Arc Angels – Same (1992)

FrontCover1.jpgArc Angels were a blues rock band formed in Austin, Texas in the early 1990s. The band was composed of guitarist and singers Doyle Bramhall II and Charlie Sexton and two former members of Stevie Ray Vaughan’s band Double Trouble, drummer Chris Layton and bassist Tommy Shannon. The ‘Arc’ in the band’s name came from the Austin Rehearsal Complex where the band first started jamming.

Their 1992 debut album, Arc Angels, met with critical approval and reached No. 127 on the Billboard chart. Arc Angels made their network television debut on the NBC show Late Night with David Letterman on June 9, 1992, performing “Living In A Dream”. They performed on the show again on January 6, 1993, this time playing “Too Many Ways to Fall”.

Bramhall’s heroin addiction and internal friction caused the breakup of the band in 1993. The Arc Angels broke up in October of that year, concluding their run with a series of farewell concerts at Austin’s Backyard outdoor venue. Beginning in 2002, the Arc Angels reunited for occasional live performances.

In recent years, Bramhall has played guitar in Eric Clapton’s band and toured with Roger Waters. Charlie Sexton has toured with Bob Dylan. Meanwhile, Layton and Shannon have recorded three albums with the Texas soul quintet Storyville. They have also backed such artists as Buddy Guy, Kenny Wayne Shepherd and John Mayer.

ArcAngels.jpgIn March 2009, the members of Arc Angels, minus Shannon, announced that they would be reuniting, releasing a live album and DVD of concert footage/audio taken during 2005, touring extensively and beginning work on their second album. The album/DVD “Living in a Dream” was released in 2009, containing live renditions of previously released Arc Angels songs, new songs performed live and three new studio tracks. The launch of their tour was at Austin’s annual South by Southwest Festival. Although the band never officially broke up again, members pursued solo projects and there have been no talks about future Arc Angels releases or concerts to this date. In 2014 while on stage Bramhall referred to the Arc Angels as “this band I was in”[5] further cementing their demise.

Arc Angels is the self-titled debut album by Arc Angels, released in 1992. (by wikipedia)


There are one-hit wonders throughout the history of music, but very few one-album wonders like the Arc Angels. After the death of blues-rock guitar hero Stevie Ray Vaughan, fellow singing guitarists, Texans, and Vaughan devotees Doyle Bramhall II and Charlie Sexton formed the quartet with Vaughan’s rhythm section of bassist Tommy Shannon and drummer Chris Layton.

Their 1992 debut release would also be their swan song, but the self-titled album would prove to be one of the best rock/pop/blues recordings of the decade as well. The opening “Living in a Dream” is the only tune Sexton and Bramhall II co-composed, and is perhaps the closest that the Arc Angels come to re-creating Vaughan’s signature sound. “Paradise Cafe” is one of a handful of tracks Sexton co-wrote with pop composer Tonio K., but he and Bramhall II engage in some ZZ Top-like call-and-response vocals, and Bramhall II’s Vaughan dedication, “Sent by Angels,” features some of the album’s most impassioned singing. Funky tunes like “Sweet Nadine,” “Good Time,” and “Carry Me On” lighten the mood, and Shannon, Layton, and guest keyboardist Ian McLagan play brilliantly throughout in setting up the singing guitarists.


The spirit of Vaughan permeates the recording, from the production of Little Steven to the liner notes (“Dedicated to our friend, Stevie Ray Vaughan. We miss you”), yet never sounds forced, purposeful, or contrived. Alas, the final two songs — the rocking “Shape I’m In” and epic “Too Many Ways to Fall” — sport titles that point toward the Arc Angels being a Vaughan-like comet rather than a future veteran group. Sexton’s solo recording career had started as a teenager; Bramhall II and his father Doyle Bramhall were friends of Vaughan’s (the elder Bramhall even composing and co-composing tunes with the guitar giant). But the two frontmen who complemented each other so well nonetheless couldn’t blend their egos as easily. Arc Angels stands as testimony that a band needn’t have a long career to have a lasting legacy. (by Bill Meredith)


Doyle Bramhall II (guitar, vocals)
Chris Layton (drums)
Charlie Sexton (guitar, vocals)
Tommy Shannon (bass)
Ian McLagan (keyboards)


01. Living In A Dream (Bramhall II/Sexton) 4.53
02. Paradise Cafe (Sexton/Tonio K) 5.14
03. Sent By Angels (Bramhall II) 5.44
04. Sweet Nadine (Sexton/Tonio K) 4.31
05. Good Time (Bramhall II/Piazza) 4.47
06. See What Tomorrow Brings (Bramhall II) 6.27
07. Always Believed In You (Sexton/(Tonio K) 4.54
08. The Famous Jane (Sexton/Tonio K) 4.31
09. Spanish Moon (Bramhall II/Sexton/Layton) 5.48
10. Carry Me On (Doyle Bramhall II) 4.08
11. Shape I’m In (Bramhall II/Sexton/Benno) 4.07
12. Too Many Ways To Fall (Layton/Shannon/Sexton/Tonio K) 5.52



A screenshot from their website:


Sara K. – Closer Than They Appear (1992)

FrontCover1.jpgFrom the time she first performed in front of an audience when she was 17 years old, singer/songwriter Sara K. knew she wanted to live her life making music. She followed her dream and stayed true to her desire, despite the fact that demand for acoustic solo performers was falling off as the end of the ’70s approached. Several avenues remained open to her, including fronting her own band, studio work, and backing country music artists, which she did in her hometown of Dallas, TX. She also found work locally singing jingles. From her childhood years on, music played an important part in her life. Her mother belonged to a choir at church, while her father sang bass as part of a barbershop quartet. She first took up the guitar at the age of 15, although her instrument wasn’t the standard one on which most youths begin. She started with a basic flamenco guitar and added four strings meant for a bass. The resulting hybrid didn’t produce notes as low as those normally produced by a bass, yet they were definitely lower than those made by a guitar.

After the early years in Texas, she took her band, Sara K. and the Boys Without Sleep, to Los Angeles and New Mexico. Beginning in 1973, she led the band for about ten years and she followed that up by spending more than two years on tour with country singerGary Nunn. The experience was a good one, but she longed to concentrate on crafting songs and performing her own compositions. She settled down in Santa Fe to work on her songs, putting together an album that eventually became Gypsy Alley and was released by Mesa/Bluemoon Records in 1982. The New Mexico Music Industry Coalition honored the release with an award for Best Album. Chesky Records signed her to a contract, and Sara K. went on to release four well-received albums: Hobo, Tell Me I’m Not Dreamin’, Play on Words, and Closer Than They Appear. The singer/songwriter toured Germany in 1997 with Hui Cox, an arranger and guitar player. That same year, she also contributed to the soundtrack for The Postman. Two years later, No Cover was issued featuring Chuck Mangione on one of the tracks. The live album was recorded in New York City inside St. Peter’s Episcopal Church, making the most of the soaring interior’s dynamite acoustics. What Matters followed in 2001. (by Linda Seida)

Sara stands in a class by herself. I know of no one to whom to compare her. The custom four-string guitar leaves something unspoken in the harmony, allowing Sara’s voice to weave a tapestry in and out of the spaces left for it. Her lyrics in these songs are heart-to-heart; she is as open, honest, and observant as Joni Mitchell, but as different from her musically as night and day. And she has plenty of sass and tongue-in-cheek cleverness at her disposal. Her solitary cover on this album is Dylan’s “Like a Rolling Stone”. Hearing her cover is like really hearing it for the first time. (by Wayne Scott)


What more could you ask-lovely lyrics that improve with each listen, great sound, and a unique, heartfelt voice. This is perhaps my favorite of her recordings, although the later Stockfish records may get the voice a little better. I don’t understand why she seems to have disappeared from audiophile reviews. (by Stephen A. Degray)

Sara K. has been in my CD collection since early 1993. I never tire of her breathy cadillac intonations. Sara K. is like a fine single-malt under an air condtioner on a blistering July afternoon in the midwest, with depth second only to few in her genre. (by Sharky Green)


Billy Drewes (saxophone)
Bruce Dunlap (guitar)
David Finck (bass)
Jamey Haddad (drums)
Sara K. (ocals, guitar)


01. Miles Away 2.51
02. Trust Somebody 3:41
03. Hidden From View 3:28
04. Make Believe 2:34
05. What’s A Little More Rain 4:52
06. If You Close That Door 3.54
07. Jasmine 3.56
08. Wanna Spend More Time 4.05
09. Tecolote-Eyes 3.54
10. Alejaté 3.26
11. Something Borrowed 1.12
12. When I Didn’t Care 4.43
13. Steam Rises 3.06
14. Like A Rolling Stone 6.59

All songs was written by Sara K.
except 14, which was written by Bob Dylan



GermanPromoSheet1.jpgGerman Promo Sheet

More from Sara K.:



And this is her website:




Sue Foley – Young Girl Blues (1992)

FrontCover1Sue Foley (born March 29, 1968) is a Canadian blues singer and guitarist.

Foley was born in Ottawa, Ontario, and spent her early childhood in Canada. She learned to play guitar at age 13, became interested in blues music from listening to the Rolling Stones, and played her first gig at age 16. After high school graduation, she relocated to Vancouver where she formed The Sue Foley Band and toured Canada.

By age twenty-one, Foley was living in Austin, Texas[3] and recording for Antone’s, the blues label and historic nightclub. Her first release was Young Girl Blues.[4]

Foley has toured steadily with her band, toting her signature pink paisley Fender Telecaster. In 2001, she won the Juno Award for her CD, Love Coming Down.[6] Foley has Sue Foley02also earned seventeen Maple Blues Awards and three Trophees de Blues de France. She has also garnered several nominations at the Blues Music Awards in Memphis, Tennessee.

2018 marked Foley’s return as a solo artist with her latest album, The Ice Queen, which featured guest appearances by Billy Gibbons of ZZ Top and Jimmie Vaughan. (by wikipedia)

Sue Foley’s debut album, Young Girl Blues, is an impressive effort. Not only is Foley a wild, adventurous guitarist, she can write songs that don’t merely rehash standard blue clichés. Her songs have an intense passion that is heightened by her array of gutsy guitar textures, which are rooted in blues tradition but never tied down to it. (Thom Owens)

Sue Foley has great feel on guitar her style is strictly Blues no more no less nothing super fancy but what she does she does it well. She gets surprisingly warm tones from her maple neck 1968 paisley Fender Telecaster guitar and has good finger picking skills to boot. This is a good solid Blues album with no smoke nor mirrors just great wholesome playing with passion. Go get them Susie! (John Negro)


Sue Foley (guitar, vocals)
Robert Grant (drums)
Jon Penner (bass)
Sarah Brown (bass on 04.)
Denny Freeman (piano on 08.)
Derek O’Brien (guitar on 04. +  10.)
George Rains (drums on 04. + 06. percussion on 03.)
Kim Wilson (harmonica on 04. + 11.)
Reese Wynans (piano on 03.)


01. Queen Bee (Moore) 4.11
02 Chauffeur Blues (Lawler) 2.52
03. Cuban Gateway (Turner) 3.03
04. Mean Old Lonesome Train (Hicks/West) 3.22
05. Gone Blind (Foley) 3.47
06. Walkin Home (Foley/’Grant) 3.15
07. But I Forgive You (Whitaker) 2.45
08. Off The Hook (Hooker) 4.30
09. Little Mixed Up (unknown) 2.28
10. Hooked On Love (Hooker) 2.51
11. Time To Travel (Foley) 5.22



Sue Foley01

Rick Wakeman – Country Airs (1992)

FrontCover1.jpgThis is very strange album by Rick Wakeman:

Country Airs is a piano album written by Rick Wakeman and released in 1986 by Coda Records.

The album reached number one in the UK New Age charts. It was followed by two sequels, Sea Airs and Night Airs, released in 1989 and 1990, respectively.

A re-recording with four new compositions was released in 1992, published this time by President Records. Wakeman later revealed on his website that he regretted this version, doing it only because Coda had gone bankrupt, and refused to sell him the rights to the original. (by wikipedia)

Rick Wakeman wrote about this album:

This was a digital re-record and in retrospect I should never have done it. The only reason was that the original company who had Country Airs went bankrupt and they wouldn’t sell me the original back. Digital pianos had just arrived at the time and I thought it would be a good idea to record the album again on one. I can now look back and honestly say it was a huge mistake.

Forget I ever recorded it please!

All the original music for Country Airs and music notes mysteriously had gone missing and so I had to sit with the original recording and try and recall as much as I could exactly what I had done on the original. (taken from the offical Rick Wakeman website)

Rick Wakeman

Dear Rick … this album is not so bad … no !

Times may have been hard for Rick when this album was recorded but you would never have guessed it from sense of peace and tranquility that comes from these pieces of music. Forget the “New Age” tag that will probably deter a lot of people from buying this – this is superb solo piano music. No flash or bombast here – just Rick and a Grand Piano. The result is charming and peaceful – yet it reamins an involving collection of music unlike the usual insipid,Muzak wallpaper that you normally find in “New Age”. Some of Rick’s undoubted spirituality seems to shine through here too and this really is a record that you will find will refreshing and uplifting. It always makes me feel good! If you have not heard any of Ricks Piano works this is a superb place to start. Give yourself a treat and track this down You will not be disappointed. (Charles Goulding)

Good album. Any doubts. Even very good. Listening to the musician in structure of group, we not always can tell, how much it is good in solo work. Here only one musician and one tool – piano. Good emotions, the magnificent beginning and quieter end. I estimate in 4 stars. I like such albums. If I am tired from prog-metal, I listen to meditative albums of Rick: cycle “Aspirant” and cycle “Airs”. (mypost4spam )


Rock Wakeman (piano)


Front + back cover from the original recording from 1986

01. Lakeland Walks 3.50
02. Wild Moors 4.01
03. Harvest Festival 3.14
04. The Glade 3.02
05. Dandelion Dreams 5.45
06. Ducks And Drakes 4.07
07. Green To Gold 3.29
08. Stepping Stones 5.18
09. Morning Haze 4.07
10. Waterfalls 5.33
11. The Spring 3.49
12. Quite Valleys 6.01
13. Nature Trails 4.11
14. Heather Carpets 3.49

Music composed by Rick Wakeman



Nina Tichman – Works For Piano – Vol. 1 (Aaron Copland) (1993)

FrontCover1.jpgAaron Copland (November 14, 1900 – December 2, 1990) was an American composer, composition teacher, writer, and later a conductor of his own and other American music. Copland was referred to by his peers and critics as “the Dean of American Composers”. The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as “populist” and which the composer labeled his “vernacular” style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera and film scores.

After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. He found composing orchestral music in the modernist style he had adapted abroad a financially contradictory approach, AaronCopland1962.jpgparticularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik (“music for use”), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.

During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg’s use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961) and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland’s activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records. (by wikipedia)


Following her debut at the age of seventeen performing Beethoven´s “Emperor” Concerto Nina Tichman appeared in major venues including Carnegie Hall, the Cologne Philharmonie, the Berlin Konzerthaus and the Salzburg Festspielhaus. She has worked with prominent conductors such as Moshe Atzmon, Leon Barzin, Aaron Copland, Dmitri Kitaenko and Louis Langrée, appearing with the Bamberger Sinfoniker, the Symphony Orchestras of the Bayerische, Hessische and Norddeutsche radio stations, the Baltimore und St. Louis Symphonies. Concert tours throughout North America, Asia, and Europe with appearances at major festivals such as Marlboro, Tanglewood, International Musicians Seminar at Prussia Cove, Styriarte, Frankfurt Feste, Rheingau Musikfestival, have established her as “one of the leading pianists of her generation” (Neue Musik Zeitung).

She is at home in repertoire ranging from Frescobaldi to composers writing today, many of whom have entrusted her with world premieres of their compositions. Her discography includes music by Bartók, Beethoven, Copland (Complete Works for Piano), Chopin, Corigliano, Fauré, V.D. Kirchner, Mendelssohn, Penderecki, und Reger.

American born, Nina Tichman has been based in Europe since winning the prestigious “Busoni” Competition. Other awards include the Mendelssohn Prize of Berlin, First Prize of the Casagrande Competition in Italy and the Prize of the Organization of American States.

NinaTichmannIn 2001 she founded the Xyrion Trio with Ida Bieler and Maria Kliegel, an ensemble that has been praised for its vital, emotional and dramatic musicmaking and whose recording of the complete Beethoven Piano Trios has been praised for its “flawless ensemble, subtle phrasing, and great rhythmic energy” (American Record Guide).

Nina Tichman is a graduate of The Juilliard School, where she was awarded the Eduard-Steuermann-Prize for outstanding musical achievement. In 1993 she was appointed Professor of Piano at the Hochschule für Musik in Cologne and she has led master classes at the Mozarteum in Salzburg, as well as at Amherst College and Princeton University. (by

“Aaron is Moses”. Leonard Bernstein’s affectionate aphorism about his friend and mentor expresses exactly Aaron Copland’s importance in the development of a truly American music. Copland, born 1900, influenced as did no other the emergence of America from a country whose aspiring musicians, with few exceptions, had to go abroad in order to receive adequate training, into a mecca for musical training and a center for new artistic impulses. His personal involvement together with his popularity smoothed the way for innumerable composers and was instrumental in awakening the interest of the American public for its native musical language.

The scope of Copland’s language as a composer is defined by two extremes: his so-called “severe” style, determined by serial techniques and stringent formal structure, and his simple style, in which he tried to write music that would be more accessible to a broad public.


American musician Nina Tichman has been acclaimed as one of the leading pianists of her generation (Neue Musik Zeitung). Winner of numerous international competitions and being at home in the major music centers of the world, Nina Tichman has been particularly interested in contemporary compositions and their roots in traditional music for the piano. The music of Schönberg and Debussy, whose complete piano works she has presented cyclically (also released on the WERGO label), as well as that of contemporary American composers such as Copland and Elliott Carter, plays a central role in her repertoire. (prestomusic.comI

And if you listen carful,you will realize how much Keith Emerson was influenced by Aaron Copland !


Nina Tichman (piano)


01. Piano Variations (1930) 12.09

Four Piano Blues (1926-1948);
02. Freely Poetic 2.06
03. Soft And Languid 3.00
04. Muted And Sensuous 2.44
05. With Bounce 1.20

Piano Sonata (1939-1941):
06. Molto Moderato 9.44
07. Vivace 4.41
08. Andante Sostenuto 11.08

Three Moods (1920):
09. Embittered 1.03
10. Wistful 2.02
11. Jazzy 1.25

12. Petit Portrait (1921) 1.51
13. Midsummer Nocturne (1947) 2.02

The Cat And The Mouse (1920):
14. Scherzo Humoristique 4.03



Modern Jazz Quartet – A Night At The Opera (1993)

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 as bassist 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 reformed 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 disbanding permanently in 1997.

MJQSixties.jpgIn July 1974, Jackson quit the group, later citing frustration with their finances as his primary reason. He was also unhappy with the group’s touring schedule, which by then had become year-round rather than the previous arrangement in which they had vacations during the northern hemisphere summer. Jackson had previously used the downtime to play and record music that was not in the style of the Modern Jazz Quartet, but felt saddled in the group after they also began playing at summer jazz festivals in 1969 or 1970.[2] The jazz magazine DownBeat compared their breakup to “the abrupt disintegration of Mt. Rushmore”. In November 1974 they performed a farewell concert at Avery Fisher Hall, later released as a series of two albums and then as a complete package, The Complete Last Concert (1988). They had occasional reunion concerts, never going more than eighteen months without playing together, before reuniting in 1981 for a tour of Japan, recorded as Reunion at Budokan 1981 for Pablo Records. They recorded three more albums for Pablo, Together Again: Live at the Montreux Jazz Festival ’82 (1982), Echoes (1984), and Topsy: This One’s for Basie (1985), before returning to Atlantic, recording Three Windows (1987, with the New York Chamber Symphony) and For Ellington (1988).


Kay had a stroke in 1992 and during his recovery was replaced by drummer Mickey Roker, who performed on some tracks on the group’s last released recording, MJQ & Friends: A 40th Anniversary Celebration (recorded 1992–1993, released1994). Kay died in November 1994, after which the group operated on a semi-active basis; the 1995 album Dedicated to Connie, a recording of a 1960 concert in Slovenia, was released in his memory. In February 1995, Albert Heath, Percy Heath’s brother, became the quartet’s percussionist. Percy Heath had become tired of touring by 1997 and the group permanently disbanded in that year after a final recording date. In October 1999, Jackson died, followed by Lewis in March 2001 and Heath in April 2005. (by wikipedia)

And here´s one of their last recorded live performance … and this is a very beautiful legacy of a real unique jazz band !

Recorded live at the Opera of Philadelphia, 1992


Alternate frontcover

Percy Heath (bass)
Milt Jackson (vibraphone)
John Lewis (piano)
Mickey Roker (drums)

01. Don’t Stop This Train (Lewis) 5.47
Blues In B (Lewis) 5.21
03. Blues In A Minor (Lewis) 7.11
04. Blues In C Minor (Jackson) 5.39
05. Alexander’s Fugue (Lewis) 5.40
06. Minor Love (Lewis/Jackson) 5.03
07. Legendary Profile (Jackson) 4.18



Alannah Myles – Rocking Horse (1992)

FrontCover1Alannah Myles (born December 25, 1958) is a Canadian Juno and Grammy Award-winning singer-songwriter who had the chart-topping hit “Black Velvet” in 1990.

Alannah Myles was born on 25 December 1958 in Toronto, Ontario. She is the daughter of William Douglas Byles, who was a pioneer in the Canadian broadcasting industry and was inducted into the Canadian Association of Broadcasters’ Hall of Fame in 1997. Raised by her parents in Ontario, Myles spent her childhood composing and learning music. Myles began writing songs around age nine, performing in a songwriting group for the Kiwanis Music Festival in Toronto at age 12. At 18 she began performing solo gigs in southern Ontario, eventually meeting Christopher Ward, a WMG recording artist and songwriter. With Ward’s help, she formed her own band and performed cover versions of rock and blues songs, while polishing her own material. In her mid-20s, she and Ward would later collaborate with David Tyson to produce the eponymously titled debut album, Alannah Myles. She appeared in a 1984 episode of the television series The Kids of Degrassi Street, in which she played the role of an aspiring singer and single mother and was featured in several TV and film productions as a guest host and actor prior to becoming a recording artist.

Booklet02B.jpgMyles changed her surname from Byles at the age of 19 after deciding to pursue a career in entertainment. Appearances in TV commercials paid for music demos that led to countless rejections in Canada, until she recorded masters for three songs; “Who Loves You” and a video demo for “Just One Kiss” directed by photographer Deborah Samuel. With matched financing from her songwriting collaborator, Much Music (City TV) VJ and program director Christopher Ward and FACTOR, she signed her first record contract with Atlantic Records in 1987.

In fall of 1987, Warner Music Canada’s director of artists and repertoire (A&R), Bob Roper, sent Myles’s three-song video package to all of Warner Music Group’s U.S. affiliates, which garnered a contract for seven or eight years from Atlantic Records (WMG), given by head of A&R Tunc Erim and Atlantic label founder Ahmet Ertegun. Myles left her acting career, co-wrote and recorded the remainder of her first album with Christopher Ward and producer David Tyson. In 1989, Atlantic Records released her eponymous debut album and Myles toured internationally for 18 months. Her first album was awarded the Diamond Award for sales of over one million units; she is the only Canadian debut artist to attain that award. Her first album was reported to have sold upwards of 6 million copies internationally and remains a classic-selling album.

In May 1989, Warner Music in Canada released Alannah Myles which produced four Top AlannahMyles01.jpg40 hits, including “Love Is”, “Lover Of Mine”, “Still Got This Thing” and her number-one classic rock hit, “Black Velvet”. Atlantic Records’ 1989 debut album release was ineligible for Grammy nominations until the early 1990 U.S. single release “Black Velvet” became a number-one hit, claiming ASCAP’s most played song on radio for 1989 and 1990. By 2000, it had received ASCAP Millionaire Award for over five million radio airplays.[citation needed] “Black Velvet” won Myles the Grammy Award for Best Female Rock Performance in 1991 and three Juno Awards.

In 1992, Myles was nominated for a second Grammy award for Best Female Rock Vocal Performance for the track “Rockinghorse”, the B-side of “Song Instead of a Kiss”, the lead-off single from her second CD Rockinghorse. “Song Instead Of a Kiss”, written and composed by Myles, Nancy Simmonds, and Canadian poet Robert Priest,[7] was a 60-piece orchestrated ballad that reached number one on several radio stations around the globe but was met with little response in America, whose audiences were accustomed to “that slow southern style” of “Black Velvet”.[citation needed] The album, released that year, included the other hit singles “Our World, Our Times”, and “Sonny, Say You Will”. Myles received a Grammy nomination for Rockinghorse and several global awards, including a Juno and Much Music’s People’s Choice Award for “Our World, Our Times” (by wikipedia)


Her first album was a very rocking debut – a fine album to start with. The second didn’t abandon those rock roots but showed much refined way to make music. “Lover of Mine” was already showing her sophisticated way – a dangerous word to use but I am talking the same way The Beatles updated their sound with “Rubber Soul” in the mid-60’s. “Rocking Horse” is even a better album than her first one.

“Song Instead of a Kiss” is one of my favorite songs of the 1990’s. It is emotional atmosphere can make you cry easily if you actually listen to the words and her voice. The slow tempo with classical music elements and the final scream complete this as a perfect song. The opener “Our World Our Times” sounds nothing like I’ve heard before – a fascinating song which has interesting vocals, melody, drumming, great guitar sounds. “Sonny Say You Will” sounds amazing – it is a great power ballad.


The rest of the songs are really good too. “Tumbleweed”, “Make Me Happy”, “Love in the Big Town”, “Life And Rumours”, “Living on a Memory” are good rock songs. “The Last Time I Saw William” is a beautiful song too. The title song was something I didn’t like at first but now it has started to sound very interesting, actually a fun song.

These are very good 50 minutes to spend and I have went through it many times, so I know. (Reijo Piippula)


Denny Fongheiser (drums, percussion)
Will Lee (bass)
Alanah Myles (vocals)
Kurt Schefter (guitar)
David Tyson (keyboards, bass, background vocals)
David Wipper (guitar, mandolin)
background vocals:
Christopher Ward – John Elefante – Mark Free – Rose Stone – Tommy Funderburk
Buzzy Feiten (guitar on 05.)
Gary Grant (trumpet)
Greg Smith (saxophone)
Larry Williams (saxophone)


01, Our World Our Times (Tyson/Ward) 6.24
02. Make Me Happy (Tyson/Ward) 5.49
03. Sonny Say You Will (Ward) 5.08
04. Tumbleweed (Ward) 4.38
05. Livin’ On A Memory (Tyson/Ward) 5.53
06. Song Instead Of A Kiss (Myles/Simmonds/Priest) 5.04
07. Love In The Big Town (Tyson/Ward) 4.48
08. The Last Time I Saw William (Tyson/Ward) 4.15
09. Lies And Rumours (Tyson/Ward) 5.06
10. Rockinghorse (Myles/Simmonds) 3.00