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)

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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)

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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)

MeatLoaf

Personnel:
Kenny Aronoff (drums)
Roy Bittan (keyboards)
Jeff Bova (organ on 08., synthesizer, programming)
Jimmy Bralower (drums)
Steve Buslowe (bass)
Meat Loaf (vocals)
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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.)
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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

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Tracklist:
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

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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)

SyKlopps

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 !

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Personnel:
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)

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Tracklist:
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

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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)

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

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Tracklist:

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

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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.

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

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Tracklist:
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

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Ketil Bjørnstad – Water Stories (1993)

FrontCover1Ketil Bjørnstad made a splash, if you will, with this, his first of many collaborative projects for ECM. Water Stories puts the Norwegian pianist, composer, and novelist in fine and familiar company, sharing the studio with guitarist Terje Rypdal, drummers Jon Christensen and Per Hillestad, and bassist Bjørn Kjellemyr. Though billed as a jazz album, Water Stories is folk music for the ocean floor. Bjørnstad swishes through his motives with the surrender of a sliver of driftwood on the waves, bowing to his band mates in unobtrusive postures. With the first stirrings of “Glacial Reconstruction,” he thus sets a career-defining formula. Christensen’s unmistakable cymbals brighten in the album’s opener as if from the dark phase of a solar eclipse, stirring where only there was stillness and awe. Christensen again sets the mood in “Levels And Degrees,” now with toms, moving from the sparkle of wave-tips to rumblings from the deep as Bjørnstad and Rypdal paint swaths of marine life in dripping color. From this hails the piano ostinato of “Surface Movements” amid glints and plunks of bass.

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This bubbling evocation of the album’s namesake is a softly beating heart shrouded in time. “The View I” and “The View II” are astonishingly beautiful, featuring some of Rypdal’s tenderest playing on record. Melting the piano’s subtle undertows, it presages the beauties of The Sea, even as it tears a page from the book of the sky with a solo of pastel fire. Worth the album alone. “Between Memory And Presentiment” indeed rests its head on a liminal pillow, dreaming even as its casts its nets back to a childhood marked by Kjellemyr’s thoughtful solo. Bjørnstad cuts the light in “Ten Thousand Years Later,” in which Rypdal springs an electric flower from the bass’s hollow stem. The brief “Waterfall” and “Riverscape” provide the most programmatic moments of the set, crashing and flowing on their respective paths toward eddying afterlife. “Flotation And Surroundings” is another slice of bleeding pictures, leaving only the synergistic “Approaching The Sea” and the aptly titled “History,” thereby ending another defining label session of the nineties. (by ecmreviews.com)

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Personnel:
Ketil Bjørnstad (piano)
Jon Christensen (drums)
Per Hillestad (drums)
Bjørn Kjellemyr (bass)
Terje Rypdal (guitar)

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Tracklist:

Part One: Blue Ice (The Glacier):
01. Glacial Reconstruction 6.56
02. Levels And Degrees 7.16
03. Surface Movements 4.24
04 The View I 5.17
05. Between Memory And Presentiment 4.00

Part Two: Approaching The Sea:
06. Ten Thousand Years Later 7.08
07. Waterfall 2.10
08. Flotation And Surroundings 5.17
09. Riverscape 2.11
10. Approaching The Sea 4.48
11. The View II 4.28
12. History 3.47

All compositions by Ketil BjørnstadCD1
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The Victoria Police Pipe Band – Live In Concert In Ireland (1993)

FrontCover1And now let us here some very old fashioned music:

The Victoria Police Pipe Band is a former Grade One World Pipe Band Championship-winning pipe band based in Melbourne, Australia. The band still operates today, though with reduced numbers and not competitively, after a controversial decision in 2000 to reshape it.
As of today, the Victoria Police Pipe Band is the only Australian band in history to have attained the title of World Pipe Band Champion. It is Australia’s most successful pipe band, having obtained three third-place results at the Worlds in years directly prior to its win in 1998. The band has also released a number of recordings, which are internationally popular.
The band was started in 1936, with generous funding from Mr W.E. McPherson (hence the McPherson tartan), by a small group of full-time police officers. For some fifty years following this, there is little noted in the history of the band and it is assumed that it continued on much in the way it had, filling its ranks with police who performed part-time.
VictorianPolicePipeBand01The Victoria Police Pipe Band in 1936

However, in 1987, the band formally began its pursuit of the Worlds title. It recruited Pipe Major Nat Russell from the Royal Ulster Constabulary of Northern Ireland and received funding from the state government, with which it competed in Grade Two Australian competitions. One year later, the band attained the title of Australian Grade Two Champions and achieved third place in the August World Pipe Band Championships for the same grade. This earned the band’s regrading to Grade One.
Buoyed by its success, Victoria Police Pipe Band spent the next decade dominating Australian competition, claiming six consecutive grade one titles locally whilst continuing to compete internationally. In 1992, 1994 and 1997 the band claimed third places at the Worlds, this time in Grade One.

After some minor adjustments by then Drum Sergeant Harold Gillespie and Pipe Major Nat Russell, the Victoria Police Pipe Band was crowned World Champions at Glasgow in 1998.

In October 2000, the band’s competing days were over as it reformed. It now mostly performs at official functions, as well as for charities and schools. (by wikipedia)

VictorianPolicePipeBand02Victoria Police Concert Band promo photo circa 1989

If you like the sounds of the Bagpipes (like I do !) … than you should don´t miss this album …
What a great sound … liste for example to “Highland Cathedral” or “Belfast Child (with great vocals by D. Jowsey !!!)

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Personnel:

Personnel

Tracklist:
01. Hornpipes: Uphold the Right / Ronda Blair 3.39
02. March, Strathspey, and Reel: Lord Alexander Kennedy / Atholl Cummers / Mrs. MacPherson of Inveran 5.14
03. 6/8 Jigs: Troy’s Wedding / The Hen’s March / Alan MacPherson of Mosspark / Glasgow Police Pipers 4.20
04. Hornpipe, Strathspeys, and Reels: Maxville via Satellite / A.A. Cameron / The Caledonian Society of London / Quick Waltz 4.28
05. 2/4 Marches: Tom Wilson / Clan MacRae Society 4.07
06. Hornpipe, Strathspeys, and Reels: Acoustic Barbarians / J.F. MacKenzie / Smith’s a Gallant Fireman / Christie MacLeod / John Keith Laing / Acoustic Barbarians 3.44
07. Waltz, Reel, and Jig: The Country Girl and the Hungarian Fiddler / Bass Face / The Changeling 2.58
08. Quartet: Hornpipes and Jigs: The Blair Highlanders / Ernie’s Impact / Emma Street Exodus / The Techno Fiend 3,55
09. Hornpipes and Reels: Acid Piper / The Bulgarian Bandit / Adrian’s Obsession  3:04
10. Pipe Solo: The Mad Hornpipe / Annette’s Chatter / Bronni’s Blue Brozzi / Jean’s Fancy 4.02
11. Duet: Going Home 3.05
12. Solo Piper: Highland Cathedral 3.47
13. Solo Piper: Suite: Murray’s Fancy 8.28
14. Belfast Child / Airlie’s Big Day / Belfast Child 6.26
15. Pipe Trio: The Hellbound Train 5.43
16. Medley: Daryl Boyle / Murray’s Fancy / The Dirty Lough / Reverie / Helen Young / Mrs. Donald McPherson / Shovel Tongue / Megalomania 6.27

All songs are Traditionals

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Jeff Beck & The Big Town Playboys – Crazy Legs (1993)

lpfrontcover1Oh yes, the many sides of Jeff Beck:

Crazy Legs is a studio album by Jeff Beck and the Big Town Playboys, released on 29 June 1993. The recording is an album of Gene Vincent songs. The album is considered to be a tribute to Gene Vincent and His Blue Caps, and in particular to Vincent’s early guitarist Cliff Gallup, whom Beck recognized as his biggest influence.

The album peaked at No. 171 on the Billboard 200 chart.

Jeff Beck has made many strange albums, but none were ever quite as strange as this. With the Big Town Playboys offering support, Beck rips through 18 Gene Vincent numbers (not “Be-Bop-a-Lula,” however), paying tribute to Vincent’s guitarist, Cliff Gallup. Beck sounds terrific as he reconstructs Gallup’s parts, but he doesn’t add anything to the originals. Still, Crazy Legs is a fun listen and offers many insights into Beck’s playing, if not Gallup’s. (by Stephen Thomas Erlewine)
Crazy Legs is Jeff Beck’s tribute to the player who inspired him to pick up the guitar, Cliff Gallup of Gene Vincent and the Blue Caps. The fact that this collection of rockabilly tunes is also one of the liveliest albums of Beck’s long career also underscores the fact that the brilliant guitarist is one of rock’s greatest underachievers. Apparently unable to sustain working relationships with players as strong as those in his early groups, Beck has become a top-dollar guitarist for hire who has traded sustained musicality for isolated moments of virtuosity.
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But slumming with the Big Town Playboys, a respected British revival group, Beck is not just flashy window dressing but the lightning rod in a red-hot combo.
Beck has said that his biggest challenge in mastering rockabilly, a style that calls for the guitarist to mix single-note runs with snappy clusters of chords, was learning to play without the volume and distortion that has informed his playing since his mid-’60s tenure with the Yardbirds. That’s what gives Crazy Legs its swing, for instead of dominating the music with sheer sonic muscle, Beck achieves the same end by bouncing his encyclopedic bag of riffs off a rippling rhythm section of drums and stand-up bass. Throughout these 18 well-chosen selections, Beck is equally apt to whip out a propulsive rhythm (“Lotta Lovin'”), a string of arpeggios (“Blues Stay Away From Me”) or a wildly scrambled solo (“Cruisin'”). If guitarists earned degrees, Crazy Legs would be Beck’s thesis toward a doctorate in rockabilly.
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Crazy Legs is unlikely to be more than just another odd patch in Beck’s crazy-quilt career. Rockabilly, after all, has been a retro novelty ever since the early Beatles covered tunes by Carl Perkins. The Playboys are certainly less self-conscious than the Stray Cats, who enjoyed 15 minutes of fame in the 1980s, though you can bet your ducktail that the Playboys wouldn’t be on a major label without Beck on guitar. In that regard, Crazy Legs is oddly akin to Eric Clapton’s Unplugged, for in both cases, celebrated guitar gods respectfully re-create the music that had first stirred their passions. Beck doesn’t add anything new to the rockabilly vocabulary, but he plays this music as well as it’s ever been played. So while Crazy Legs is ultimately redundant, it also rocks like crazy. (by Rolling Stone)
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Personnel:
Jeff Beck (guitar)
Clive Deamer (drums, Background vocals)
Ian Jennings (bass, background vocals)
Mike Sanchez (vocals, piano)
Adrian Utley (guitar)
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Leo Green (saxophone on 12.)
Nick Lunt (saxophone on 12.)
Tony Rivers (piano on 09.)
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Tracklist:
01. Race With The Devil (Vincent/Davis) 2.01
02. Cruisin’ (Vincent/Davis) 2.22
03. Crazy Legs (Woolfe/Reed) 2.04
04. Double Talkin’ Baby (Woolfe/Reed) 2.15
05. Woman Love (Rhodes) 2.36
06. Lotta Lovin’ (Bedwell) 2.05
07. Catman (Vincent/Davis) 2.24
08. Pink Thunderbird (Peek/Davis) 2,31
09. Baby Blue (Jones/Vincent) 2.37
10. You Better Believe (Gallup) 2.10
11. Who Slapped John? (Vincent/Davis) 1.56
12. Say Mama (Earl/Meeks) 2.13
13. Red Blue Jeans And A Pony Tail (Rhodes/Davis) 2.18
14. Five Feet Of Lovin’ (Peddy/Tillis) 2.12
15. B-I-Bickey-Bi-Bo-Bo-Go (Carter/Nalls/Rhodes) 2.13
16. Blues Stay Away From Me (Delmore/Glover/Delmore/Rainey) 2.25
17. Pretty Pretty Baby (Wolfe) 2.27
18. Hold Me, Hug Me, Rock Me  (Vincent/Davis) 2.15

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