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




Traffic – Far From Home Tour (Giants Stadium – East Rutherford, NJ) (1994)

FrontCover1.jpgThe album “When the Eagle Flies,” released in 1974, was yet another Top Ten album in the USA, and moderately successful in the UK. However, a subsequent tour of the USA, while successful in terms of ticket sales,[9] was emotionally exhausting for the band. Capaldi later recalled “Rosko Gee and I were the only ones in anything like normal shape. Steve was having recurrent problems with the peritonitis, and Chris’s body was suffering from chemical warfare.”[10] Winwood ultimately passed his boiling point, walking off the stage in the middle of what would prove the band’s final show, in Chicago. The following day he left the tour without a word to anyone, leaving the rest of the band waiting for him at the venue for that night’s scheduled performance.[10] Feeling Winwood had been integral to Traffic’s music, the remaining members opted not to continue the band without him.

Traffic’s break-up was followed by two compilations from United Artists (Heavy Traffic and More Heavy Traffic), both of which only drew from the first half of their output.

Steve Winwood embarked on a solo career, while Rosko Gee and Rebop Kwaku Baah joined German band Can. Kwaku Baah died in 1983, and Capaldi dedicated his solo album Fierce Heart to his memory. Chris Wood also died that year from pneumonia.
Winwood and Capaldi, 1994


All the still living members of Traffic’s most recent lineup reunited in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir’s (of the Grateful Dead) hotel in Chicago during the 1992 “Scaring the Children” tour, and suggested it would be cool if Traffic toured with the (then Grateful) Dead. Traffic opened for the Grateful Dead during their summer tour. The flute/sax role on the tour was played by Randall Bramblett, who had worked extensively with Steve Winwood. Mike McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes, Jr. played drums and percussion. Winwood and Capaldi recorded and released a new Traffic album, Far from Home, with no involvement from the other four members. It broke the top 40 in both the UK and USA. The Last Great Traffic Jam, a double live album and DVD released in 2005, documents the band’s 1994 reunion tour. (by wikipedia)

And here´s a souboard recording from theier 1994 tour … it must bei a real great tour !

Listen and enjoy !


Randall Bramblett (flute, saxophone, keyboards)
Jim Capaldi (drums, percussion, vocals)
Rosco Gee (bass)
Michael McEvoy (keyboards, guitar)
Walfredo Reyes, Jr. (percussion, drums)
Steve Winwood (vocals, guitar, keyboards)
Jerry Garcia (guitar on 11.)


01. Riding High (Winwood/Capaldi) 6.24
02. Some Kinda Woman (Winwood/Capaldi) 5.22
03. Medicated Goo (Miller/Winwood) 5.31
04. Mozambique (Winwood/Capaldi) 6.55
05. Rock And Roll Stew (Capaldi) 7.09
06. Rainmaker (Winwood/Capaldi) 7.59
07. Empty Pages (Winwood/Capaldi) 4.24
08. Low Spark Of High Heeled Boys (Winwood/Capaldi) 13.43
09. Light Up Or Leave Me Alone (Winwood/Capaldi) 13.19
10. John Barleycorn (Traditional) 7.54
11. Dear Mr. Fantasy (Winwood/Capaldi/Wood) 8.03



George Thorogood & The Destroyers – Live: Let’s Work Together (1995)

FrontCover1.jpgLive: Let’s Work Together is the second live album by George Thorogood & the Destroyers.

It was recorded on December 2–3, 1994 at Mississippi Nights in St. Louis, Missouri and December 5, 1994 at Center Stage in Atlanta, and released in 1995 on the EMI Records label.

The album featured guest appearances by musicians Elvin Bishop and Johnnie Johnson. (by wikipedia)

George Thorogood and his Delaware Destroyers have been raisin’ rock ‘n’ roll Shenanigans now for over thirty years. Coming out of Detroit in 1974, they got to release their first self-titled studio album in 1977. However, it was not until another nine years of roadwork, and several studio albums later, that the band hit pay-dirt with their first live album, simply titled `Live’ in 1986. It made the live Destroyer experience available to the world. And after all is said and done, it is not surprising that this is where the band finally clicked on album. George Thorogood and the Destroyers have always been a live beast, bursting into life when they hit the boards in front of a frenzied audience, but wilting slightly when cooped up in a recording studio.

In the Destroyers career so far there have been three live albums, the original from 1977, then lately there was Live in 1999, but it’s this middle one from 1995 that I picked as the best of a good bunch. The simple reason is that the performance is explosive, well recorded, chock-a-block full of Thorogood classics, the odd surprise here and there, and, like any good live recording, it is topped and tailed by a good solid slab of Mr. Chuck Berry.
The ever dependable Destroyers, stripped down to a basic four piece which this dog prefers (I’d rather have four musicians working hard than a nine piece being able to take it easy), put out a good solid sound. Apart from the amazing George out front on lead guitar and vocals, you have the exuberant Hank Carter on saxophone, who also contributes a touch of keyboards when the feeling takes. These two are backed by one of the most solid rhythm sections in history – Bill Blough on bass and Jeff Simon on drums. Over the years these two have welded together a mighty partnership.
For the first eleven songs the boys crank up their audience with a set full of Thorogood destroyers, working the fifth member of the band, the audience, to frenzy. Particularly on the tribute to John Lennon with their version of Larry Williams’ ‘Bad Boy’, which the Beatles would of first started playing in their days in Hamburg nightclubs back in the early sixties. But when George introduces Elvin (Bad Boy) Bishop to the crowd to join the band for some slide guitar on `Let’s Work Together’, the audience can barely contain themselves with excitement.


To top that, out from the wings for the final two songs comes Mr. Piano of Rock ‘n’ Roll/Blues/Boogie, Mr. Johnny Johnson. In his past Johnson has been chief sideman to all the greats including Chuck Berry, Buddy Guy, etc., and if you have never heard barrel house, honky-tonk piano, lend an ear to the last two tracks on this album. The first of the two is a storming version of ‘St. Louis Blues’, then we are led away by the rock ‘n’ roll national anthem ‘Johnny B. Goode’. By this time the excitement contained in the grooves of your CD can barely be controlled as your CD player hangs onto the disc by the skin of its teeth. The band members shoulder each other out of the way to take turns at soloing. Finally George breaks back in to take control and brings the song to a shattering climax.
All in all a very satisfying live recording of a band at the top of their game. Not many people know that when George sings…
“Why don’t you get a haircut and get a real job,
Just like your big brother Bob”
…he is of course singing about his soul brother `The Prince of Darkness’, Bob Finch of Tahitian Queen fame. Well, now you know.
Rocked by Mott the Dog
Rolled by Ella Crew (by Kim Fletcheron)

That´s what I call high energy Rock N Roll …


Bill Blough (bass)
Hank Carter (saxophone, keyboards, background vocals)
Jeff Simon (drums)
George Thorogood (guitar, slide-guitar, vocals)
Elvin Bishop (slide-guitar on 12.)
Johnnie Johnson (piano on 13. – 14.)

01. No Particular Place To Go (Berry) 5.14
02. Ride On Josephine (McDaniel) 6.57
03. Bad Boy (Williams) 4.51
04. Cocaine Blues (Amall) 3.34
05. If You Don’t Start Drinkin’ (I’m Gonna Leave) (Thorogood) 4.28
06. I’m Ready (Dixon) 5.12
07. I’ll Change My Style (Parker/Villa) 4.40
08. Get A Haircut (Avery/Birch) 5.42
09. Gear Jammer (Thorogood) 6.11
10. Move It On Over (Williams) 6.08
11. You Talk Too Much (Thorogood) 6.17
12. Let’s Work Together (Harrison) 6.47
13. St. Louis Blues (Handy) 7.03
14. Johnny B. Goode (Berry) 5.55



Rick Braun – Christmas Present, Music of Warmth & Celebration (1994)

FrontCover1.jpgRick Braun (born July 6, 1955, in (Allentown, Pennsylvania) is a smooth jazz trumpeter, multi-instrumentalist, and record producer.

Braun’s mother was a self-taught pianist and banjoist. Braun played drums in high school, then followed his brother in playing the trumpet. In the 1970s, he attended the Eastman School of Music, and while a student there became a member of a jazz-fusion band, Auracle. The band worked with producer Teo Macero, and Braun co-produced the second album.

During the 1980s, he entered the pop music world. He released an album in Japan as a singer, then worked as a songwriter for Lorimar (Warner Chappell). He wrote the song “Here with Me” with REO Speedwagon, and it became a top twenty hit. When he returned to the trumpet, he worked as a studio musician and touring member with Crowded House, Natalie Cole, Glenn Frey, Tom Petty, Sade, Rod Stewart, Tina Turner, and War.

He released his debut solo album, Intimate Secrets (Mesa, 1992), followed by Night Walk and Christmas Present. His popularity increased enough by 1995, when he released Beat Street, that he was persuaded to pursue a solo career.

Rick Braun

He has cited as influences Miles Davis, Lee Morgan, Chet Baker, Clark Terry, Dizzy Gillespie and Herb Alpert, with the last one inspiring his album All It Takes including a song called “Tijuana Dance” (a play on Alpert’s band Tijuana Brass). One of his influences was Freddie Hubbard, and Braun composed a song, “Freddie Was Here” in 2008, which he recorded on his album, All it Takes, in tribute to Hubbard, who died that year.

He achieved several top chartings including Kisses in the Rain (as high as number 1), R n R (as high as number 1), All It Takes (as high as number 2), and Can You Feel It (as high as number 1) along with charting at the Traditional Jazz Albums for the first time in 2011 with Sings with Strings (as high as number 9).

Braun performs in the band BWB, with saxophonist Kirk Whalum and guitarist Norman Brown.

In 2005, he and saxophonist Richard Elliot co-founded ARTizen Music Group (now known as Artistry Music) and once had Rykodisc as a distributor.

Braun won Gavin Report’s Artist of the Year twice. (by wikipedia)

Rick Braun2

Christmas Present — Music of Warmth and Celebration is a pleasant, laidback collection of smooth jazz that’s ideal background music for holiday parties. Braun runs through a number of classic Christmas carols (“The Christmas Present,” “Do You Hear What I Hear?”) and several original pieces that often evoke the spirit of the season, making it a nice Christmas record for fans of smooth jazz and fusion. (by Stephen Thomas Erlewine)


Rick Braun (trumpet, piano, flugelhorn)
Russ Braun (trombone)
Curtis Brengle (piano)
Kevin Brown (trumpet)
Jack Daro (bass)
Vinny D’Onofrio (guitar)
Brad Dutz (drums, percussion)
Bob Feldman (bass)
John Grab (trombone, vello)
Cliff Hugo (bass)
Dave Karasony (drums)
Nick Lane (trombone)
Suzette Moriarty (french horn)
Ed Smith (cymbals)
Doug Tornquist (tuba)
Ned Treuenfels (french horn)
Woodland Hills Elves Guild Choir:
Angela Surfield – Darryl Phinnessee – Rick Braun


01. The Little Drummer Boy (Simeone/Davis/Onorati) 4.00
02. Bell, Book, And Candle (Braun/Lane) 3.36
03. Christmas In Gorgonia (Braun/Traditional) 2.59
04. The Christmas Song (Wells/Tormé) 4.38
05. Jingle Blues (Pierpont) 4.03
06. Far Away (Braun/Reilly) 3.25
07. Christmas Present (Braun/Lane)
08. O Tannenbaum (Traditional) 3.43
09. It’s Christmas (Traditional) 4.09
10. The Christmas Clock (Braun) 3.13
11. Do You Hear What I Hear? () 4.22
12. Newborn Christmas (Feldman/Smith) 3.35
13. Maybe Next Year (Braun/Brengle) 4.43
14. Grandma’s Music Box (Braun) 2.45



Andrzej Jagodzinski Trio – Christmas (1994)

FrontCover1This trio has won acclaim all over the world and is now celebrating 20 years of their music-making.
The first Andrzej Jagodzinski album of jazzed-up Chopin, recorded in December 1993, was an event showered with awards. Another record “Live at the National Philharmonic” was created in 1995, followed by “Chopin Once More” in 1999. In 2008 the Trio recorded “Chopin – Jagodzinski – Sonata in B flat minor” celebrating the 15th anniversary of its creation by presenting a jazz vision of this great composition. The year 2010 witnessed a 2-CD album “Chopin – Les Brillantes”, which incorporated the band’s previous experience with Chopin’s music. It was also a tribute to the master on the 200th anniversary of his birth. All the CDs quickly attained the status of Golden Disc. (by

“One of Poland’s leading jazz pianists interprets the music of the country’s greatest composer. (…) One of the best examples of classical jazz since Art Tatum tackled Massenet.” (Music and Media)

Jagodzinski’s organically swinging and highly interactive trio continued to explore jazz interpretations of one of the most acclaimed polish jazz pianists: Andrzej Jagodziski and his trio. Here The Andrzej Jagodzinski Trio performs traditional Polish Christmas carols, with the exception of “Cicha Noc (Silent Night)”, which is of course one of the most popular christmas songs of all time.

I guess, I will hear this wonderful album tomorrow night again … together with my wife, at the end of our christmas eve … before we´ll go to bed …

Andrzej Jagodzinski Trio1

Czesław ‘Mały’ Bartkowski (drums)
Adam Cegielski (bass)
Andrzej Jagodziński (piano)


01. Cicha Noc (Silent Night) 5.55
02 Z Narodzenia Pana (With Lord’s Birth) 4.00
03 Gdy Się Chrystus Rodzi (When The Christ Is Borning) 4.40
04 Mizerna Cicha (Wan, silent, stable earth) 5.25
05 Mędrcy Świata (The Sages of The World, Monarchs) 6.15
06 Pójdźmy Wszyscy Do Stajenki (Let Us All Go To Tthe Little Barn) 4.05
07 Jezus Malusieńki (Little Baby Jesus) 4.20
08 Gdy Śliczna Panna (When Beautiful Miss Rocked Son) 6.00
09 Lulajże Jezuniu (Hush little Jesus) 3.45



Andrzej Jagodzinski Trio2