Tom Waits – Bone Machine (1992)

FrontCover1.jpgBone Machine is the tenth studio album by Tom Waits, released in 1992 on Island Records. It won a Grammy Award for Best Alternative Music Album, and features guest appearances by Los Lobos’ David Hidalgo, Primus’ Les Claypool and Brain, and The Rolling Stones’ Keith Richards.

Bone Machine marked a return to studio material for Waits, coming a full five years after his previous studio album, Franks Wild Years (1987). The album is often noted for its dark lyrical themes of death and murder, and for its rough, stripped-down, percussion-heavy blues rock style.

Bone Machine was included on many Best Albums of the 1990s lists, including Pitchfork where it was number 49, and Rolling Stone where it was number 53.

Bone Machine was recorded and produced entirely at the Prairie Sun Recording studios in Cotati, California in a room of Studio C known as “the Waits Room,” in the old cement hatchery rooms of the cellar of the buildings.

Mark “Mooka” Rennick, Prairie Sun studio chief said:

[Waits] gravitated toward these “echo” rooms and created the Bone Machine aural landscape. […] What we like about Tom is that he is a musicologist. And he has a tremendous ear. His talent is a national treasure.

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Waits said of the bare-bones studio, “I found a great room to work in, it’s just a cement floor and a hot water heater. Okay, we’ll do it here. It’s got some good echo.” References to the recording environment and process were made in the field-recorded interview segments made for the promotional CD release, Bone Machine: The Operator’s Manual, which threaded together full studio tracks and conversation for a pre-recorded radio show format.

The cover photo, which consists of a blurred black-and-white, close-up image of Waits in a leather skullcap with horns and protective goggles, was taken by Jesse Dylan, the son of Bob Dylan. He wears this same outfit in the video for “Goin’ Out West” and “I Don’t Wanna Grow up”.

A number of the songs from Bone Machine have been used in a number of film soundtracks, and have been covered by artists in varying genres.

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“Earth Died Screaming” is featured in the 1995 film 12 Monkeys.”Dirt in the Ground” was featured on the 1998 movie, “Jerry and Tom.” “Jesus Gonna Be Here” is featured in the 2005 film Domino, in which Waits appears, and has been covered by the gospel group The Blind Boys of Alabama on their album “Spirit of the Century” (2001). “Goin’ Out West” is featured in the 1999 film Fight Club and has been covered by Queens of the Stone Age, Gomez, Widespread Panic, Gov’t Mule, and Australian blues guitarist Ash Grunwald. “I Don’t Wanna Grow Up” was covered by Ramones for their final studio album ¡Adios Amigos!, by Holly Cole on her album of Tom Waits covers Temptation (1995), by Petra Haden and Bill Frisell on their collaboration Petra Haden & Bill Frisell (2003), by Hayes Carll on his Trouble in Mind (2008), by Scarlett Johansson on her debut album, Anywhere I Lay My Head (2008), by Squeeze on the deluxe version of their album Cradle To The Grave, and by Emily Kinney’s character, Beth Greene, on The Walking Dead fourth-season episode, “Infected” (Kinney’s musical influences also includes Waits among others). Danish band Kellermensch covered “Dirt in the Ground” on their debut album.

The album was included in the book 1001 Albums You Must Hear Before You Die. (by wikipedia)

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Perhaps Tom Waits’ most cohesive album, Bone Machine is a morbid, sinister nightmare, one that applied the quirks of his experimental ’80s classics to stunningly evocative — and often harrowing — effect. In keeping with the title’s grotesque image of the human body, Bone Machine is obsessed with decay and mortality, the ease with which earthly existence can be destroyed. The arrangements are accordingly stripped of all excess flesh; the very few, often non-traditional instruments float in distinct separation over the clanking junkyard percussion that dominates the record. It’s a chilling, primal sound made all the more otherworldly (or, perhaps, underworldly) by Waits’ raspy falsetto and often-distorted roars and growls. Matching that evocative power is Waits’ songwriting, which is arguably the most consistently focused it’s ever been. Rich in strange and extraordinarily vivid imagery, many of Waits’ tales and musings are spun against an imposing backdrop of apocalyptic natural fury, underlining the insignificance of his subjects and their universally impending doom.

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Death is seen as freedom for the spirit, an escape from the dread and suffering of life in this world — which he paints as hellishly bleak, full of murder, suicide, and corruption. The chugging, oddly bouncy beats of the more uptempo numbers make them even more disturbing — there’s a detached nonchalance beneath the horrific visions. Even the narrator of the catchy, playful “I Don’t Wanna Grow Up” seems hopeless in this context, but that song paves the way for the closer “That Feel,” an ode to the endurance of the human soul (with ultimate survivor Keith Richards on harmony vocals). The more upbeat ending hardly dispels the cloud of doom hanging over the rest of Bone Machine, but it does give the listener a gentler escape from that terrifying sonic world. All of it adds up to Waits’ most affecting and powerful recording, even if it isn’t his most accessible. (by Steve Huey)

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Personnel:
Brain (drums on 03. + 09.)
Kathleen Brennan (sticks on 01.)
Ralph Carney (saxophone clarinet)
Les Claypool (bass on 01.)
Joe Gore (guitar on 04., 10. + 12.)
David Hidalgo (violin, accordion on 13.)
Joe Marquez (sticks on 01., banjo on 11.)
David Phillips (pedal steel guitar on 08. + 13., steel guitar on 16.)
Keith Richards (guitar, vocals on 16.)
Larry Taylor (bass, guitar on 07.)
Waddy Wachtel (guitar on 16.)
Tom Waits (vocals, chamberlin, percussion, guitar, sticks, piano, bass, drums

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Tracklist:
01. Earth Died Screaming (Waits) 3.39
02. Dirt In The Ground (Waits/Brennan) 4.08
03. Such A Scream (Waits) 2.07
04. All Stripped Down (Waits) 3.04
05. Who Are You (Waits/Brennan) 3.58
06. The Ocean Doesn’t Want Me (Waits) 1.51
07. Jesus Gonna Be Here (Waits) 3.21
08. A Little Rain (for Clyde) (Waits/Brennan) 2.58
09. In The Colosseum (Waits/Brennan) 4.50
10. Goin’ Out West (Waits/Brennan) 3.19
11. Murder In The Red Barn” (Waits/Brennan) 4.29
12. Black Wings (Waits/Brennan) 4.37
13. Whistle Down The Wind (for Tom Jans) (Waits) 4.36
14. I Don’t Wanna Grow Up (Waits/Brennan) 2.31
15. Let Me Get Up On It (Waits) 0.55
16. That Feel (Waits/Richards) 3.11

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Tracy Chapman – Matters Of The Heart (1992)

FrontCover1.jpgMatters of the Heart is the third album by American singer-songwriter Tracy Chapman, released in 1992. It was her first not to be produced or co-produced by David Kershenbaum. (by wikipedia)

Any serious-minded artist who calls an album Matters of the Heart would normally be asking for trouble — titles like that are generally reserved for Valerie Bertinelli TV movies. For Tracy Chapman, though, a little bit of maudlin goes a long way. Chapman’s astonishing 1988 debut, Tracy Chapman, is still a pinnacle of singer-songwriter craft — assured and determined, its songs rooted in the folk narrative tradition yet adding a modern edge. (”Behind the Wall” not only predated the topic of Public Enemy’s antiauthoritarian ”911 Is a Joke,” but did it with a field-holler melody.) Yet on its follow-up, Crossroads (1989), Chapman mostly whined about being reduced to ”a white man’s drone” in the ”material world.” Even Sean Penn handled success better than that.

Chapman’s internal debate about whether or not she has ”sold out” continues a little on Matters of the Heart. (”I Used to Be a Sailor” — about a seaman stranded on an island without any means of escape — is clearly a price-of- success metaphor.) Yet the album breathes easier, both in its lyrics and its music. Chapman seems more reconciled to balancing her public life with her private one, and she sounds a lot more human as a result. ”Here I sit, I’m feeling sorry for myself,” she sings at one point, adding with the slightest hint of self-deprecating humor, ”It’s quite a sight.”

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The songs are stronger than those on Crossroads, whether Chapman is offering consolation to a friend or lover in ”Open Arms” or pondering guns in the ghetto in ”Bang Bang Bang.” With coproducer Jimmy Iovine, she also continues to master the art of folk-pop that’s fully produced, yet still sparse and airy. There are plenty of instruments on each track, but you’d never know it. Everything is centered on her voice (which sounds much warmer than it did on Crossroads), a strummed guitar or two, and light percussion. The music glides along, with a few inventive extra touches like the swooping electric guitar of Living Colour’s Vernon Reid gently insinuating itself into ”Bang Bang Bang.”

The album’s centerpiece is its remarkable seven-minute title song, which finds Chapman bluntly picking over an obsessive love affair that has left her both confused and enlightened. The taut musical accents — congas nipping at each verse — add masterfully to the tension of Chapman spitting out lyrics like ”I’ve made myself sick/I can’t think of anything else/I can’t sleep at night.” The performance makes the onslaught of bland male and female singer-songwriters who have followed in her wake sound truly wimpy.

With her humorless delivery, Chapman can still make Leonard Cohen sound like the life of the party. And she remains the epitome of political correctness: Singing about women’s rights, corporate fat cats, and the lack of ”clean air to breathe/Pure water to drink of,” she could forge a second career as a Democratic presidential contender. Those sentiments may be liberal clichés, but that doesn’t make them any less noble. In the end, Chapman still wants to be someone, be someone — only a slightly better someone in an improved world. On Matters of the Heart, she’s back on track toward that goal. (by David Browne)

This one of the finest albums I´ve ever heard … A real tresure … a real hightlight in the history of recorded music !

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Personnel:
Roy Bittan (keyboards, accordion on 05.)
Mike Campbell (guitar, bouzouki on 02., mandolin on 03. + 05.)
Tracy Chapman (acoustic guitar, vocals)
Mino Cinelu (percussion)
Manu Katché (drums)
Tony Levin (bass)
Steve Thornton (percussion)
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Alejandro “Alex” Acuña (percussion on 08. + 09.)
Michael Fisher (percussion on 05., 06. + 09.)
Bob Glaub (bass on 04.)
Omar Hakim (drums on 06.)
Nellee Hooper (percussion on 09.)
Randy “The Emperor” Jackson (bass on 01., 08. + 09.)
Charles Judge (keyboards on 09.)
Larry Klein (bass on 06.)
Vernon Reid (guitar on 01., 07. + 08.)
Waddy Wachtel (guitar on 01. + 06.)
Larry Williams (keyboards on 09.)
Bobby Womack (guitar on 09.)

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Tracklist:
01.Bang Bang Bang 4.21
02. So 3.26
03. I Used To Be A Sailor 3.56
04. The Love That You Had 4.11
05. Woman’s Work 2.01
06. If These Are The Things 4.40
07. Short Supply (Jigten; For Richmond) 4.23
08. Dreaming On A World 5.03
09. Open Arms 4.34
10. Matters Of The Heart 6.59

All songs written by Tracy Chapman

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Ben Harper And Tom Freund – Pleasure And Pain (1992)

FrontCover1.jpgThis classic Ben Harper album with Tom Freund was originally recorded March 15, 1992 using a Studer A-80 tape recorder. George used a pair of Omni differential microphones that he custom built and fed the sound directly to the Studer tape deck with nothing else in the signal path.

Ben Harper: “There is a little bit of my parents in my first record. I remember a day at the shop, I had just written my first true song : Pleasure And Pain. All the family gathered around me in the workshop and I sang. There was a very sweet atmosphere in the back shop; a profound joy, a feeling of plenitude. After that our neighbors used to come to our house and listen to my songs. My grandparents and my mother wrote poems which I put in music. Everybody on the block was singing.” – Interview by Emmanuel Rivet / http://www.swer.net – 2000

Tom Freund: “Pleasure and Pain was an intense time. Ben and I really connected on a lot of levels. Sound and healing, tapping into the sounds around us. We had a cool duo and band (which consisted of Rosanne Lindley (David’s daughter) and John McKnight who played on Ben’s first record). We met in the college town of Claremont, CA. A mutual friend introduced us, Alleghaney Meadows – a ceramic artist, said we must meet each other and play together. We had a powerful jam the first night at The Folk Music Center that Ben’s grandparents owned and Ben worked selling and fixing guitars. Cool as shit store with all sorts of world instruments on the walls and ‘spirits’ in the air.”

George Cardas: “I recorded Ben on March 15, 1992 – I was setup to record another performer (Johnny Kallas) who I had been working with for the previous month. Johnny called and said he had a sore throat and couldn’t make it so we were getting ready to go home for the night when the phone rang – it was Ben. He said that a friend of his was over at his house, things were really working and he wanted to come over. I don’t think at the time he was planning on a recording session. About 15 minutes later Ben and Tom came by. They were quite excited about how well things were going so I sat them down in front of a pair of microphones and they began to play.

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“We went directly from a pair of custom built microphones into a Studer A-80. There was nothing in the signal path but the two microphones 6 feet of Cardas cable and the Studer not even a preamp other than the single stage in the microphones themselves. This was about as direct a setup as I have ever seen. The recording setup was omni’s on 8 inch center placed in front and above Tom and Ben about 3 feet from Ben’s chest. Ben and Tom began to play, sort of deciding what to play and going for it; all takes were one time only. It took just over 45 minutes to record the album – it is to this day one of the most magical musical moments, the kind you dream will happen but never do. It was obvious that this was the “real deal” so I made a record almost immediately. We did one run (of) the albums they were awesome so I told Ben to take on to LA and go shopping — he did and the rest is history. (taken from an interview by Emmanuel Rivet, 2000)

Oh, what a wonderful album with very intimate acoustic blues …

“Deepest thanks to all of our family and friends for their support and encouragements. Special thanks to Jim ‘The Mayor’ Smith, Taj Mahal, David Lindley, Chris Darrow, Sal Salvador, Bruce Bishop, Alleghaney Meadows and the Folk Music Center.”

#B5 “Pleasure And Pain” written in loving memory of Jack F. Knapp (1/4/29 – 1/30/92).

“This album was recorded March 15, 1992, using a Studer A-80 tape recorder.”

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Personnel:
Tom Freund (guitar, vocals)
Ben Harper (guitar, vocals)

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Tracklist:
01. Whipping Boy (Darrow) 2.47
02. Jesus On The Main Line (Traditional) 4.11
03. Pay The Man (Lindley/Pierre) 5.03
04. Quarter Of A Man (Fuller) 4.25
05. Mama’s Got A Girlfriend Now (Harper) 4.21
06. Angel From Montgomery (Prine) 5.32
07. Click Yo’ Heels (Freund) 4.24
09. You Should Have Come To Me (Freund) 4.25
10. Dust My Broom (Johnson) 4.02
11. Sweet Home Chicago (Johnson) 3.45
12. Pleasure And Pain (Harper) 4.56

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Vaya Con Dios – Time Flies (1992)

FrontCover1Vaya Con Dios (Spanish for “Go with God!”) was a Belgian music act, that stood out for its mixing of styles, as well as the distinctive voice of its lead singer Dani Klein. It was one of the most successful Belgian music acts ever, having sold more than 7 million albums and more than 3 million singles.

It was founded in 1986, but after 1991 Vaya Con Dios was for the most part a one woman band, centered on singer, lyricist, band leader and (co-)producer Dani Klein, reinforced by an ever-changing selection of musicians. In 2014, Dani Klein performed her last international tour under the Vaya Con Dios formula.[2] Vaya Con Dios officially disbanded with their last concert on 25 October 2014, in Forest National.

 

Vaya Con Dios was founded in 1986 by Dirk Schoufs, Dani Klein (Danielle Schoovaerts) and Willy Lambregt (known as Willy Willy). Schoufs (1962; double bass) and Lambregt (1959; guitars) were close friends, who had frequently worked as an acoustic duo. Klein (1953; lead singer, lyricist) and Lambregt had previously worked in electronic band Arbeid Adelt !, which lost momentum when band leader Marcel Vanthilt left to become an MTV Europe VJ.

After enjoying a one off performance as a trio, they decided to form Vaya Con Dios, based on shared interests in gypsy music, jazz and opera – genres they felt were underappreciated in Brussels.

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The trio’s first single “Just a Friend of Mine” (1987) entered the top 20 in Belgium, and became a top 10 hit in France. This was a milestone especially for Klein, who was now 34, and who had been trying to make it as a singer since age 17. After this first hit, Lambregt left the band, well before the 1988 debut album Vaya Con Dios was completed, and was later replaced by Jean-Michel Gielen. This first album, self-produced by Schoufs and Klein, met with mixed critical acclaim, mostly because it was very eclectic, and difficult to categorize. Nevertheless, it was well received in several European countries, and held three more singles.

The 1990 follow-up album “Night Owls” was again produced by Klein and Schoufs, and produced another three singles. “Nah Neh Nah”, an up-tempo mix of Latin and jazz-rock, profited from heavy airplay on MTV Europe. “What’s a Woman?”, a soul ballad, did well across Europe, and became a number one hit in the Netherlands and Belgium.

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In 1991, Schoufs and Klein fell out badly, resulting in Schoufs’ departure from the band, only to die months later, on 24 May 1991, at the age of just 29, of a cocktail of medication, alcohol and drugs.

Klein, left playing with just Gielen and various musicians, nevertheless continued to record a new Vaya Con Dios album, while at the same time doing more and more international performances, due to ever increasing popularity. In 1992, Time Flies was released, produced mostly by Klein herself. Again three singles were released from the album, the dramatic “Heading For a Fall” doing well in several countries. The album did very well in Europe, reaching number one in Switzerland and getting platinum certification in four countries, eventually proving to be the most successful Vaya Con Dios album. In 1993 it was followed with the first Vaya Con Dios world tour.

In 1995 Klein, by then evidently suffering from high workload, still managed to record a fourth Vaya Con Dios album: Roots and Wings, from which yet another three singles were released. Recorded at Muscle Shoals studios, Alabama, the album is even more soul oriented, while at the same time integrating Arab and India music influences. Again there was album chart success in several European countries.

In 1996 Klein quit the music business because of complete fatigue, illustrated by spontaneous hair loss. She returned in 1999 as singer in the group Purple Prose, which released a debut album that year. Vaya Con Dios returned in 2004 with a new album titled The Promise.

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In 2006, The Ultimate Collection greatest hits album was released. It featured Aaron Neville on a new recording of the 1990 soul ballad “What’s a Woman?” In October 2009, the album Comme On Est Venu was released, for the first time with all songs in French (one of Kleins first languages). In December 2010, the German DJ Duo Milk & Sugar released a remix of the song “Nah Neh Nah” that reached the Top 10 in the German Media-Control Charts.

In 2013, Dani Klein started a farewell tour, the last Vaya Con Dios tour ever. The last concert was held 25 October 2014 at Forest National in Brussels

Time Flies is the third studio album by Vaya Con Dios, who were at this point mostly a one-woman band. Even more than the previous albums, this is a melancholic album and is more blues and soul oriented. The reason for the theme is because Vaya Con Dios was mainly the partnership of Dani Klein and Dirk Schoufs and in 1991 the pair fell out badly. On 24 May 1991 Schoufs, who was only 29, died of a cocktail of medication, drugs and alcohol.

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The album did very well in Europe, reaching number one in Switzerland and getting platinum certification in four countries, eventually proving to be the most successful Vaya Con Dios album.
Time Flies was the first album from Vaya Con Dios which did not end with a song in French.

In 1993 Vaya Con Dios embarked on its first world tour. (by wikipedia)

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Vaya Con Dios is the group name behind Belgian chanteuse/lyricist/ producer Dani Klein. Most successful are tracks like “Farewell Song” and “Brave Jane” that maintain a chic Euro-centricity with a splash of 60s Dusty Springfield soul. The ground gets shakier when Klein turns to other forms of American roots music for inspiration — the country influences on “Farewell Song” are handled in particularly hamfisted fashion, although the bluesy “Muddy Waters” fares much better. Time Flies, is an interesting juxtaposition of cultures. (by Roch Parisien)

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Personnel:
Philippe Allaert (drums, percussion)
Jean-Michel Gielen (guitar)
Dani Klein (vocals)
Jean Mutsari (bass)
Carmelo Prestigiacomo (guitar)
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Werner Braito (harmonica on 02.)
André Brasseur (organ on 01., 92., 06. + 08)

Renauld Louisson (timpani on 03. + 13.)
Arnould Massart (piano on 13.)
Eric Melaerts (guitar on 07. + 09.)
Gwenaël Micault (accordion on 08. + 13.)
Daniel Moffat (percussion on 08. 09. + 12.)
Simon Schoovaerts (on 02.)
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background vocals:
Béatriz Ramirez – Dani Klein – Freddy Starks – Jenifer Kaje – Maria Lekranty – Sonia Henderson – Verona Davis
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strings on 11:
Claudine Steenackers – Jeannot Gillis – Marianne Denoïa
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horns on 02., 06. + 09.:
Carlo Mertens  – Frank Deruiter – Patrick Mortier

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Tracklist:
01. Time Flies (Klein/Prestigiacomo) 3.39
02. Forever Blue (Klein/Schoovaerts) 3.58
03. Farewell Song (Klein/Gielen) 3.09
04. So Long Ago (Klein/Prestigiacomo) 2.55
05. Still A Man (Klein/Gielen) 3.36
06. Heading For A Fall (Klein(Collins) 3.42
07. Mothers And Daughters (Klein/Davis/Gielen) 2.31
08. Listen (Klein/Allaert) 3.19
09. Bold And Untrue (Klein/Davis/Gielen) 3.08
10. Muddy Waters (Klein/Gielen)  3.17
11. For You (Klein/Gielen)  3.10
12. Brave Jane (Klein/Davis/Prestigiacomo) 3.16
13. At The Parallel (Klein/Kliphuis/Kliphuis) 2.57

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Gerald Garcia – Romantic Guitar Favourites (1992)

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Gerald Garcia (born 1949 in Hong Kong) is a classical guitarist and composer.

After studying chemistry at Oxford University, he became a professional musician, making his debut at the Wigmore Hall in London. His more than fifteen CDs have sold more than 30,000 copies worldwide. In addition, he has performed with other musicians including John Williams, Paco Peña and John Renbourn.

Garcia is also known as a composer, particularly for his Etudes Esquisses for guitar, GeraldGarciarecorded for Naxos Records by John Holmquist. He is musical director of the National Youth Guitar Ensemble.

Gerald Garcia lives in Oxford, where, according to his website, he enjoys “cooking, computer music, Taoist Yoga and conducting the odd chamber orchestra.”

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This beautifully studio-recorded disc from 1989 was, if I am correctly infomed, Gerald Garcia’s fifth CD for Naxos (following on from “Concierto de Aranjuez”, “Brazilian Portrait”, “Latin American Guitar Festival” and “Baroque Guitar Favourites”). It contains some of the “prettiest” music for classical guitar that I have ever heard, although I should add in the same breath that there is, in fact, no music for classical guitar at all on the disc – all the pieces here recorded are transcriptions of music for violin solo (Paganini’s Caprices), for violin and guitar (Paganini’s Grand Sonata), for piano (Mendelssohn’s Songs Without Words) and for voice and piano (Schubert’s Lieder). The Paganini and Mendelssohn appear to have been transcribed by Garcia himself, whereas the Schubert was congenially adapted for the instrument by Johann Kaspar Mertz, a 19th century Bohemian guitarist. The title of the CD, “Romantic Guitar Favourites”, is therefore a complete misnomer, but that in no way affects the enjoyment to be had from listening to what, to my non-expert ears at any rate, is some excellent guitar-playing in first-rate audio quality. The notes, written by Gerald Garcia himself, are brief but informative. (Leslie Richfordon)

Gerald Garcia has made an estimable series of CDs for Naxos, and this one is no exception. He has a beautiful sound for Romantic guitar music. His tone is large, his passage work never becomes coarse or astringent, and his overall conceptions are lush sounding and warm. The Mendelssohn and Schubert transcriptions are preformed with a great deal of delicacy, almost dreamy. The two Paganini Caprices are brilliant display pieces that Garcia dispatches with style and ease. As for the Paganini Sonata, it is an engrossing work that Garcia never lets sound heavy. Add a full spectrumed sound engineering picture, and you have a very appealing album. (David Saemannon)

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Personnel:
Gerald Garcia (guitar)

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Tracklist:

Niccolò Paganini:
01 Caprice Nº91 + Caprice Nº9

Felix Mendelssohn-Bartholdy:
02. Venetian Boat Song I (Song Without Words Op. 19 Nº 6)
03. Song Without Words, Op.19 Nº4
04. Song Without Words, Op.53 Nº4
05. Song Without Words, Op.85 Nº2
06. Song Without Words, Op.62 Nº4
07. Venetian Boat Song II (Song Without Words Op. 30 Nº 6)
08. Allegro Risoluto

Niccolò Paganini:
09. Romanza

Felix Mendelssohn-Bartholdy:
10. Andantino Variato
11. Caprice Nº24

Franz Schubert:
12. Praise Of Tears
13. Love’s Messenger
14. Serenade
15. Delay
16. Fisher Maiden
17. The Post

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More Gerald Garcia:

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Pete Haycock Band – Livin´ It (1992)

FrontCover1It´s time to celebrate the one and only Pete Haycock !!!

Peter John Haycock (4 March 1951 – 30 October 2013) was an English musician and film score composer. He began his career as lead guitarist, vocalist, and founding member of the Climax Blues Band.

Haycock was born in Stafford, and here he attended St. John’s Primary School and King Edward VI Boys Grammar School. As a child, he was impressed by the guitar solos of Hank Marvin of The Shadows. He played his first electric guitar at a miners club when he was 12. He then played guitar at school and college dances. Along with local boys, he formed a blues band, the Mason–Dixon Line.[3] In 1967, Haycock met Colin Cooper and joined his soul band The Gospel Truth.[2] In 1968, they founded a new band, the Climax Chicago Blues Band, and then they eventually changed its name to the Climax Blues Band, in 1970. The band’s original line-up consisted of Haycock (lead guitar, vocals), Cooper (harmonica, vocals), Derek Holt (guitar, vocals), Richard Jones (bass), Arthur Wood (keyboards), George Newsome (drums).

During the early 1970s, the Climax Blues Band went through a few personnel changes, before arriving at their most stable, creative, and successful line-up, which consisted of Haycock, Cooper, Holt (switched to bass guitar), and John Cuffley (drums). In 1976, the line-up with keyboardist Richard Jones wrote the band’s biggest hit “Couldn’t Get It Haycock02Right”. The song included the vocal harmonies of Haycock and Holt, behind Cooper’s lead. Haycock, an underrated vocalist, sang lead on several of the band’s tracks, particularly on the Sense of Direction (1974), Stamp Album (1975), Gold Plated (1976), Shine On (1978), and Flying The Flag (1980). albums. The band with the core line-up of Haycock, Cooper, Holt, and John Cuffley toured heavily in the 1970s and 1980s. During much of this period, Haycock played concerts with his rare trademark instrument, a gold-plated Veleno guitar, which was also on the cover of the album Gold Plated.

Holt and Cuffley left in 1983. Haycock and Cooper went their separate ways after their final Climax Blues Band album together, 1983’s Sample and Hold.

In May 2012, the Major League Productions Ltd record label released an until-then unknown vault recording of a 1976 live performance, featuring the Climax Blues Band at the top of their game: Climax Blues Band / World Tour 1976. Haycock provided some insightful liner notes for the CD’s insert, and the recording further demonstrates the tight musicianship that was found in the band’s line-up at that time.

In March 2015, a 4-CD retrospective was released entitled Live, Rare, and Raw 1973-1979, featuring the band at the height of their powers, in a variety of Live settings. This release would parallel the ferocity and acclaim of Climax Blues Band’s 1973 album, FM/Live. The band produced more than 15 successful albums in their heyday.

Though another group of musicians, which at one time was led by late former bandmate Colin Cooper, is currently calling themselves “Climax Blues Band”, their lineup does not consist of any founding members, and has not found the commercial success or following that the original, “true” Climax Blues Band enjoyed during Haycock’s years with the band. Cooper died in 2008.

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In 1984, the bandmembers went their separate ways, and Haycock went on to record several solo projects, the first of which was the album Total Climax (1986) recorded with his new band, Pete Haycock’s Climax. Pete Haycock’s Climax toured extensively in Europe, including Communist East Germany, as well as a well-received tour in Australia, also releasing The Soft Spot (1987). During this period, Haycock was asked by former Climax Blues Band manager, Miles Copeland, to record an instrumental album for I.R.S. No Speak, Guitar and Son, and Night of the Guitars, a live album from the tour of the same name.[9] After that tour, in 1989, Haycock teamed up with Holt and guitarist Steve Hunter to record an album under the name H Factor. The Pete Haycock Band consisted of the musicians from the Total Climax lineup, and went on to record a live album entitled Livin’ It in 1992. Copeland also signed Gary Numan to I.R.S. with whom Haycock collaborated with in the 1988 album Metal Rhythm.

Haycock was approached by Bev Bevan, formerly of Electric Light Orchestra, to join the newly formed Electric Light Orchestra Part II. The group toured and recorded with Haycock in the early 1990s, releasing both a live CD and video of their performance with the Moscow Symphony Orchestra. They recorded and toured together until 1993.

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In the early 1990s, Haycock was asked by Hans Zimmer to collaborate on film scores for K2 (1991), and Toys (1992). Other film scores they worked on were for Drop Zone (1994), and The Dilemma (2011), among others. Haycock’s slide guitar contributed to Thunderbird, the theme music for the 1991 film, Thelma & Louise.[2] Haycock was asked by Zimmer to re-create his performance, with a live symphony orchestra for the recording of Wings of a Film, which was a compilation album of Zimmer’s successful film scores.[citation needed]

Haycock began composing music of his own for film and television. Along with Holt, he composed music for the 1992 film One False Move. More scores would follow, and Haycock helped produce recordings for other artists.

Haycock05.jpgIn 2005, Haycock supplied all the music for the Hollister Independence Motorcycle Rally DVD charity project, for producer Jeff Byler, with proceeds benefiting Emmaus House, a shelter for battered women and children. When the DVD’s producer suggested a follow-up soundtrack to the project, Haycock went back into the studio to complete the album that became Bikers’ Dozen, which featured a vocal performance by John Fiddler (Medicine Head).

Haycock signed on as a major contributor to the LovePower and Peace[ charity CD project in 2009, which was spearheaded by fellow musician Robin George, and was built around George’s hit song, “LovePower and Peace”. Haycock contributed many trademark slide guitar tracks and donated studio time to the project, a charity effort to benefit children with cancer and other terminal diseases.

This collaboration, which included the donated talents of scores of veteran musicians,[14] also resulted in the forming a “super group” called The LovePower Band, which landed a major record deal and completed its first album, which was released in 2011.

After an absence from the stage and live performances, Haycock formed a new band, Pete Haycock’s True Blues (featuring Glen Turner). In 2008, they toured Europe and released their first recording together: Pete Haycock’s True Blues Live (featuring Glen Turner).[16][17] In April 2009, Haycock, in an interview talked about the early days with the Climax Blues Band, the transition to studio work (with and without Hans Zimmer), and his return to the stage with his new band, after an absence from live performances of fourteen years.

Haycock continued to record, and perform live, and had been a featured guest performer with the Siggi Schwarz’ band, and was on the same bill with ZZ Top and Johnny Winter in 2012.

Haycock012013 found Haycock coming full-circle with the formation of a super-group recording and scheduled for touring as Pete Haycock’s Climax Blues Band featuring Robin George, with Haycock being joined by a lineup of musicians including George, with whom he had collaborated on the LovePower Band, and other projects. Haycock envisioned this project as a return to the “true” Climax Blues Band, and he had just completed the new album, Broke Heart Blues, before his death.

Haycock built a recording studio in Frankfurt, Germany where he lived for several years until his death. He died of a heart attack on 30 October 2013 in Frankfurt. The news was posted on the group’s official website. He was 62. (by wikipedia)

And this is one of his rarest album, only released in Germany. It was recorded live at a samll club called “Die Neue Kulisse”, Pirmasens / Germany in June 1992 and when I wrote it´s time to celebrate the one and only Pete Haycock … you will undertand me … after listening thiis album.

Pete Haycock … one of the most underrated musician in the history of Rock & Blues !

Listen and enjoy !

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Personnel:
Livingstone Brown (bass, keyboards, vocals on 5)
Pete Haycock (guitar, vocals)
Clive Mayuyu (drums)
Mike Stevens (saxophone, flute, keyboards)

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Tracklist:
01. Liberty (Haycock) 3.29
02. So Many Roads (Marshall) 11.11
03. Communication (Haycock) 6.47
04. Medley: 6.48
04.1. Come On In My Kitchen (Johnson)
04.2. Country Hat (Haycock)
05. The Thrill Is Gone /Hawkins/Darnell) 13.09
06. Lucienne (Haycock) 10.41
07. Dr. Brown, I Presume (Haycock) 6.00
08. Blackjack And Me (Haycock) 5.32

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Lonette McKee – Natural Love (1992)

FrontCover1An outstanding actress, Lonette McKee is also an accomplished vocalist and pianist. She sang with the Soul Sisters, who were featured on Jonathan Winters’ television show. But she is much better known for her appearances in such films as “Sparkle,” “Cotton Club,” and “Which Way Is Up.” She recorded briefly for Sussex in 1974, but had little luck. (by Ron Wynn)

Lonette McKee’s debut for film director Spike Lee’s Columbia-distributed 40 Acres and a Mule label picks up where her 1978 Johnny Pate-produced Warner Bros. LP, Words and Music, left off, which isn’t a bad thing at all. Issued on October 6, 1992, Natural Love shows that the singer/songwriter’s muse knows no stylistic bounds. As with her earlier effort, McKee co-writes all of the songs while sharing production credits with Bryant McNeil, Gene Lake Jr., and labelmate Raymond Jones of State of Art.

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The whimsical “Watch the Birds” was the lead single. McKee flirts with hip-hop on “Dream of You.” The lovely acoustic guitar-based ballad “Hiding Away” is a gem and the same form is used for the reflective and wise “Nothing Is As It Seems.” The longing “What About You” could have easily fit on Words and Music. Though she recorded during the ’60s in her native Detroit for Clarence Avant’s Sussex label, it’s on Words and Music and Natural Love that McKee comes into her own. (by Ed Hogan)

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Personnel:
Bilal Bashir (programming)
Alvino Bennett (drums)
Chris Durante (guitar)
Ju Ju House (drums)
Nathaniel T. Hughes (percussion)
Raymond Jones (keyboards, background vocals)
Gene Lake, Jr. (drums, percussion)
Daniel T. Le’melle (saxophone)
Lonette McKee (vocals, keyboards)
Bryant S. McNeil (bass)
Robert E. Palmer (guitar, programming)
Dean Parks (guitar)
Anthony Peterson (guitar)
Charles Q. Rubin (guitar)
Richard Tee (organ)
Nathan Watts (bass)
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strings:
Noel Pointer – Cecelia Hobbs Gardner – Sandra C. Park – Elliot Rosoff – Joyce Hammann – John Pintaville – Louann Montesi – Barry Finclair – Shelia Reinhold – Carol A. Pool – Stanley G. Hunte – Sandra N. Billingslea – Winterton Garvey – Ann Labin – Belinda Whitney Barrett – Cenovia N. Cummins – Jennie Hansen – Alfred Brown – John R. Dexter – Richard Brice – Juliet M. Haffner – Harry Zaratzian – Frederick Zlotkin – Alvin C. McCall – Bruce L. Wang – Erik Freidlander
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background vocals:
Audrey Wheeler – Armstead Christian – Will Downing – Brenda Nelson – Brenda White – Spike Lee, Joie Lee

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Tracklist:
01 Tell Me If This Is Love (McKee) 4.19
02. Watch The Birds (McKee) 4.14
03. Dream Of You (McKee/McNeil) 3.51
04. Sweeter & Sweeter (McKee) 4.31
05. Hiding Away (McNeil/Peterson) 4.08
06. What About You (McKee) 4.42
07. For Your Love (Lake/McNeil(Corbette) 4.08
08. Save This Precious Love (Our Precious Animals) (McKee) 3.24
09. Nothing Is As It Seems (McNeil/Peterson) 5.39
10. Don’t Wake Me Up (If I’m Dreamin’) (McKee) 4.58

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