Dick Heckstall-Smith, Jack Bruce & John Stevens – This That (1994)

FrontCover1Richard Malden Heckstall-Smith (26 September 1934 – 17 December 2004) was an English jazz and blues saxophonist. He played with some of the most influential English blues rock and jazz fusion bands of the 1960s and 1970s.

Dick Heckstall-Smith was born in the Royal Free Hospital, in Ludlow, Shropshire, England, and was raised in Knighton, Radnorshire, learning to play piano, clarinet and alto saxophone in childhood. He attended a York boarding school but refused a second term there, instead enrolling in Gordonstoun, where his father had accepted a job as headmaster of the local grammar school.

Heckstall-Smith completed his education at Dartington Hall School, before reading agriculture – and co-leading the university jazz band – at Sidney Sussex College, Cambridge, from 1953. Aged 15, he had taken up the soprano sax while at Dartington, captivated by the sound of Sidney Bechet. Then Lester Young and tenor saxophonist bebop jazzman Wardell Gray proved to be major influences for him.

DHS01Heckstall-Smith was an active member of the London jazz scene from the late 1950s (including a six-month stint from December 1957 with the band led by clarinettist Sandy Brown). He joined Blues Incorporated, Alexis Korner’s groundbreaking blues group, in 1962, recording the album R&B from the Marquee. The following year, he was a founding member of that band’s breakaway unit, The Graham Bond Organisation. (The lineup also included two future members of the blues-rock supergroup Cream: bassist Jack Bruce and drummer Ginger Baker.)

In 1967, Heckstall-Smith became a member of guitarist-vocalist John Mayall’s blues rock band, Bluesbreakers. That jazz-skewed edition of the band also included drummer Jon Hiseman, bassist Tony Reeves, and future Rolling Stones guitarist Mick Taylor. They released the album Bare Wires in 1968.


From 1968 to 1971, Heckstall-Smith, Hiseman, and Reeves were members of the pioneering UK jazz-rock band Colosseum. The band afforded Heckstall-Smith an opportunity to showcase his writing and instrumental virtuosity, playing two saxophones simultaneously.

When Colosseum broke up in October 1971, Heckstall-Smith recorded solo albums and fronted and played in several other fusion units, including Manchild, Sweet Pain, Big Chief, Tough Tenors, The Famous Bluesblasters, Mainsqueeze, and DHSS. Collaborating musicians common to many of these outfits included Victor Brox, Keith Tillman and harp player John O’Leary, a founder member of Savoy Brown. In the 1980s in his Electric Dream ensemble Heckstall-Smith also worked with the South African percussionist Julian Bahula. From 1983 to 1986 Heckstall-Smith was a member of 3-Space with John James (guitar), fellow Mainsqueeze member Dave Moore (keys), and Chris Billings (bass), with Paul Harris on keys for one tour. Apart from tenor and soprano sax, Heckstall-Smith also played baritone sax in 3-Space.


Heckstall-Smith participated in a 1990s reunion of the original Colosseum lineup and played in the hard-working Hamburg Blues Band. In 2001 he recorded the all-star project Blues and Beyond, which reunited him with Mayall, Bruce, Taylor, ex-Mayall and Fleetwood Mac guitarist Peter Green.

Heckstall-Smith published his witty memoirs, The Safest Place in the World, in 1984; an expanded version, retitled Blowing the Blues, was published in 2004. He died aged 70 in 2004, as a result of acute liver failure. (wikipedia)


And here is one of his great solo-albums … with a trio line up featuring Jack Bruce and John Stevens.

This is of course a jam album, recorded n one day … and we hear the conversations between saxophone and bass .. what a wonderful idea …

… and if you love or like the sound of Dick Heckstall-Smith or Jack Bruce … then this rare album is a must !

Dick Heckstall-Smith

Listen and enjoy !

Recorded Sunday, 13th June 1993


Jack Bruce (bass, vocals)
Dick Heckstall-Smith (saxophone)
John Stevens (drums, trumpet)
Glen Nightingale (guitar on 01.)


01. Within 9.06
02. This Piece 9.52
03. That Piece 11.09
04. Next Piece 5.42
05. Other Piece 13.38
06. Another Piece 5.39
07. Following Piece 7.41
08. Our Peace 7.32

Music composed by: Dick Heckstall-Smith – Jack Bruce – John Stevens
except 01.: composed by John Stevens




More from Dick Heckstall-Smith:


Sean Talamh – Traditional Irish Music (2002)

FrontCover1Here´s an album from a short lived Iris Folk group called Sean Talamh:

Sean Talamh means literally “the old ground” or “old sod” and carries a wider meaning of “Home” or “Ireland”.

What more appropriate name for a
group whose members originate from each of the four provinces of Ireland!

Each member of the group (formed in 1992) brings with him years of diverse musical experience, having performed with some of the finest exponents of Irish traditional music.

The group disbanded in 1995.

Kieran Fahy01

Here is their first (and I guess) last album:

And we hear not only pretty good Irish folk music but also music from the French musette tradition (“Valse Ronde”) and dance tunes as they are known and popular in Bulgaria and Macedonia.(“Le Loup Des Carpathes”).

Without any doubt … this is real rarity in the history of Irish Folk music … a music that can touch all our hearts.


Kieran Fahy (fiddle, viola)
Noel Harris (guitar, vocals)
Michael Horgan (uilleann pipes, whistle),
Tommy Keenan (C whistle, low whistle)

01. Scholar (Traditional) / Baldy Man (Fahey) 4.16
02. The Humours Of Flinn (O´Leary) 4.16
03. Belfast Mill (Kahn) 4.53
04. Inisheer -Inis Oirthir (Walsh) 4.48
05. Le Loup Des Carpathes (Landreau) 2.22
06. The Road To Glencar (Traditional) 2.14
07. Valse Ronde (Perroton) 4.25
08. The Rambler From Clare (unknown) 5.04
09. Lament For Eoin Rua (Traditional) 4.30
10. Galway Bay / Belgrave Square (Traditional) 3.52
11. The Three Rascals (Traditionl) 4.45



Sean Talamh01

I guess I will fly this year to Dublin…and I will go to some record stores … I´m sure I´ll find more beautiful music from Ireland !

Sheryl Crow – Live USA (1995)

FrontCover1Sheryl Suzanne Crow (born February 11, 1962)[1] is an American musician, singer, songwriter and actress. Her music incorporates elements of pop, rock, country, jazz and blues. She has released ten studio albums, four compilations and two live albums, as well as contributed to several film soundtracks. Her most popular songs include “All I Wanna Do” (1994), “Strong Enough” (1994), “If It Makes You Happy” (1996), “Everyday Is a Winding Road” (1996), “Tomorrow Never Dies” (1997, theme song for the James Bond eponymous film), “My Favorite Mistake” (1998), “Picture” (2002, duet with Kid Rock) and “Soak Up the Sun” (2002).

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Crow has sold more than 50 million albums worldwide and won nine Grammy Awards (out of 32 nominations) from the National Academy of Recording Arts and Sciences. As an actress, Crow has appeared on various television series including 30 Rock, Cop Rock, GCB, Cougar Town, Jon Stewart and Stephen Colbert’s Rally to Restore Sanity and/or Fear, One Tree Hill and NCIS: New Orleans. (wikipedia)

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And here is an early live recording (unknown venue) of Sheryl Crow. Although this album is a bootleg, I was able to buy it in a regular record shop back then … the copyright situation was still a bit confusing.

Enjoy this concert ! I guess the source is a radio broadcast.


Roy Scott Bryan (keyboards, guitar)
Sheryl Crow (vocals, guitar)
Wally Ingram (drums)
Tad Wadhams (bass)
Todd Wolfe (guitar)

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01. Nobody Needs You When You’re Down (Reach Around Jerk) (Bottrell/Schwartz/Crow) 4.18
2 Leaving Las Vegas (Bottrell/Baerwald/Ricketts/Gilbert/Crow) 6.34
03. Strong Enough (Bottrell/MacLeod/Baerwald/Ricketts/Gilbert/Crow) 3.54
04 Run, Baby, Run (Bottrell/Baerwald/Crow) 5.53
05. The Na-Na Song (Bottrell/MacLeod/Baerwald/Ricketts/Gilbert/Crow) 6.52
06. No One Said It Would Be Easy (Bottrell/Schwartz/Gilbert/Crow) 6.39
07. What Can I Do For You (Baerwald/Crow) 6.52
08. Can’t Cry Anymore (Bottrell/Crow) 4.45
09. I Shall Believe (Bottrell/Crow) 5.22



More from Sheryl Crow:

The official website:

Boston – Walk On (1994)

FrontCover1Boston is an American rock band from namesake Boston, Massachusetts, that had its most notable successes during the 1970s and 80s. The band’s core members on their most popular recordings included multi-instrumentalist founder and leader Tom Scholz, who played the majority of instruments on the debut album, and lead vocalist Brad Delp, among a number of other musicians who varied from album to album. Boston’s best-known songs include “More Than a Feeling”, “Peace of Mind”, “Foreplay/Long Time”, “Rock and Roll Band”, “Smokin'”, “Don’t Look Back”, “A Man I’ll Never Be”, and “Amanda”. The band has sold more than 75 million records worldwide, including 31 million albums in the United States, of which 17 million were from its self-titled debut album and seven million were for its second album, Don’t Look Back, making the group one of the world’s best-selling artists. Altogether, the band has released six studio albums over a career spanning over 46 years. Boston was ranked the 63rd best hard rock artist by VH1.


After Delp’s death in 2007, a number of other vocalists have taken the stage; currently the lead singer is Tommy DeCarlo. Other current[when?] members of the band include multi-instrumentalist and singer Beth Cohen, guitarist Gary Pihl, bassist Tracy Ferrie, drummer Jeff Neal and percussionist Curly Smith.


Walk On is the fourth studio album by American hard rock band Boston, released on June 7, 1994 by MCA Records. It is the first album not to feature vocalist Brad Delp, though he did assist in the writing. Vocal duties were handled by Fran Cosmo, making this his first appearance on a Boston album. Delp and Cosmo shared leads during the album’s supporting tour and the album’s follow-up Corporate America.


After the success of their 1986 album Third Stage, the band began planning a follow-up and writing for Walk On, which began in 1988. However, due to the increased friction and disagreements between guitarist/bandleader Tom Scholz and singer Brad Delp, the latter left the band in 1989 to join original Boston guitarist Barry Goudreau in forming a new band, named RTZ. Soon after, Fran Cosmo was hired and introduced as the new lead singer. Delp returned to Boston to assist in the writing, and shared lead vocals on the subsequent Walk On Tour, though he did not sing on the album. Delp and Cosmo also shared leads on Boston’s next album Corporate America.


After its release, Walk On peaked at No. 7 on the Billboard 200 and yielded the hit “I Need Your Love.” It was certified platinum by the RIAA on September 8, 1994.

The final eight pages of the album’s booklet were titled “Walk On — Against Violence and Cruelty”, and dedicated to preventing domestic abuse and animal cruelty, providing contact information of numerous organizations, including the National Coalition Against Domestic Violence and the Humane Society. It was noted that Delp himself was a contributor to these causes. (wikipedia)

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Boston’s long-awaited fourth album, Walk On, which this time took Tom Scholz a full seven years to complete, failed to capture the attention of most AOR fans and became the group’s first record to not spawn a hit single. Perhaps the reason was AOR and classic rock stations began losing their audiences in 1992; more likely, it was because Scholz’s legendary perfectionism didn’t yield the same results it did in the past. Although the production is certainly state of the art and is overflowing with detail, there aren’t any memorable songs or hooks to justify such extravagance. On the surface, the record sounds fine, but there is no substance beneath the layers of gloss. (by Stephen Thomas Erlewine)

Boston 4. Not a bad lp, actually very listenable but the 1st Boston lp without Brad Delp. Replacing Brad would be like replacing Robert Plant in that other group. Besides missing Brad’s vocals, the songs here are not memorable as in the 1st 3 lps but most of the Boston sound is intact. (by Art Moy)

I cannot agree with these reviews. The singer did a really good job and we hear that perfect Boston sound as created by Tom Scholz.

Fran Cosmo (vocals)
Doug Huffman (drums)
Gary Pihl (guitar, clapping)
Tom Scholz (guitar, keyboards, clainet, bass on 01, 02., 08. – 10., drums on 01. + 08., clapping)
David Sikes (bass, background vocals)
Matt Belyea (clapping)
Bob Cedro (guitar, special effects, clapping)
Tommy Funderburk (background vocals)
Sean Olsen (clapping, guitar, flute)


01. I Need Your Love (Scholz/Sampson) 5.34
02. Surrender To Me (Scholz/Sikes/Laquidara) 5.33
Livin’ For You (Scholz) 4.58
04. Walkin’ At Night (instrumental) (Scholz) 2.02
05. Walk On (Scholz/Delp/Sikes) 2.58
06. Get Organ-ized / Get Reorgan-ized (instrumental) (Scholz) 4.28
07. Walk On (Some More) (Scholz/Delp/Sikes) 2.54
08. What’s Your Name (Scholz) 4.28
09. Magdalene (Sikes/Foulke) 5.57
10. We Can Make It (Scholz/Sikes/Cedro) 5.30

Tracks 4, 5, 6 and 7 are all part of one long song (“Walk On Medley”), but were indexed separately on the CD.
On the LP release, “Get Organ-ized” was split across the two sides of the record, with the portion on Side Two named “Get Reorgan-ized”.
“Magdalene” was originally written by the Pennsylvania band Hybrid Ice.




More from Boston:

The official website:

The Connells – Ring (1994)

FrontCover1The Connells are an American band from Raleigh, North Carolina. They play a guitar-oriented, melodic, jangle pop style of rock music with introspective lyrics that reflect the American South. Though mostly dormant, the band continues to play to this day. The band is best known for their song “’74–’75”, which was successful across Europe, topping the charts in Sweden and Norway and becoming a UK Top 20 hit in 1995.

Ring is the fifth studio album by the American alternative rock band The Connells, released in 1993.

The album (and band)’s biggest hit was the single “’74–’75,” which also appeared on the soundtrack of the 1995 film Heavy. In the UK, the album reached #36 on the UK Albums Chart while “’74-’75” peaked at #14 on the UK Singles Chart. In the US, the album reached #199 on the Billboard 200 with the single “Slackjawed” reaching #9 on the Hot Modern Rock Tracks chart.

“The record contains some brilliant pieces of pop songcraft (‘Carry My Picture,’ ‘Eyes on the Ground’) and some bittersweet lyrical ruminations, but slower numbers like ‘’74-’75’ are so sweet they border on cloying.” (Trouser Press)


After scoring a college radio hit with “Stone Cold Yesterday” from 1990’s One Simple Word, the Connells followed up with their strongest effort to date, the radio-ready Ring. While muddy production and underdeveloped songs occasionally plagued their earlier releases, Ring is an album aimed squarely at the mainstream, and is a clear attempt to pick up on fans of R.E.M., alt-country like Uncle Tupelo, and rootsy power pop like Marshall Crenshaw. The album’s first single, a lilting and seemingly unassuming acoustic ballad entitled “’74-’75” became an unexpected smash hit in Europe, topping the pop charts in many countries across the continent. The song was equally indebted to acoustic-based roots rock as it was to Celtic music (as witnessed in the ornate backing vocals) and was one of the band’s most successful concoctions.


Subsequent singles, such as the poppy “Slackjawed” and the nostalgic “New Boy” (which sounds like it was written as musical accompaniment to a James Thurber story) each managed to garner some alternative radio attention as well. The album tracks were equally as strong, especially the tense “Carry My Picture,” a stark portrait of a vindictive relationship. Ring established the Connells as the forerunners in the group of jangle pop bands that had previously lived largely in the shadow of R.E.M. and helped the band become a moderate commercial success. While time has not been kind to the band or this album, the Connells clearly held some influence. In 2000, Fran Healy of the British guitar pop band Travis admitted that his band’s 1999 hit “Writing to Reach You” was written while listening to “’74-’75” on the radio, and was, in effect, a bit of a rip-off. The songs sound unmistakably similar, and it’s enough proof that the Connells deserve much more credit for their contributions to guitar-based pop than they have previously been given. (by Jason Damas)

In other words: A forgotten masterpiece !


David Connell (bass)
Mike Connell (guitar, vocals on 07. + 11., background vocals)
George Huntley (guitar, mandolin, vocals on 04., background vocals)
Doug MacMillan (vocals, guitar)
Steve Potak (keyboards)
Peele Wimberley (drums, percussion)
Tim Harper (keyboards, background vocals)
Caro Giordano (cello)


01. Slackjawed (M.Connell) 4.00
02. Carry My Picture (M.Connell) 3.58
03. ’74–’75 (M.Connell) 4.39
04. Doin’ You (Huntley) 3.33
05. Find Out (MacMillan) 3.31
06. Eyes On The Ground (MacMillan) 3.03
07. Spiral (M.Connell) 3.07
08. Hey You (D.Connell/M.Connell/MacMillan) 3.23
09. New Boy (M.Connell) 4.39
10. Disappointed (M.Connell) 5.04
11. Burden (M.Connell) 4.00
12. Any Day Now (MacMillan) 2.39
13. Running Mary (M.Connell) 4.36
European bonus tracks:
14. Logan Street (M.Connell) 3.39
15. Wonder Why (M.Connell) 3.14
16. Living In The Past (Anderson) 2.43






Canned Heat – Internal Combustion (1994)

FrontCover1.jpgDuring the 1980s the interest in the type of music played by Canned Heat was revived and, despite the past tragedies and permanent instability, the band appeared to be revitalized. In 1985, Trout had left to join John Mayall’s Bluesbreakers, so Vestine was once again back in the band and he brought with him new musical talent from Oregon in James Thornbury (slide guitar and lead vocals) and Skip Jones (Bass). They were dubbed the “Nuts and Berries” band by de la Parra, due to their love of organic food. It was not long before former members Larry Taylor (replacing Jones) and Ronnie Barron returned to round out the group. Versions of this lineup would record the live album, Boogie Up The Country, in Kassel, Germany, in 1987 and also appear on the Blues Festival Live in Bonn ’87 Vol 2 compilation. Barron, just as before did not last long in this lineup, nor did Vestine, who was once again ousted from the band due to pressure from Larry Taylor. Replacing Vestine on lead guitar was Junior Watson; his style emulated Hollywood Fats (who died in late 1986) and was perfectly suited for the band as witnessed by the well-regarded album, Reheated. Unfortunately, the album was released only in Germany in 1988 due to disagreements with the Chameleon Music Group Record label. In 1990, the “Would-Be” lineup of James T, Taylor, Watson and de la Parra also recorded a sequel live album in Australia entitled Burnin’ Live.


The lineup dissolved in the early 1990s as Junior Watson went his own way and Mandel came back into the fold, bringing along Ron Shumake on bass to take some of the load off of Larry Taylor. Mandel, however, left the band after a few tours, so female singer and guitarist Becky Barksdale was brought in for a tour of France, Germany and Hawaii; but lasted no longer. Smokey Hormel was also considered, but only played one gig before friction between de la Parra and Larry Taylor caused Taylor to bitterly go his separate way with Hormel in tow.

The revolving door that was Canned Heat continued as Vestine and Watson made their returns to the lineup as the “Heavy Artillery” band. Several former members including Mandel, Barron and Taylor joined up in de la Parra’s effort for the album, Internal Combustion, which was released in 1994, but saw only limited release due to the returning manager Skip Taylor’s falling out with Red River Records. In 1995, (by wikipedia)


This is an amazing album.
Every track likens back to The Biker Blues era of yesterday. I Used to be bad starts off the rompin’ and rollin’.
I saw this line up at the Winthrop Rhythm and Blues Festival. Great album and great show. If you like Rockin blues, this is a must have. (Todd Elving)


Fito de la Parra (drums, percussion, vocals on 06., 09. + 10.)
Ron Shumake (bass)
James Thornbury (vocals, guitar, harmonica)
Henry “The Sunflower” Vestine (guitar)
Ronnie Barron (piano on 03. + 11.)
Bill Bergman (saxophone on 11.)
Daniel Fornero (trumpet on 11.)
Ira Ingber (guitar on 01., 02., 04., 06. – 10., percussion on 01.)
Stephen Kupka (saxophone on 11.)
Nick Lane (trombone on 11.)
Harvey “The Snake” Mandel (guitar on 01., 02., 04.,06., 07., 09. + 10.)
Carl Sealove (bass on 04.)
Larry “The Mole” Taylor (bass on 01., 02., 07., 09. + 10.)
Ruby Valdez (vocals on 09.)
Junior Watson (guitar on 03.,05., 08. + 11.)
background vocals (on 10.)
Giovanni Arreola – R.J. Rose


01. Nothing At All (Ingber/Tigerman, Sealove) 4.38
02. 24 Hours (Jarrett) 4.11
03. I Used To Be Bad (Barron) 3.26
04. The Heat In Me Is Up (Ingber/Sealove) 5.03
05. Gamblin’ Woman (Hemphill) 3.17
06. Dear Mother Earth (Wallace/Parra) 5.28
07. I Might Be Tempted (Ingber/Tigerman) 4.23
08. (You’ll Have To) Come And Get It (Carter) 3.59
09. Vision Of You (Ingber/Tigerman) 5.22
10. It’s Hot (Boyd) 3.59
11. John Lee Hooker Boogie (Parra) 5.05




Alternate front + back cover

More from CANNED HEAT:


Brandos – The Light Of Day (1994)

FrontCover1.jpgThe Brandos are clearly unique. Their musicianship is superb and their ability to write creative music and lyrics, in my humble opinion, surpasses any group I have heard in the past 10 years. The Brandos started out as a West Coast band called The Allies (noted for a song called “Mrs. Peal” – the album title is “The Allies”and hailed from Washington State (like another superb group: The Ventures). There is also a tie between between these two groups in the sense that there are echos of The Ventures that one can find in the guitar work of their lead guitarist. The Brandos lead guitarist, David Kincaid, when asked by the European version of Rolling Stone what he thought was the best guitar solo in rock and roll he responded with Bob Bogle’s version of “Walk Don’t Run.” Bogle, who has passed away, was one of the founders of The Ventures and can be credited with starting the “surfing sound” of the 1960s.

Kincaid is clearly one of the best guitarists around with the flexibility to play multiple styles. He also plays the banjo and the mandolin superbly. One of the most interesting aspects of Kincaid’s guitar work is his ability to create a fusion between flamenco, classical, hard rock, country, Celtic influences, and folk. In fact Kincaid is recognized nationally for his preservation efforts regarding Irish folk music. Simply put, as a guitarist, this guy is an original. He’s The Brandos’ lead singer, lead guitarist, and a great song writer.

The album itself is excellent and I give it five stars (only because 6 stars was not available). This is an album that has general appeal as well as for musicians and lyricists who are looking some great music. As I noted above, The Brandos have very few peers as far as the contemporary music scene is concerned.


The Brandos got their start in New York City, but found that it was almost impossible to secure a recording contract without artistic and monetary concessions to those who control the contemporary music industry. They have moved their base of operations to Europe where their concerts are sold out.

The CD, as I noted above, is truly an excellent piece of work. Of the tracks on the CD my personal favorite is “Warrior’s Son.” Kincaid’s vocal is superb and the back up harmonies on the refrain are also excellent. If you enjoy this CD I can recommend The Brando’s “Honor Among Thieves” CD. On this CD is “Gettysburg” was, in my opinion, their breakout song. Other superb tunes include “A Matter of Survival,” “Nothing to Fear,” “Hard Luck Runner,” as well as other songs that could easily make the Top 40 if they had the air play on radio stations. The “Over The Border” CD is also a must. The title song (“Over the Border”) is one of the best tunes I’ve heard in years. They also do a superb version of “Guantanamera,” the vocals and guitar work are beautiful. I would also note the vocal harmonies on “The Triangle Fire” are second to none. Unfortunately most radio stations are subordinated to corporate interests and confine their play lists to the “stable of talent” they are currently promoting. Thus most folks have have never heard of The Brandos since there is no percentage for the industry in promoting a group who is not in the corporate fold. The Brandos took the high road and refused to compromise their music. This is why The Brandos CDs are imports and available on the internet rather than Walmart, Target, and other “meta-stores.” Sometimes you will find The Brandos’ CDs at one of the few “Mom and Pop” record stores, but these stores are increasingly rare. (by Roger M. Longo)

The Brandos 4th album “Light Of Day”, is a real treat. Many stylings by this band of New Jersey rockers. Led by David Kincaid he is one of the lost great American rockers, better known in Europe than his homeland (this is such a shame). He and his band in 1994 consisted of Larry Mason drums, Ernie Mendillo bass, and guitar help from James Mastro, Scott Kempner (The Dictators, Del-Lords), Rob Hertweck and Ed Rupprecht.
The album is full of great numbers in, “Turn Away”, “Not A Trace”, the magnificent title track, the mandolin soaked “Patty On The Turnpike/Exit 57”, the band really kicks it in to high gear halfway through, good stuff! The Irish soaked “Warrior’s Son”, with mandolin + penny whistle a real toe tapper. The roots rocking “The Hangin’ Tree”, brings to mind the latter period of the 1880’s. The Brandos rock on “Fight For Love”, Kincaid and the boys doing what they do best, and the album ends with the Stephen Foster tune done a lot by Bruce Springsteen in his shows “Hard Times, Come Again No More”, a great rendition.
The booklet inside is a very entertaining. The Brandos should of been a well known band, but they got swept under the carpet like so many other talented bands. Give this one a try good American rock and roll. (by ScottE)


Dave Kincaid (vocals, guitar, slide-guitar mandolin, tin whistle, banjo)
Scott Kempner (guitar)
Larry Mason (drums, background vocals)
Ernie Mendillo (bass, background vocals)
Don Sternecker (organ)
Seth Farber (piano on 09., 10., accordion on 11.)
Frank Funaro (drums on 01.)
Rob Hertweck (guitar on 06., 08.)
Boris Kinberg (washboard on 05., percussion on 11.)
Freddy Koella (violin on 05.)
James Mastro (guitar on 05.)
Jon Paris (harmonica on 09.)
Ed Rupprecht (guitar on 07., harmonica on 07., 08.)


01. The Light Of Day (Kincaid) 4.19
02. Hard Times (Kincaid) 4.31
03. The Warrior’s Son (Kincaid) 4.55
04. Not A Trace (Kincaid/Funk) 4.21
05. Love Of My Life (Kincaid) 2.26
06. Turn Away (Kincaid) 3.33
07. Paddy On The Turnpike / Exit 57 Traditional/O’Carroll) 4.13
08. The Hangin’ Tree (Kincaid) 4.29
09. Jail Bar Blues (Kincaid) 4.38
10. Fight For Love (Kincaid) 3.46
11. Hard Times, Come Again No More (Foster) 4.27




The Brandos live in 2017

Colosseum – LiveS – The Reunion Concerts 1994 (1995)

frontcover1LiveS The Reunion Concerts 1994 is a live album by English progressive jazz-rock band Colosseum. It includes two tracks from their reunion concert at the Zelt-Musik-Festival in Freiburg, Germany and six tracks from the second reunion concert at the E-Werk in Cologne, Germany.

In 2003 Live Cologne 1994 was released, which contains the rest of the titles played in Reunion Concerts 1994 in Cologne.

In the same year a DVD with the complete Cologne concert was released under the title The Complete Reunion Concert Cologne 1994 (including a 90-minute documentary The Story of Colosseum).


Drummer Jon Hiseman seemingly had low expectations for a Colosseum reunion. The group decided to re-form at keyboardist Dave Greenslade’s 50th birthday party, although Hiseman wasn’t sure the timing was right. He was hopeful his German bookers could maybe put together six shows; they swiftly found 30, with Colosseum going on to play over 100 gigs during 1994-1995. And why not? In their three-year lifespan, the group racked up three U.K. Top 20 albums, while simultaneously blowing the socks off of Germany and much of Europe. And coming back together after two decades was, judging by the music here, a lot like coming home. The Reunion Concert Cologne 1994 took place at the E-Werk in Cologne, and was the band’s second gig together. Filmed for German television, it resulted in the Reunion Concerts 1994 live album which was released the following year.


A video of the gig also hit the shelves, and later a DVD, with this two-disc set completing the package, as the CD features the songs left off the original live album. Those include an exuberant sax-led take on “Those About to Die,” a wild ride through “Skellington,” and a quartet of excellent covers which all featured on the band’s 1971 Colosseum Live album. It was this lineup that let loose that set, and they sound just as good 20-plus years later, with the group eagerly swinging into their legendary “The Valentyne Suite” and other grand numbers from their heyday across the DVD. A splendid show now finally available in its entirety. (by Jo-Ann Greene)

Dick Heckstall-Smith.jpg
Considering the band were only in existence for three years they had enormous impact on the progressive and jazz rock scenes, and to hear them again some twenty-two years after they broke up is quite something (even more remarkable is that they are soon to release a new studio album and are touring again!). The band came from many backgrounds, but brought into the rock arena a strong love and understanding for both the blues and jazz.

Jon Hiseman has long been rated as one of the best jazz drummers around; while there can be few sax players in the world that can stay the pace with Dick Heckstall-Smith. Add to that the guitar skills of Clem Clempson and keyboard playing of Dave Greenslade, with the vocals of Chris Farlowe (surely one of our most under-rated singers) and bassist Mark Clarke and here was the 1971 line-up back in full flow.

dave greenslade

Not really a band made for singles or the radio, this is a band that strived on improvisation and building on each other, and so many years later that is still very evident in their performance. Yes, there are loads of solos and long instrumental passages, but the music just sounds right ? created by people with tremendous skill and mastery of their craft but at the same time not being overindulgent (well, not too much). They know when the time is right to bring the rest of the band back in.

A tremendous gig by a band on top form ? Hiseman says that the years apart have meant that they now play better than ever, he could well be right. (by Kev Rowland)

In other words: It was a night, the legends came out to play !


And I saw Colosseum on their reunion tour through Germany in 1995 … and to be honest … I got tears in my eyes …

After the show I went backstage and could talk a little bit with the musicians and they signed the cover of my CD …


Mark Clarke (bass, background vocals)
Dave “Clem” Clempson (guitar, background vocals)
Chris Farlowe (vocals)
Dave Greenslade (keyboards, background vocals)
Dick Heckstall-Smith (saxophone)
Jon Hiseman (drums, percussion)


01. Those About to Die … (*) (Greenslade/Heckstall-Smith/Hiseman/Reeves)  5.11
02. Elegy (Litherland) 4.24

The Valentyne Suite: (20.41)
03. January’s Search (Greenslade/Hiseman) 5.39
04. February’s Valentyne (Greenslade/Hiseman) 5.16
05. The Grass Is Always Greener (Heckstall-Smith/Hiseman) 9.53

06. Theme For An Imaginary Western (Bruce/Brown) 6.42
07. The Machine Demands Another Sacrifice (Litherland) 2.02
08. Solo Colonia (Hiseman) 12.26
09. Lost Angeles (Greenslade/Heckstall-Smith/Farlowe) 13.29
10. Stormy Monday Blues (*) (Walker) 12.12

* live at Zelt-Musik-Festival, Freiburg, Germany, June 24, 1994.



This entry is dedicated to:

Dick Heckstall Smith: (26 September 1934 – 17 December 2004)

Jon Hiseman: (21 June 1944 – 12 June 2018)



Red Snapper – Reeled & Skinned (1995)

LPFrontCover1Red Snapper are notable for a pioneering and evolving synthesis of acoustic and electronic sounds that has drawn from avant-garde jazz, funk, dub, post-punk, and hip-hop. Guitarist David Ayers, double bassist Ali Friend, and drummer Richard Thair formed the London-based band in 1994, the year they released their first two EPs, both of which featured Beth Orton as the first of several vocal collaborators. After a third EP, it and the preceding releases were licensed to Warp, which compiled them as Reeled & Skinned (1995). Warp remained Red Snapper’s home for the proper albums Prince Blimey (1996), Making Bones (1998), and Our Aim Is to Satisfy Red Snapper (2000), a period during which the group also thrived as a live act and supported Björk and Massive Attack, among several other artists. After the trio devoted time to separate projects, they returned on Lo Recordings with Red Snapper (2003), a collection of previously unreleased and live material, and Redone (also 2003), a remix set. Performances and outside activities resumed during the ensuing years as Red Snapper recorded less frequently, documented on A Pale Blue Dot (Lo, 2008) and Key (V2, 2011).


The group subsequently toured with a reissued print of the ’70s Senegalese road movie Touki Bouki, a film that enabled a deeper exploration of Afrobeat — one of their enduring inspirations — and formed the basis of Hyena (Lo, 2014). (by by Jason Ankeny)
I got this album, after getting Making Bones and Our Aim Is To Satisfy Red Snapper. I love the acid jazz style of Red Snapper, and the fact that they use live bass and drums. But I was expecting bland techno from this, their first album, but I still had to give it a try. I was very pleasently surprised.
One thing that Making Bones was noted for was its acid jazz roots. Many people argued this saying that “Just because they blow a couple of trombones doesn’t make them acid jazz”. While this is true, they obviosuly haven’t heard Reeled And Skinned. This album shows off the time when Red Snapper was a jazz band, not a techno band. All of the songs have DEEP double bass, excellent drumming, and usually some type of brass. This will definatly satisfy many fans who liked the minor jazz elements in Making Bones.
Most of the songs are instrumental, and MC Det had not yet joined the crew. Beth Orton privides vocals on two tracks.


The song “In Deep” displays her talent as a singer/songwriter, showing off her strong and deep voice; it almost sounds like a song off of a James Bond movie. I would have loved some raps from MC Det to help fight off the usual repetitiveness of some instrumentals, but those instances are very rare. The songs remain fresh, throwing in new rhythms and instruments at every turn.
Fans of Making Bones will immeadiatly recongnize the tune from The Sleepless as “Snapper” – but the song has been majorly changed. MC Det obviously does not appear, but Beth Orton does show up with some background vocals. There is some excellent layed back horn playing on this track.
Every single track is excellent, and it would take too long to go into detail about each one. Lobster is a great way to finish the album, which is a long and beautiful track featuring flutes, horns, and wonderful bass. It is a great way to finish the album.
This first cut by Red Snapper demonstrates their ability as a true acid jazz group. This was before they really discovered what electronic music was, and just about everything is a live instrument. If you need to convince someone that Red Snapper is truly acid jazz, play this album for them. Making Bones is merely a transfusion of electronic music and this style of music.
I can’t reccommend this one enough. (by Robby Raeford)



David Ayers (guitar)
Ali Friend (bass)
Allan Riding (saxophone, flute, melodica)
Richard Thair (drums)
Beth Orton (vocals on 01. + 07.)


01. Snapper 4.48
02. One Legged Low Frequency Guy 5.31
03. Swank 6.16
04. Hot Flush 4.10
05. Cortina 5.08
06. Hot Flush (Sabres Of Paradise Remix) 8.05
07. In Deep 9.28
08. Wesley Don’t Surf 5.00
09. Lobster 10.37

Music composed by David Ayers – Ali Friend – Allan Riding – Richard Thair
except 07. which was co-written by Beth Orton



Wobble Jaggle Jiggle – Overflowing Bowl Of Green Jelly (1994)

FrontCover1.jpgWobble Jaggle Jiggle were a psychedelic rock band active in Brighton/UK during the 1990s.

The group were formed in 1989 by Robert ‘Wobbly Bob’ Chambers (guitar, bass, vocals), Ivor Vasquez (drums) and Ben ‘The Bass’ Jackson (bass, vocals), with Caroline Davey (vocals, keyboards, harmonica) joining in 1991. They recorded and produced a series of home-made cassette albums which they sold locally, and made their first vinyl appearance when they contributed the professionally recorded song “Thoughts of the Sky” to the 1992 Delerium Records compilation “Fun With Mushrooms”. Jackson then left, from which point Chambers played bass in their recordings while other bassists played live with the band, including Niall Hone (from Mandragora, 1993) and Dan Chapman (1994-95). Their third cassette, “Overflowing Bowl Of Green Jelly”, received a limited vinyl reissue on the Magic Gnome label in 1994, and the 1999 September Gurls label LP/CD “It Came From Nowhere” brought together archive tracks from a number of different line-ups. Vasquez left the band in 1996, replaced by ‘Trippy Fish’, and Davey left in 1997 before Chambers ended the group around 2000.

Wobble Jaggle Jiggle01The style and image of Wobble Jaggle Jiggle was based heavily on 1960s psychedelia and heavy drug references. The band’s name was taken from Chambers’ description of a drug experience, and many of his lyrics alluded to counter-culture lifestyle of “getting stoned and wearing groovy clothes”. Chambers was also a prolific artist and created all of the band’s album artwork and additional comic strip bonus material. Caroline Davey’s vocals were frequently compared to Grace Slick. Chambers’ guitar playing was influenced by the likes of Jimi Hendrix and Syd Barrett, and the band were part of the late-1980s/early 1990s British acid rock revival alongside bands like Spacemen 3, Sun Dial and The Bevis Frond. The rarity of their deliberately lo-fi cassette tape releases meant that it was only with the advent of the internet that their albums reached a wider audience and developed a cult following after the group had already split.

Caroline Davey also sang with the bands Cherokee Mist and Mandragora and continues to perform as a solo artist.

In September 2003 Wobbly Bob (guitar, vocals) formed the group ‘Daddy Fantastic’, named after a Wobble Jaggle Jiggle song which was in turn named after one of his caroline Pavilion theatr 1995cartoon character creations. He was joined by ‘The Baron’ (bass, vocals) and ‘Nimbus’ (drums, also of Crawlspace). In August 2004 they added Pete ‘The Daddy’ Bennett (vocals) and developed a live show involving performance artists. In 2006 Bennett entered and won the ‘Big Brother’ reality TV show, and left the band to launch a solo career. The original members continued to perform until Rob Chambers died in December 2008, aged 41. (by wikipedia)

WOBBLE JAGGLE JIGGLE is a psychedelic band from Brighton which get’s it’s inspiration both from the present and the past.The two big highlights of this band are the strong and sensuous voice of singer Caroline Davey (the grace of GRACE SLICK, combined with the power of JANIS JOPLIN) and the fabulous guitarplay of Robert Chambers, which shows obvious influences of legends like JIMI HENDRIX and SYD BARRETT. Since 1990, Have existed in Brighton, playing gigs around the south of England and parts of Belgium.

Where once there was Wobble Jaggle Jiggle, there now is only..DADDY


Caroline Davey (vocals, harmonica)
Robert Chambers (guitar, bass, vocals, kazoo)
Ivor Vazquez (drums, percussion)


The MC edition


01. Flame Of Life 7.55
02 Toke & Joke Club 2.03
03. Wasting My Time 5.19
04. Cosmic Ride 4.58
05. Force Of Feedback 4.30
06. My Room 4.11
07. Dark Stroll 9.33
08. Travelling By Armchair 1.39
09. Smoking My Reefer 6.08
10. Goodnight 3.21

All songs written by Caroline Davey – Robert Chambers – Ivor Vazquez