Rod Stewart – Unplugged … And Seated (1993)

FrontCover1Unplugged…and Seated is a live album released by British musician Rod Stewart on 24 May 1993. It is Stewart’s second live album and his first (and only) appearance on MTV Unplugged. The album was released by Warner Bros. Records (WEA 9362-45289-1/2). The unplugged versions of “Have I Told You Lately” by Van Morrison, “Reason to Believe”, “Having a Party”, and “People Get Ready” were released as singles, with “Have I Told You Lately” and “Having a Party” reaching success as singles. A special collector’s edition was released in March 2009 on Rhino Records. This two-disc package included the DVD of the MTV performance with 13 songs while the CD contained 17 tracks including two songs (“Gasoline Alley” and “Forever Young”) not on the original 1993 release.

The album was recorded on 5 February 1993 at Universal Studios, Los Angeles as part of MTV’s Unplugged series. The event aired on television on 5 May of the same year. Unplugged finds Stewart reunited, for the first time in nearly twenty years, with Ronnie Wood, a fellow Faces band member. Stewart performs some of the classics from his repertoire such as “Tonight’s the Night” and “Maggie May”, but also adds some new material such as “Having a Party” and “Highgate Shuffle”. The album title comes from a joke Stewart made during the taping about “Stay With Me” being difficult to perform while sitting down. Six songs were taped but not included on the subsequent album release, though “It’s All Over Now” was included as the B-side to the single for “Reason to Believe”. (by wikpedia)


Eric Clapton’s Unplugged turned the MTV series into a pop culture phenomenon, one that was especially appealing to veteran rockers because all they had to do was dust off their old hits and give them a nice, relaxed reading — the perfect re-imagining for middle-aged rock stars. Rod Stewart leaped at the opportunity and, in many ways, he seemed even better suited for the gig than Clapton as much of his ’70s prime prominently featured acoustic guitars, including “Maggie May” and “Every Picture Tells a Story.” Stewart upped the ante by reuniting with his old friend and Faces bandmate Ron Wood, giving Unplugged…and Seated the appearance of an event…an appearance that was entirely intentional. That Unplugged…and Seated falls well short of actually being an event is a disappointment but also inevitable. Where Clapton’s Unplugged was a natural phenomenon, a blockbuster delivered with no preconceived notions, Unplugged…and Seated is designed as a hits revue, playing upon nostalgia while delivering mellow sounds for middle age.

Rod Steward01.jpg

This is no bad thing, necessarily, particularly when the song selection is so strong — all the big hits from that early-’70s golden age, plus Rod’s recent cover of Van Morrison’s “Have I Told You Lately,” Tom Waits’ “Tom Traubert’s Blues,” and a reworked version of the folk standard “Highgate Shuffle” thrown in for good measure — and the chemistry between Stewart and Wood is still so cheerful. Occasionally, this frivolity is a wee bit forced but that’s not quite as big of a problem as the punchy, professional production; these are ultimately nothing more than mild signs of road wear on a record that’s a nice night out with the boys, nothing more, nothing less. (by Stephen Thomas Erlewine)

And for me this album is a very sentimental trip … from “Tonight´s The Night” (Spread your wings and let me come inside) to “The First Cut Is The Deepest” … many songs from this album was very important songs … I guess … they told the story of my life …

Rod Stewart … what a a voice !


Jim Cregan (guitar)
Jeff Golub (guitar)
Charles Kentiss III (keyboards)
Phil Parlapiano (accordion, mandolin)
Carmine Rojas (bass)
Kevin Savigar (keyboards, accordion)
Rod Stewart (vocals, banjo)
Don Teschner (guitar, mandolin, violin)
Ronnie Wood (guitar)
background vocals:
Dorian Holley – Darryl Phinnessee – Fred White
string section conducted by Jeremy Lubbock:
Marilyn Baker – Haim Shtrum – Mari Tsumura – Jay Rosen – Kwihee Shamban – Miran Kojian- Brian Leonard – Jean Hugo – Joel Derouin – Bruce Dukov – Joseph Meyer – Ronald Clark – Joan Elardo – David Shostac – Norman Ludwin – Drew Dembowski – David Shamban – Suzie Katayama – James Ross – Larry Corbett.


01. Hot Legs (Rod Stewart/Grainger) 4.25
02. Tonight’s The Night (Stewart) 4.04
03. Handbags And Gladrags (d’Abo) 4.25
04. Cut Across Shorty (Walker/Wilkin) 4.58
05. Every Picture Tells A Story (Stewart/Wood) 4.45
06. Maggie May (Stewart/Quittenton) 5.45
07. Reason To Believe (Hardin) 4.07
08. People Get Ready (Mayfield) 4.59
09. Have I Told You Lately (Morrison) 4.08
10. Tom Traubert’s Blues (Waltzing Matilda) (Waits) 4.40
11. The First Cut Is The Deepest (Stevens) 4.12
12. Mandolin Wind (Stewart) 5.23
13. Highgate Shuffle (Traditional)) 4.04
14. Stay With Me (Stewart/Wood) 5.27
15. Having A Party (Cooke) 4.44





Ron Wood & Rod Stewart


The Cranberries – Everybody Else Is Doing It So Why Can’t We (The Complete Sessions) (1993)

OriginalFRontCover1Everybody Else Is Doing It, So Why Can’t We? is the debut studio album by the Irish rock band The Cranberries. Released on 1 March 1993, it was their first full-length album after having released four EPs, and is also their first major label release. The album was written entirely by the band’s lead singer Dolores O’Riordan and guitarist Noel Hogan. It reached number one in the UK and the Irish Albums Chart. At the end of 1995, it ranked as the 50th best selling album in Australia. It reached number 18 on the US Billboard 200 albums chart and sold over five million copies there.

Re-release The album was re-released in 2002, under the title Everybody Else Is Doing It, So Why Can’t We? (The Complete Sessions 1991–1993). This version of the album featured bonus tracks as well as B-sides from the singles lifted off the album.(by wikipedia)


Title aside, what the Cranberries were doing wasn’t that common at the time, at least in mainstream pop terms; grunge and G-funk had done their respective big splashes via Nirvana and Dr. Dre when Everybody came out first in the U.K. and then in America some months later. Lead guitarist Noel Hogan is in many ways the true center of the band at this point, co-writing all but three songs with O’Riordan and showing an amazing economy in his playing, and having longtime Smiths/Morrissey producer Stephen Street behind the boards meant that the right blend of projection and delicacy still held sway. One can tell he likes Johnny Marr and his ability to do the job just right: check out the quick strums and blasts on “Pretty” or the concluding part of the lovely “Waltzing Back.” O’Riordan herself offers up a number of romantic ponderings and considerations lyrically (as well as playing perfectly fine acoustic guitar), and her undisputed vocal ability suits the material perfectly.


The two best cuts were the deserved smashes: “Dreams,” a brisk, charging number combining low-key tension and full-on rock, and the melancholic, string-swept break-up song “Linger.” If Everybody is in the end a derivative pleasure — and O’Riordan’s vocal acrobatics would never again be so relatively calm in comparison — a pleasure it remains nonetheless, the work of a young band creating a fine little synthesis. (by Ned Raggett)


Mike Hogan (bass)
Noel Hogan (guitar, background vocals)
Fergal Lawler (drums, percussion)
Dolores O’Riordan (vocals, guitar)
Mike Mahoney (additional vocals)


01. I Still Do (O’Riordan/N.Hogan) 3:16
02. Dreams O’Riordan/N.Hogan) 4:32
03. “Sunday O’Riordan/N.Hogan) 3:30
04. “Pretty (O’Riordan/N.Hogan) 2:16
05. “Waltzing Back (O’Riordan) 3:38
06. “Not Sorry O’Riordan/N.Hogan) 4:20
07. Linger (O’Riordan/N.Hogan) 4:34
08. “Wanted O’Riordan/N.Hogan) 2:07
09. “Still Can’t … O’Riordan/N.Hogan) 3:38
10. “I Will Always (O’Riordan) 2:42
11. How (O’Riordan) 2:51
12. “Put Me Down (O’Riordan/N.Hogan) 3:33
13. Reason (O’Riordan/N.Hogan) 2.02
14. Them (O’Riordan/N.Hogan) 3.42
15. “What You Were (O’Riordan/N.Hogan) 3:41
16. “Liar (O’Riordan/N.Hogan) 2:22
17. “Pretty” (Prêt-à-Porter Movie Remix) (O’Riordan/N.Hogan) 3.41
18. “How” (Radical Mix) (O’Riordan/N.Hogan) 2,58

“Liar” was featured in the 1995 film Empire Records and  “Linger” was featured in the 2006 film Click.


Dolores O'Riordan01Dolores Mary Eileen O’Riordan (6 September 1971 – 15 January 2018)

Tom Petty & The Heartbreakers – Southern Accent In The Sunshine State (2015)

FrontCover1This 2CD set FM broadcast captures Tom Petty ‘s complete 1993 Homecoming concert, his first show in hometown Gainsville, Florida  for 20 years Following the breakup of Mudcrutch in 1975, Tom Petty and former band-mates Benmont Tench and Mike Campbell, joined up with some other Gainesville musicians, bassist Ron Blair and drummer Stan Lynch, to become Tom Petty and the Heartbreakers, in 1976. But, even then, success was not immediate, and they had many struggles ahead. When their first album was released in November 1976, it initially received little attention, selling only a few thousand copies over the `initial months. They released two singles, ‘Breakdown’ and ‘American Girl’, and both failed to chart in the US. Apparently, potential punters were confused; they looked like a new wave band (the album cover photo especially), but the music was pure rock n’ roll with a definite 60’s throwback style.


Fortunately, however, the UK seemed to ‘get it’, and they became popular there, with the album climbing to #24 on the British charts. Slowly, after news of their success in Britain, the album began picking up interest in the US, finally entering the Billboard charts almost a full year after its initial release. ‘Breakdown’ was re-released too, and this time made it into the top 40. Back in Gainesville, the community was very supportive and proud of Petty’s success. However, by the late 80’s, there was also some growing resentment, that Tom Petty had forsaken his hometown, that now that he had made it big, he rarely came back to his local fans and his roots there.

TomPetty3Thus, the show presented here, from 1993, represented his homecoming to Gainesville, his first major concert there since packing up his van and leaving with Mudcrutch, almost 20 years before. This show was just prior to the release of his greatest hits album and while he was in the process of moving to a new label.

The greatest hits album also included 2 new recently recorded songs ; ‘Mary Jane’s Last Dance’ and a cover of Thunderclap Newman’s ‘Something in the Air’, both of which are included in this show. And the show was broadcast on the radio nationwide, in superb FM quality.

So, here is Tom Petty’s triumphant, yet somewhat overdue, return to Gainesville. Although some of the circulating FM versions of the show are shortened substantially, this is the full show in all its glory.


In a very bad period of m< life Tom Petty helped me alot with his brilliant song “Learning To Fly”  … so I have to thank him so much ! His death is a very sad moment in my life.


Mike Campbell (guitar)
Howie Epstein (bass, background vocals)
Stan Lynch (drums, percussion)
Tom Petty (vocals, guitar)
Benmont Tench (piano, accordion)


01.Love Is A Long Road (Campbell/Petty*) 4.43
02. Into The Great Wide Open (Lynne/Petty) 4.25
03. Listen To Her Heart (Petty) 4.25
04. I Won’t Back Down (Lynne/Petty) 4.59
05. Free Fallin’ (Lynne/Petty) 5.05
06. Psychotic Reaction (Ellner/Chaney/Atkinson/Byrne/Michalski) 6.51
07. Ben’s Boogie (Tench) 3.57
08. Don’t Come Around Here No More (Stewart/Petty) 9.14
09. Something In The Air (Keen) 4.27
10. Mary Jane’s Last Dance (Petty) 8.50
11. King’s Highway (Petty) 3.40
12. A Face In The Crowd (Lynne/Petty) 4.31
13. Ballad Of Easy Rider (McGuinn) 4.08
14. Take Out Some Insurance (Singleton/Hall) 5.44
15. Thirteen Days (Cale) 4.59
16. Southern Accents (Petty) 5.22
17. Yer So Bad (Lynne/Petty) 3.28
18. Driving Down To Georgia (Petty) 6.30
19. Lost Without You (Petty) 6.53
20. Refugee (Campbell/Petty) 4.39
21. Running Down A Dream (Lynne/Campbell/Petty) 5.12
22. Learning To Fly (Lynne/Petty) 4.56
23. Rainy Day Woman #12 & 35 (Dylan) 4.21
24. American Girl (Petty) 4.44
25. Alright For Now (Petty) 2.40


Tom Petty And The Heartbreakers Performs At The Forum


Well, I started out down a dirty road
Started out all alone
And the sun went down as I crossed the hill
And the town lit up and the world got still

I’m learning to fly, but I ain’t got wings
Coming down is the hardest thing

Now the good ol’ days may not return
And the rocks might melt, and the sea may burn

I’m learning to fly but I ain’t got wings
(Learning to fly)
And coming down is the hardest thing
(Learning to fly)
Yes, it is

Now some say life will beat you down
Yeah, it will break your heart, steal your crown
So I started out for God knows where
But I guess I’ll know when I get there

Meat Loaf – Bat Out Of Hell II (1993)

FrontCover1Bat Out of Hell II: Back into Hell is the sixth studio album by American rock singer Meat Loaf and was written and produced by Jim Steinman. It was released in September 1993, sixteen years after Meat Loaf’s first solo album Bat Out of Hell. The album reached number 1 in the United States, United Kingdom and Australia. Five tracks were released as singles, including “I’d Do Anything for Love (But I Won’t Do That)”, which reached number 1 in 28 countries.

The album was released by Virgin Records outside of North America, where it was released by MCA. The third part of the Bat trilogy, Bat Out of Hell III: The Monster Is Loose, was released in 2006.

Just like the first album of the trilogy, Bat Out of Hell II was a huge commercial success and sold over 14 million copies worldwide.

The cover art was illustrated by sci-fi/fantasy artist Michael Whelan, following the style of Richard Corben’s cover for Bat Out of Hell. It features the biker from the first cover flying on his motorcycle towards a giant bat perched on top of New York City’s Chrysler Building, to which an angel is bound. Echoing the gravestones of the first cover, partially destroyed skyscrapers inhabit the lava landscape. Also like the first album, it features a ‘Songs by Jim Steinman’ credit, although smaller and located at the bottom of the cover. (by wikipedia)


Although Meat Loaf has made several albums since Bat Out of Hell, Bat Out of Hell II: Back Into Hell is an explicit sequel to that milestone of ’70s pop culture. Reprising the formula of the original nearly to the letter, Back Into Hell is bombastic and has too much detail, thanks to the pseudo-operatic splendor of Jim Steinman’s grandly cinematic songs. From the arrangements to the lengths of the tracks, everything on the album is overstated; even the album version of the hit single, “I Would Do Anything for Love (But I Won’t Do That),” is 12 minutes long. Yet that’s precisely the point of this album, and is also why it works so well. No other rock & roller besides Meat Loaf could pull off the humor and theatricality of Back Into Hell and make it seem real. In that sense, it’s a worthy successor to the original. (by Stephen Thomas Erlewine)


Like a lot of cinematic sequels, Bat Out Of Hell II is a disappointment when compared to it’s killer predecessor. Meat Loaf and Jim Steinman try to recreate the operatic bluster that made the original so wonderful, and it sometimes works with tracks like “I’d Do Anything For Love” and “Out Of The Frying Pan”, but the arrangements and production values sound remarkably synthetic when compared to the dense, Spector-like work on the original 1977 classic.

Even when you don’t compare it to Meat Loaf’s star-making album, it’s still noticeably lacklustre; Steinman’s songs just don’t cut it most of the time. The complaints about overlength in his songwriting never seemed valid to me before listening to this, but it is true that several songs here could use some trimming and some could have been left off altogether.

Bat Out Of Hell had an effortlessly epic feel, with it’s silly but operatic tone feeling earned through the well-written songs and the wonderful production; Bat Out Of Hell II is obviously a deliberate stab at re-creating the power and fun of that album, but the calculating approach definitely takes away from the entertainment. It has enjoyable moments in the songs I mentioned above, but overall, it’s far too overlong and a bit too mechanical to compete with it’s predecessor. (by Richard Trapp)


Kenny Aronoff (drums)
Roy Bittan (keyboards)
Jeff Bova (organ on 08., synthesizer, programming)
Jimmy Bralower (drums)
Steve Buslowe (bass)
Meat Loaf (vocals)
Lorraine Crosby (vocals on 01.)
Ellen Foley (ocals on 06.)
Rick Marotta (drums on 06. + 08.)
Eddie Martinez (guitar on 01., 02., 06., 08. + 09.)
Brian Meagher (bagpipes on 08, drums on 09.)
Brian Meagher, Jr. (bagpipes, drums on 08.)
Justin Meagher (bagpipes, drums on 08.)
Bill Payne (piano on 06., 08. + 11.)
Lenny Pickett (saxophone on 03. + 09.)
Tim Pierce (guitar on 01. – 05.)
Jim Steinman (spoken word (on 07.)
Pat Thrall (guitar on 04. + 05.)
background vocals:
Robert Coron – Lorraine Crosby – Brett Cullen – Rory Dodd – Stuart Emerson – Cynthia Geary – Amy Goff – Elaine Goff – Max Haskett – Curtis King – Michelle Little – Gunnar Nelson – Matthew Nelson – Todd Rundgren – Jim Steinman – Kasim Sulton – Eric Troyer

01. I’d Do Anything for Love (But I Won’t Do That) 12.00
02. Life Is A Lemon And I Want My Money Back 7.59
03. Rock And Roll Dreams Come Through 5.50
04. It Just Won’t Quit 7.21
05. Out Of The Frying Pan (And Into The Fire) 7.24
06. Objects In The Rear View Mirror May Appear Closer Than They Are 10.15
07. Wasted Youth 2.41
08. Everything Louder Than Everything Else 7.59
09. Good Girls Go To Heaven (Bad Girls Go Everywhere) 6.53
10. Back Into Hell 2.46
11. Lost Boys And Golden Girls 4.20

All songs written by Jim Steinman



Sy Klopps Blues Band – Walter Ego (1993)

FrontCover1Nobody knows Sy Klopps in 1993 — many people thought, this name was a pseudonym for the great Steve Miller … but … Sy Klopps is Sy Klopps:

Walter James “Herbie” Herbert II (born 5 February 1948) alias Sy Kloppd is the former manager of rock band Journey, The Storm, and a vocalist for the Sy Klopps Blues Band. Born and raised in Berkeley, Herbert is a self-proclaimed hippie and fan of the Grateful Dead.

Herbert got his start in the music business with the aid of his mentor Bill Graham. Through Graham, Herbert became a roadie for the multi-platinum-selling band Santana (where he met Neal Schon and Gregg Rolie). He managed Frumious Bandersnatch (where he met Ross Valory and George Tickner). When Santana imploded in 1973, Herbert put together the original lineup of Journey and remained its manager through 1993. Herbert was heavily involved in all business aspects of the band and traveled as their road manager. With a sharp business sense, Herbert brought everything in house under the name of Nightmare Productions and pioneered the use of large screen videos, impressive lighting and sound for arena-sized concerts. A shrewd businessman, Herbert made a fortune with Journey’s real estate holdings, Nocturne video company, and catalog management. He and Jim Welch, his art director, devised a creative marketing plan to promote the band using the Grateful Dead’s artists Stanley Mouse and Alton Kelly, thematic one-worded album titles, and exposure at point-of-purchase outlets. In 1993 Steve Perry asked that he resign from managing Journey due to personality conflicts.

In addition to his work with Journey, Herbert brought Swedish rock groups Roxette and Europe to the United States in the mid to late-1980s, and managed Mr. Big and R&B artist Tara Kemp and rock band Signal. In the late 1990s, Herbert moved from backstage into the spotlight, recording three albums as Sy Klopps and touring the San Francisco Bay Area with the Sy Klopps Band, which has included current and former Journey band members Neal Schon, Gregg Rolie, Prairie Prince, and Ross Valory. (by wikipedia)


And this is his brilliant debut album …

“…Venerable blues standards performed, in not always flattering high-tech fashion, by a sort-of-supergroup including former members of Journey and the Tubes….” (
Stereo Review (4/94)

This blues rock album could be Steve Miller in a less restrained mood, getting back his blues chops. It does include a scorching version of ‘Going to Mexico’ originally featured on the Number 5 album. If you like high energy blues rock you’ll wonder why you hadn’t heard of this before. Definitely worth a listen.(by 5ash)

In otherwords: one of the finest blues-rock albums ever recorded … listen to his version of classic blues-tunes like “Born Under A Bad Sign” or “I Got My Eye On You ” … Listen to the ZZ Top classic “Jesus Just Left Chicago” …and listen to “Mercury Blues” and you´ll know what I mean …

This is high energy Blues-Rock !

Norton Buffalo (harmonica)
David Denny (guitar)
Greg Errico (drums)
Sy Klopps (vocals, guitar)
Kee Marcello (guitar)
Prairie Prince (drums)
Greg Rolie (keyboards)
Neal Schon (guitar)
Bobby Scott (guitar)
Ross Valory (bass)’
Donnie Vie (guitar, harmonica, vocals)
Chris Znuff (bass, vocals)


01. Going To Mexico (Miller/Scaggs) 3.41
02. Fanny Mae (Brown) 2.50
03. Key To The Highway (Broonzy/Segar) 4.40
04. Jesus Just Left Chicago (Gibbons/Hill/Beard) 4.30
05. Born Under A Bad Sign (Jones/Bell) 3.30
06. Going Down (Nix) 3.45
07. I Got My Eye On You (Rolie/Scott) 3.36
08. Round And Round (Vie/Znuff) 3.18
09. Mercury Blues (Douglas/Geddings) 3.58
10. You’re So Fine (Reed) 2.55
11. Baby’s Calling Me Home (Scaggs) 2.49
12. My Name Is Sy Klopps (Rolie/Scott) 3.47


Gerald Garcia – Camerata Cassovia – Peter Breiner ‎– Baroque Guitar Favourites (1993)

FrontCover1“Baroque Guitar Favourites”: Arrangements for Guitar of Music by Antonio Vivaldi (Trio Sonatas RV 82 and RV 85; Lute Concerto RV 93; Violin Concerto RV 277) and by Johann Sebastian Bach (Harpsichord Concerto BWV 1052). All arrangements by Gerald Garcia. Performed by Gerald Garcia, guitar, and members of the Camerata Cassovia, directed by Peter Breiner. Recorded at the House of Arts in Kosice, Slovakia, in June 1990. Music notes by Gerald Garcia (not, as stated on the cover, by Keith Anderson). Released in 1992 as Naxos 8.550274. Total playing time: 75’23”.

Over the last 20 years, the Naxos label has done a great deal to obtain its reputation as one of the leading classical guitar labels. Its very first guitarist was Gerald Garcia, who was not slow to show the way forward by extending the rather limited guitar repertoire by making arrangements of pieces originally written for other instruments. This is what he has done here, too: None of the music on this disc was written for guitar, it is all arranged by Garcia himself, who plays a modern guitar and definitely not a baroque instrument. This rather makes the title of the disc a misnomer: no baroque guitar, no guitar music at all in the original, and certainly no guitar favourites as these arrangements were only made shortly before the disc was recorded! It would have been more to the point to entitle the whole: “Baroque Favourites arranged for Modern Guitar”, but I suppose the marketing strategists wouldn’t have liked that very much!

Gerald Garcia

What we do get to hear here is some very pleasant, tuneful, harmonic baroque melodies in which the part of the main soloist (lute, violin, harpsichord) is replaced by Garcia’s skilful and tasteful guitar-playing which is, in its turn, put very much in the forefront by the engineer. For the concertos, the necessary accompaniment is by the Camerata Cassovia, a chamber ensemble taken from members of the Slovak State Philharmonic of Kosice in Eastern Slovakia; the higher string parts sound quite acceptable, while I found the lower strings (the “basso continuo”) to be rather dull and uninspired. For the Bach, this continuo includes a harpsichord, providing a sonic background that does not let the listener forget that it is an arrangement of a harpsichord concerto that he is listening to. The Vivaldi trio sonatas were originally for violin, lute and continuo, and they are here played with the guitar as a suitable replacement for the lute, but with a viola d’amore in place of the violin, a decision which not only subordinates the string playing to the guitar, but which also sounds quite pleasing. Unfortunately, the strictures on the basso continuo apply here, too: Pavol Gimcik, cello, and Maria Lickova, modern harpsichord, provide nothing more than the absolutely necessary accompanying chords, so that it is definitely better to concentrate on Gerald Garcia’s delightful guitar playing.

Peter Breiner

This is definitely music that you can listen to for hours on end in the background. If you are not worried about historical authenticity and love the sound of the classical guitar, and if you are prepared to accept the rather lame continuo accompaniment, you will find this disc most enjoyable. Vivaldi’s and Bach’s music is so optimistic and so harmonically rich that it can bear any number of such arrangements. (by Leslie Richford)

Gerald Garcia (guitar)
Pavol Gimcik (cello)
Maria Licková (harpsichord)
Karol Petroczi (viola d’amore)
Camerata Cassovia conducted by Peter Breiner



Antonio Vivaldi: Violin Concerto in E Minor, RV 277, “Il Favorito”:
01. I. Allegro 5.22
02. II. Andante 5.56
03. III. Allegro 5.22

Antonio Vivaldi: Trio Sonata in C Major, RV 82:
04. I. Allegro non molto 4.05
05. II. Larghetto – Lento 4.13
06. III. Allegro 2.33

Antonio Vivaldi: Trio Sonata in G Minor, RV 85:
07. I. Andante molto 4.14
08. II. Larghetto 2.40
09. III. Allegro 2.19

Antonio Vivaldi: Lute Concerto in D Major, RV 93:
10. I. Allegro giusto 3.45
11. II. Largo 4.38
12. III. Allegro 2.31

Johann Sebastian Bach: Harpsichord Concerto in D Minor, BWV 1052:
13. I. Allegro 9.14
14. II. Adagio 8.21
15. III. Allegro 10.10



Humble Pie – In Concert (KBFH) (1996)

FrontCover1“Beautiful people of San Francisco … the world´s finest… HUMBLE PIE  …

This is the start of one of the best Humble Pie live albums …

Recorded on May 6, 1973 at San Francisco’s Winterland Theater, King Biscuit Flower Hour: In Concert presents the post-Peter Frampton era of Humble Pie, featuring guitarist Dave Clempson backing what was by then Steve Marriott’s vehicle. Marriott is in full cry on this recording, delivering his soulful, ingratiatingly over-the-top take on R&B-based hard rock with plenty of spirit; he even sings the between-song audience banter. In concert, Humble Pie displayed a ferocity that was sometimes missing from their studio albums, and King Biscuit Flower Hour not only captures that quality perfectly, it also does so arguably better than any other live album in the group’s discography. (by Steve Huey)

Recorded live at the Winterland Theater, San Francisco, California on May 6, 1973, this CD shows Humble Pie’s tour in support of their Smokin’ album, the first without GregRidleyfounding member Peter Frampton. Steve Marriott’s smokes all the way (his sung intros between songs are really amusing).
The majority of the songs are from the SMOKIN’ album.

Highlights include a frantic “30 Days in the Hole,” and slowed down versions of Eddie Cochran’s “C’mon Everybody” and Junior Walker’s “Roadrunner”
Throughout, this release the band plays like men men possessed aka under the sword of damocles, and the recorded sound is absolutely amazing (crystal clear); in terms of sheer volume the studio versions of these songs pale in comparison. Buy it if you want to hear a great live release up there with the best of them as stated above; it’s up there with Deep Purples “Made In Japan”. (by Damian)

I’ve been an Humble Pie fan since “…at the Fillmore”. I liked ’em well enough but never really warmed up to their studio albums and finally decided that they were a dish best served live. Over the years the Fillmore album has always been one of my musical staples; I still go back to it every now and again; but with Steve dead figured that was it…… I stumbled on the King Biscuit album. I usually don’t pick up on these post-mortum albums; there’s usually a reason that they weren’t printed at the time, mostly because the sound is sub-par: Man-oh-man am I glad I did! If you like the Fillmore album then the King Biscuit Flower Hour concert album should be an absolute joy! Great sound, fantastic music, and incredible energy. It is every bit of Humble Pie that even a casual fan should enjoy. (by ol’guyon)

And “Up Your Sleeves” is a real killer song … one of the finest songs ever written ny Steve Marrioot.

And my copy is signed by Dave Clem Clempson.


Dave “Clem” Clempson (guitar, vocals)
Steve Marriott (vocals, guitar, harmonica)
Greg Ridley (bass, vocals)
Jerry Shirles (drums)
background vocals:
The Blackberries:
Billie Barnum – Clydie King – Venetta Fields


01. Up Your Sleeves (Marriott) 3.57
02 4 Day Creep (Cox) 3.36
03. C’mon Everybody (Cochran/Caphart) 7.22
04. Guitar Solo (Marriott/Clempson) 1.07
06.  Blues I Believe To My Soul (Charles) 5.21
07. 30 Days In The Hole (Marriott) 5.21
08. Road Runner (Holland/Dozier/Holland) 12.28
09. Hallelujah, I Love Her So (Charles) 7.36
10. I Don’t Need No Doctor (Ashford/Simpson/Armstead) 13.04
11 Hot ‘N’ Nasty (Clempson/Ridley/Shirley/Marriott) 7.20