


And here´s a pretty good broadcas recording:

Modern Jazz Quartet (MJQ) recorded live at the Monterey Jazz Festival in September 1991. Broadcast on KJAZ 92.7 FM, the Bay Area’s original jazz station. The 4 blues songs are from their album “Blues On Bach” (19739, the other two compisitions are from their “For Ellington” (1988) album.

Listen to the unique sound of the Modern Jazz Quartet … enjoy it !

Recorded live at the Monterey Jazz Festival, September 1991


Percy Heath (bass)
Milt Jackson (vibraphone)
Connie Kay (drums)
John Lewis (piano)


01. Introduction 0.37
02. For Ellington (Lewis) 9.13
03. Blues in B Flat (Lewis) 6.18
04. Blues in A Minor (Lewis) 8.54
05. Blues in C Minor (Jackson) 6.14
06. Blues in H (B) (Jackson) 5.30
07. Rockin’ In Rhythm (Ellington/Carney/Mills) 7.24



Thanks to Mark Rabin for this broadcast recording

More from the Modern Jazz Quartet:

Christmas 2021 (14): Greg Joy & Mark Bracken – A Magical Christmas (1991)

FrontCover1What a beautiful Christms album:

Canadian guitar player/producer Greg Joy was born in Victoria.

His love for the folk music of the British Isles led him to the Victoria Music Conservatory in the late ’70s to study classical guitar.

He has performed with a myriad of both Celtic and worldbeat groups, and has released numerous collections of Christmas and Celtic music of his own. (by James Christopher Monger)

Greg Joy

Together with multi-instrumentalist Mark Bracken and some friends he recorded this wonderful Christmas album.

Mark Bracken

This album introduced me to the duo of Greg Joy and Mark Bracken, and what a blessing it is! “A Magical Celtic Christmas” is a beautiful instrumental album in the Celtic tradition. Among the tracks are favorites such as “God Rest Ye Merry Gentlemen,” “The First Noel,” “Silent Night,” and “Away in a Manger” as well as some not-so-familiar tunes like “Hey Ho, Nobody’s Home,” “St. Basil’s Hymn” and “Gaudete.” It is very relaxing and, despite the title, a great album for anytime of the year. Of course, there is something “magical” about it that makes it the perfect background music for a traditional Christmas gathering, or just for a cold winter’s night in front of the fire with a mug of hot cider watching the snow fall. (Kevin Maze)

“A Magical Celtic Christmas” from Greg Joy and Mark Bracken is yet another addition in the seemingly endless array of Celtic holiday albums on the already crowded shelf. Thankfully, Joy and Bracken are masterful folk musicians and always welcome. Offering a traditional sound and balancing popular tunes with lesser-known ones, they excel here. This is easily one of the better Celtic Christmas albums on the market, especially if you are trying to avoid “Celtic” takes on pop songs about Santa. Highly recommended. (Kevin M. Derby)


Mark Bracken (guitar, dulcimer, psyaltery, keyboards, harp)
Greg Joy (guitar, dulcimer)
Jeehoon Kim (cello)
Lori Pappajoh (flute)
Norman Stanfield (recorder)

Alternate frontcover:

01. O Come, O Come Emmanuel (Traditional) 5.45
02. God Rest Ye Merry, Gentlemen (Traditional) 4.10
03. Entre Le Boeuf Et L’ane Gris (Close By The Ox And The Ass So Grey) (Traditional) 2.59
04. The First Noel (Traditional) 3.38
05. I Wonder As I Wander (Niles) 4.26
06. St. Basil’s Hymn (Traditional) 3.43
07. Hey Ho, Nobody’s Home (Traditional) 3.13
08. Deck The Halls (Traditional) 2.33
09. Away In A Manger (Traditional) 3.56
10. We Three Kings Of Orient Are (Traditional) 4.24
11. Silent Night (Gruber) 4.49
12. Coventry Carol (Traditional) 3.27
13. Gaudete (Traditional) 2.46



Dream Police – Messing With The Blues (1991)

FrontCover1Dream Police is a Norwegian band from Fredrikstad (Norway) , started in 1989. The style was hardrock strongly influenced by blues.Highly rated melodic Rock band named after the influential CHEAP TRICK album. CBS Records issued the ‘Dream Police’ album in 1990. ‘Messing With The Blues’ followed in 1991. Both singer Odd René Andersen and drummer Ole Petter Hansen guested on RETURN’s 1991 ‘Fourplay’ album.
DREAM POLICE guitarist Trond Holter would also be active, as ‘Teeny’, with Glam Rock outfit WIG WAM from 2001. The guitarist had formatively seen studio action on OLE I’DOLE’s 1985 albums ‘Blond Og Billig’ and ‘Popaganda’ plus the 1986 set ‘Idolator’. In 1989 he featured on EVENRUDE’s ‘One Size Fits All’ and then worked with US Pop singer TAYLOR DAYNE. Holter had also been involved with DAG FINN, featuring on the 1991 album ‘The Wonderful World Of Dag Finn’.
The band broke up in 1992 but have since the reunion concert in 2009 done some concerts every now and then. Members have done much differently in retrospect. Trond Holter has played with Wig Wam and is also guitarist for Jørn Lande. Odd Rene Andersen had continued as a solo artist. The rhythm section consisting of Ole Petter Hansen has played with several Norwegian and foreign international artists. (discogs.com)

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And here´s their second (and last ?) album:

Dream Police were another top-notch European melodic rock band from the early-mid 90’s. These guys hailed from Norway, and if i’m not mistaken, their guitar player is currently kickin’ butt in the band Wig Wam.


Released in 1991, “Messing With the Blues” was Dream Police’s sophomore outing. While the debut was equal parts Van Halen meets Treat, the follow-up is more of a blues inspired offering, not unlike Cinderella’s “Heartbreak Station.” I’ve read some reviews that crush this record as being uninspired and dull, however, I found that it’s pretty solid the entire way through. That’s not saying that there is no filler here, there are several songs that could have been quite better, but most are decent enough to rock out to. I enjoyed “Look For A Lover,” “Down On Your Luck,” “Bad Bad Bad,” and “No More Lies” quite a lot actually, while the rest wasn’t too terrible either.


If you enjoy European flavored hard rock from the early 90’s, you’ll definitely want to check out Dream Police. I suggest starting with the debut, but this record is too bad either, it’s all in how you like your hard rock served. (by Jonathan Weller)


Odd René Andersen (vocals, harmonica)
Ole Petter Hansen (drums, background vocals)
Trond Holter (guitar, background vocals)
Rino Johannessen (bass)
Leif Digernes (background vocals)
Lasse Hafreager (organ, synthesizer)


01. Look For A Love (Hansen(Holter) 4.05
02. Bad Bad Bad (Hansen/Andersen/Holter) 4.30
03. It’s Only Love (Andersen/Hansen/Holter/Johannessen) 4.14
04. Communication (Hansen/Andersen/Holter) 4.05
05. Don’t Let Go (Andersen/Hansen/Holter/Johannessen) 3.51
06. Brand New Car (Andersen/Holter) 4.14
07. Down On Your Lack (Andersen/Hansen/Holter/Johannessen) 4.45
08. So Damned Lonely (Andersen/Holter) 5.15
09. In The Monkey Hour (Andersen/Holter) 3.43
10. Woke Up This Morning (Andersen/Hansen/Holter/Johannessen) 5.40
11. No More Lies (Andersen/Holter) 4.11



Dream Police02

Pierre Boulez & The Cleveland Orchestra Nocturnes + La Mer (Claude Debussy) (1995)

FrontCover1(Achille) Claude Debussy ( 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.

Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France’s leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire’s conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, Pelléas et Mélisande.

Debussy’s orchestral works include Prélude à l’après-midi d’un faune (1894), Nocturnes (1897–1899) and Images (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his “symphonic sketches”, La mer (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote mélodies based on a wide variety of poetry, including his own. He was greatly influenced by the Symbolist poetic movement of the later 19th century. A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments.

With early influences including Russian and far-eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans. Debussy died from cancer at his home in Paris at the age of 55 after a composing career of a little more than 30 years.

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Pierre Louis Joseph Boulez CBE (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor, writer and founder of several musical institutions. He was one of the dominant figures of the post-war classical music world.

Born in Montbrison in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. As a young composer in the 1950s he quickly became a leading figure in avant-garde music, playing an important role in the development of integral serialism and controlled chance music. From the 1970s onwards he pioneered the electronic transformation of instrumental music in real time. His tendency to revise earlier compositions meant that his body of completed works was relatively small, but it included pieces regarded by many as landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.

In parallel with his activities as a composer Boulez became one of the most prominent conductors of his generation. In a career lasting more than sixty years he held the positions of chief conductor of the New York Philharmonic and the BBC Symphony Orchestra, music director of the Ensemble intercontemporain and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent guest appearances with many of the world’s other great orchestras, including the Vienna Philharmonic, the Berlin Philharmonic and the London Symphony Orchestra. He was particularly known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the Jahrhundertring—the production of Wagner’s Ring cycle for the centenary of the Bayreuth Festival—and the world premiere of the three-act version of Alban Berg’s Lulu. His recorded legacy is extensive.

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He founded a number of musical institutions in Paris, including the Domaine musical, the Institut de recherche et coordination acoustique/musique (IRCAM), the Ensemble intercontemporain and the Cité de la Musique, as well as the Lucerne Festival Academy in Switzerland. (wikipedia)

Pierre Boulez made his early reputation as a Debussy conductor, and with good reason. Debussy’s reputation as a musical “impressionist” led most people to think of him as a sort of musical Claude Monet–all blurry outlines and fuzzy images–but Boulez changed this perception, bringing an analytical clarity and razor-sharp definition to the composer’s musical mosaics. What he has achieved in this second series of Debussy recordings is an additional naturalness and spontaneity of expression. The Cleveland Orchestra is the ideal vehicle for this sort of interpretation, being perhaps the most technically precise band in the world. The result is just about perfect. (by David Hurwitz)

Recorded at the Masonic Auditorium, Cleveland, March 1991 (4) / March 1993

The Cleveland Orchestra+ Chorus conducted by Pierre Boulez

The Cleveland Orchestra Chorus
Franklin Cohen (clarinet on 04.)



01. Nuages 6.15
02. Fêtes 6.31
03. Sirènes 9.47

04. Première Rhapsodie (Pour Orchestre Avec Clarinette Principale) 8.42
05. Jeux (Poème Dansé) 16.06
La Mer (Trois Esquisses Symphoniques):
06. De L’Aube À Midi Sur La Mer 8.47
07. Jeux De Vagues 7.09
08. Dialogue Du Vent Et De La Mer 7.41

Music composed by Claude Debussy



The Cleveland Orchestra