Afro Blue Band – Impressions (1995)

FrontCover1.jpgThe Afro Blue Band is actually a series of bands drawn from a pool of 15 musicians under the overall direction of saxophonist/Miami nightclub owner Arthur Barron, who has pulled a series of mostly hot Latin jazz performances out of the mix. Barron appears on most of the tracks, his workaday tenor and alto sharing the spotlight with the more coherent, impassioned work of Mario Rivera on soprano, tenor, flute, and cornet, Dave Liebman’s soprano, Melton Mustafa’s trumpet, Papo Vasquez’s trombone, and Mel Martin’s assortment of wind instruments. The only consistent anchors of these bands are Phoenix Rivera (Mario’s son) on drums and Steve Neil on bass, who cook throughout the frequent personnel changes. The pianist is usually Hilton Ruiz, spelled on a few tracks by Mark Levine — and the tough conga work is often in the hands of Jerry Gonzales. With a boiling clutter of Gonzales’ Afro-Cuban percussion work, the collection starts off on the right foot with a great rendition of the title track; it sounds a bit like what Coltrane might have done with the tune had he included it on his “Kulu Se Mama” session. The band’s inspiration, “Afro Blue,” is also very hot, with Mario reaching toward the edge at the close. Overall, the revolving personnel is this album’s strength; the frequent changes of texture and style keeps things fresh and unpredictable. (by by Richard S. Ginell)

Arthur Barron

Quick and to the Point: Free range testosterone jazz high….

When it was released, much was expected from this album given the talent on the recording. Such prospects were understandably imposed on Impressions. Heavy expectations come with talent and fame. Surely, every fan can come up with examples of jazz notables who failed to deliver according to expectations. This compact disc did not fulfill its potential according to such forecasts. Can we dare, however, let it speak for itself? I believe we must listen.

“Impressions” comes forth as the opener with the most extensive expression in the date. Abstractions eased in free-flowness sail forth, dancing on the elastic guaguancó rhythmic bedrock with abandon. Swing comes over after the initial third of the tune to allow Hilton Ruiz to take off running, although his final effects might had outrun their usefulness. A vocal and violin bridge during the midst of the performance, featuring Nicole Yarling, proves to be the highlight. First impression seems fine: get into the closing groove and get a groove on…

Dave Liebman

Lovely sadness eases one into “Lonnie’s Lament.” Yarling sings fine and Mel Martin’s alto conveys the feeling and purpose of the moment at hand. Mark Levine’s piano touches drive the point home with great taste and timing, particularly when things begin swinging.

Mongo Santamaría’s classic “Afro Blue” appears yet again. A worthy rendition of this venerable tune enhances any recording or performance. This one is a contribution to the ongoing legacy of its reinterpretation. The mazacote seems fine to me. Mellow-free-relaxed-yellow saxophones overlay the percussive bottom heat.

Ruiz’s opening chord developments in “Tonesville” tip his hat to Eddie Palmieri a couple of times, opening and freeing the tune for the saxophone’s eventual take over. This is driven stuff as Barron and Dave Liebman trade around on tenor and soprano; Phoenix Rivera asserts himself with force on the drums; and Ruiz fingers scales at will. Let freedom rule until the restful release in the end…

More familiar, mainstreamed and restrained within better-known Hispanic musical tendencies is what we get in “Latin Jazzdance.” All three saxophonists trade their heated, abstract and screeching notes, with a piano transition from Ruiz delivering a beautiful flute-sweetened riff as background.

Jerry González

In Impressions, Horace Silver’s “Señor Blues” is a percussive piece in 6/8 with a scattered original sonic imprint. Perhaps Silver could asses its market capitalization value better than me, but I give it a hold rating. Trombonist “Papo” Vásquez appears briefly, although effectively, and the ensuing grooves are fine indeed. Ruiz’s piano playing had its best moment in the date at the hands of “Señor Blues.” Jerry González is the lead of the developmental flow of this reinterpretation.

The trio rendition of Ruiz’s “For Pearl,” featuring Mark Levine’s sense of significant economy in his piano playing, proves to be a delightful passage. Flashes and splashes from the percussive end enhance the aqueous delivery of the alto flute and bass clarinet. Imagine yourself fishing for pearls…

“The Phantom,” featuring Melton Mustafa in trumpet closes with mainstreamed musical market corrections dedicated to Joe Henderson. The language spoken here is clearly understood in all jazz dialects, modes and traditions. Soloists are warm, free, intelligent, ego-free and just fine, come on Mustafa baby, come on… Ruiz closes strong. (by Javier Aq Ortiz)

This is a real exciting album …

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Personnel:
Arthur Barron (saxophone, flute)
Steve Berrios (percussion)
Lionel Cole (synthesizer)
Glenn Cronkhite (percussion)
Jerry González (flugelhorn, percussion)
Mark Levine (piano)
David Liebman (saxophone)
Mel Martin (clarinet, flute, saxophone)
Melton Mustafa (trumpet)
Steve Neil (bass)
Mario Rivera (cornet, flute, saxophone, timbales)
Phoenix Rivera (drums)
Hilton Ruiz (piano)
Angel Papo Vasquez (trombone)
Nicole Yarling (violin, vocals)

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Tracklist:
01. Impressions (Coltrane) 10.10
02. Lonnie’s Lament (Coltrane) 5.35
03. Afro Blue (Santamaria) 9.28
04. Tonesville (Barron) 6.52
05. Latin Jazzdance (Barron/Ruiz) 6.14
06. Señor Blues (Silver) 6.10
07. For Pearl (Ruiz) 5.44
08. The Phantom (Barron) 4.49

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Joanna Connor – Rock And Roll Gypsy (1995)

FrontCover1.jpgWhat sets Joanna Connor apart from the rest of the pack of guitar-playing female blues singers is her skill on the instrument. Even though Connor has become an accomplished singer over time, her first love was guitar playing, and it shows in her live shows and on her recordings.

Brooklyn-born, Massachusetts-raised Joanna Connor was drawn to the Chicago blues scene like a bee to a half-full soda can. Connor, a fiery guitarist raised in the 1970s — when rock & roll was all over the mass media — just wanted to play blues. She was born August 31, 1962, in Brooklyn, N.Y., and raised by her mother in Worcester, MA. She benefitted from her mother’s huge collection of blues and jazz recordings, and a young Connor was taken to see people like Taj Mahal, Bonnie Raitt, Ry Cooder and Buddy Guy in concert.

Connor got her first guitar at age seven. When she was 16, she began singing in Worcester-area bands, and when she was 22, she moved to Chicago. Soon after her arrival in 1984, she began sitting in with Chicago regulars like James Cotton, Junior Wells, Buddy Guy and A.C. Reed. She hooked up with Johnny Littlejohn’s group for a short time before being asked by Dion Payton to join his 43rd Street Blues Band. She performed with Payton at the 1987 Chicago Blues Festival. Later that year, she was ready to put her own band together.

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Her 1989 debut for the Blind Pig label, Believe It!, got her out of Chicago clubs and into clubs and festivals around the U.S., Canada and Europe. Her other albums include 1992’s Fight for Blind Pig (the title track a Luther Allison tune), Living on the Road (1993) and Rock and Roll Gypsy (1995), the latter two for the Ruf Records label. Slidetime on Blind Pig followed in 1998 and Nothing But the Blues, a live recording of a 1999 show in Germany, appeared on the German Inakustik label in 2001. Connor left Blind Pig and signed to small indie label M.C. in 2002. Her first release for her new label, The Joanna Connor Band, finds Connor expanding her sound a bit in an attempt to reach a more mainstream audience.

Connor has blossomed into a gifted blues songwriter. Her songwriting talents, strongly influenced by greats like Luther Allison, will insure that she stays in the blues spotlight for years to come. (by Richard Skelly)

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And here´s her second album for the German label Ruf Records and it´s a down to earth album, raw, old time blues with some fine Gospel and soul elements. Good for the soul and mind.

This album included a fine version of “Fire” by Jimi Hendrix and a guest appearance of Luther Allison.

And we can hear this superb slide-guitar by one of the finest Blues ladies from the last decades.

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Personnel:
Joanna Connor (guitar, slide-guitar, vocals)
Stan Mixon (bass)
Larry Ortega (drums, percussion)
Tony Palmer (guitar)
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Luther Allison (guitar, vocals on 04.)
Johann Janssen (pedal steel-guitar)
Buzz Killman (harmonica)
Frank Niedlander (saxophone)
Roel Spanjers (keyboards)
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background vocals:
Andrea Variames – Bertram Brown – William Brown

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Tracklist:
01. Never Been Rocked Enough (McClinton/Seals) 3.27
02. Rock & Roll Gypsy (Connor) 4.04
03. Howlin’ (Traditional) 3.55
04. Slipping Away (Allison) 5.26
05. Rain On My Window (Walker) 4.53
06. Think About Me (Seay/Derek) 5.13
07. Driving Wheel (Sykes) 3.47
08. You’re So Fine (Connor/Rogers) 5.08
09. Fire (Hendrix) 2.52
10. You’re Going With Me (Pomus) 5.04
11. Child Of Two Worlds (Connor) 3.29

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Emmylou Harris & The Daniel Lanois Band – Live At The Shepherds Bush Empire, London (1995)

FrontCover1.jpgIn 1995, Emmylou Harris released one of the most critically acclaimed albums of the decade, Wrecking Ball, produced by Daniel Lanois, best known for his work with U2, Peter Gabriel and Bob Dylan. An experimental album for Harris, the record included Harris’s rendition of the Neil Young–penned title track (Young himself provided guest vocals on two of the album’s songs), Steve Earle’s “Goodbye”, Julie Miller’s “All My Tears”, Jimi Hendrix’s “May This Be Love”, Anna McGarrigle’s “Goin’ Back to Harlan” and Gillian Welch’s “Orphan Girl”. U2’s Larry Mullen, Jr, played drums for the project. The album received virtually no country airplay, but it brought Harris to the attention of alternative rock listeners, many of whom had never listened to her music before. (wikipedia)

And to promote his album Emmylou did together with The Daniel Lanois Band this wonderful show in London.

Emmylou Harris contributions to country-rock, the bluegrass revival, folk music, and the Americana movement are widely lauded.

I am always pleased that I got to read a review of ‘Elite Hotel’ her second solo album, back in 1976 when it was first released.

Not only did I love the album, it helped me discover the country rock genre of that time, and set high standards, that helped me avoid the more ‘cheesy’ country artists. She remains a firm favorite of mine. (beehivecandy.com)

Recorded live at the Shepherds Bush Empire, London, UK; November 23, 1995.
Very good BBC Radio 2 Stereo FM.
Captured, Transferred & Artwork by JTT, December 2006

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Personnel:
Brady Blade (drums, percussion, background vocals)
Emmylou Harris (vocals, guitar)
Daryl Johnson (bass, bass pedals, djembe, percussion, background vocals)
Daniel Lanois (guitar, vocals, mando-guitar)

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Tracklist:
01. May This Be Love (Hendrix) 4.44
02. Where Will I Be (Lanois) 4.40
03. Pancho And Lefty (van Zandt) 4.56
04. Orphan Girl (Welch) 3:22
05. Goodbye (Earle) 4.57
06. Goin’ Back To Harlan (McGarrigle) 5.16
07. Prayer in Open D (Harris) 4.28
08. One Of These Days (Montgomery) 3.03
09. Every Grain Of Sand (Dylan) 4.03
10. Sweet Old World (Williams) 4.08
11. Indian Red (Landry) 6.31
12. Makin’ Believe (Work) 4.10
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13. Wrecking Ball (Young) 4.50
14. Deeper Well (Olney/Olney/Lanois/Harris/Harris) 6.55
15. Blackhawk (Olney/Lanois/Harris) 4.54
16. Wheels (Hillman/Parsons) 3.22

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Ziryab Trio – Oriental Art Music (1996)

FrontCover1This is a very special project:

Named after a ninth century singer, musician and composer in Haroun Al-Rashid’s court in Baghdad, the Ziryab Trio has continued to explore the Arabic and Turkish music of the 19th and 20th centuries. Performing on oud, violin, and percussion, the group has resurrected the compositions of such influential songwriters as Riad Al-Sunbati, Tanburi Jemil Bey, and Muhammed Al-Qasabji. The Ziryab Trio represents the joint efforts of musicians from the multi-ethnic instrumental ensemble Bustan Abraham, Taiseer Elias, Nassim Dakwar, and Zohar Fresco. One of the Middle East’s leading oud players, Elias had previously formed the Orchestra of the Classical Arab World. Violinist Dakwar, who established a musical conservatory in the Arab village of Tarshiha, also serves as principal violinist for the Nazareth Orchestra of Classical Arab Music. Percussionist Fresco, the son of Turkish-Jewish parents, is a much-in-demand session player and has recorded with numerous Israeli artists including vocalist Noa. (by Craig Harris)

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Ziryab Trio consists of Taiseer Elias (oud), Nassim Dakwar (violin) and Zohar Fresco (percussion). “Mashreq Classics” was recorded live in the Jerusalem Theater during the Israel Festival in June, 1995. In this concert, the Ziryab Trio was accompanied by Avraham Salman (kanun) and Emmanuel Mann (bass) from their joined band Bustan Abraham. “Ziryab was a musician in Haroun Al-Rashid’s court in Baghdad (Iraq) in the 9th century. He was called the ‘Black Bird’ and was an extremely gifted singer, oud player and composer … He founded a music school which made its way to the Magreb (North Africa) and he became a model for every aspiring musician in the centuries followed. Taiseer Elias was born in the Israeli Arab village of Shfaram, Taiseer is the leading figure in classical Arabic music in Israel … He holds a Masters Degree in Ethnomusicology from the Hebrew University of Jerusalem. He is the founder of the Orchestra of Classical Arab Music in Israel and is presently the director of the music department of the Israeli Public Radio in Arabic as well as musical director of various television programs.” (last.fm)

Recorded live in the Jerusalem Theater at the Israel Festival June 10, 1995.
Additional recordings, mixing and mastering at D.B. Studios, Tel-Aviv

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Personnel:
Nassim Dakwar (violin)
Taiseer Elias (oud)
Zohar Fresco (percussion, riqq, globet drum, frame drum)
Emmanuel Mann (bass)
Avraham Salman (kanun/quanoun)

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Tracklist:
01. Longa Riad (Al-Sunbati) 2.54
02. Sihr Al-Sharq (Magic Of The Orient) (Al-Hariri) 9.26
03. Chutwat Habibi (Steps Of My Beloved) (Al-Wahab) 4.42
04. Taqsim Qanoun In Homayun Mode (Salman) 5.00
05. Sama’i Shat Araban (Bey) 7.42
06. Zikrayati (My Memories) (Al-Qasabji) 7.00
07. Sama’i Nahawand (Bey) 15.54
08. Riqq Solo (Fresco) 2.59
09. Sama’i Farahfaza (Bey) 9.38
10. Suzinak Sakiz Kasap Oyun Havasi (Turkish Traditional) 2.02

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Dire Straits – Live USA (1985)

FrontCover1.jpgThe 1985–1986 Brothers in Arms world tour which followed the album’s release was phenomenally successful, with over 2.5 million tickets sold. The tour included dates in Europe, Israel, North America, and Australia and New Zealand. The band played 248 shows in over 100 different cities.[48] Saxophonist Chris White joined the band, and the tour began on 25 April 1985 in Split, Croatia (then part of Yugoslavia). While playing a 13-night residency at Wembley Arena in London, the band moved down the road to Wembley Stadium on the afternoon of 13 July 1985, to appear in a Live Aid slot,[49] in which their set included “Money For Nothing” with Sting as guest vocalist. The tour ended at the Sydney Entertainment Centre, Australia on 26 April 1986, where Dire Straits still holds the record for consecutive appearances at 21 nights.[50] The band also made an impromptu attempt at the Australian folk song “Waltzing Matilda”. With 900,000 tickets sold in Australia and New Zealand it was the biggest concert tour in Australasian music history, until it was overtaken in 2017–2018 by Ed Sheeran.
Dire Straits performed at Live Aid at the old Wembley Stadium (exterior pictured) on 13 July 1985 in between 13 dates at the nearby Wembley Arena

Additionally in 1985, a group set out from London to Khartoum to raise money for famine relief led by John Abbey, was called “The Walk of Life”. Dire Straits donated the Brothers in Arms Gold disc to the participants in recognition of what they were doing. The band’s concert of 10 July 1985 at Wembley Arena, in which they were accompanied by Nils Lofgren for “Solid Rock” and Hank Marvin joined the band at the end to play “Going Home” (the theme from Local Hero), was televised in the United Kingdom on The Tube on Channel 4 in January 1986. (Although never officially released, bootleg recordings of the performance entitled Wembley does the Walk (2005) have been circulated.)

Dire StraitsLive1985_02

In 1986 Brothers in Arms won two Grammy Awards, and also won Best British Album at the 1987 Brit Awards. Q magazine placed the album at number 51 in its list of the 100 Greatest British Albums Ever in 2000. The album also ranked number 351 on Rolling Stone magazine’s list of the “500 Greatest Albums of All Time” in 2003.[55] Brothers in Arms is also ranked number 3 in the best albums of 1985 and number 31 in the best albums of the 1980s, and as of December 2017, the album was ranked the eighth-best-selling album in UK chart history, and is the 107th-best-selling album in the United States.[56] In August 1986, MTV Europe was launched with Dire Straits’ “Money for Nothing”.
After the Brothers in Arms tour ended Mark Knopfler took a break from Dire Straits and during 1987 he concentrated on solo projects and film soundtracks. (by wikipedia)

Dire StraitsLive1985_02

On the bootleg album (guess this is a soundboard recording) you can hear, that Mark Kopfler is a little bit tired of playing this Dire Strait stuff.

Neverthless it´s another good live recording by one of the most important band in the early Eighties.

Imtrat was a distribution company for the label brands “Living Legend Records” & “Live & Alive”, based in Landshut, Bavaria. The company exploited loopholes in the European copyright law during the late 1980s and early 1990s. Although their CD issues were mostly fully ‘legal’ they were not usually authorised releases and were produced in bulk for the low-budget Euro market.

Dire StraitsLive1985_03

Personnel:
Alan Clark (keyboards)
Guy Fletcher (keyboards)
John Illsley (bass)
Mark Knopfler (guitar, vocals)
Jack Sonni (guitar)
Chris White (saxophone)
Terry Williams (drums)

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Tracklist:
01. Ride Across The River 10.03
02. One World / Romeo And Juliet (Pt. 1) 14.57
03. Romeo And Juliet (Pt. 1) / Private Investigations 9.38
04. Why Worry 5.13
05.  Walk Of Life 4.20
06. Two Young Lovers 5.09

All songs written by Mark Knopfler

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It’s a mystery to me
The game commences
For the usual fee
Plus expenses
Confidential information,
It’s in a diary
This is my investigation,
It’s not a public inquiry

I go checking out the reports
Digging up the dirt
You get to meet all sorts
In this line of work
Treachery and treason,
There’s always an excuse for it
And when I find the reason
I still can’t get used to it

And what have you got at the end of the day?
What have you got to take away?
A bottle of whisky and a new set of lies
Blinds on a window and a pain behind the eyes

Scarred for life
No compensation
Private investigations

Bobby Charles – Wish You Were Here Right Now (1995)

FrontCover1.jpgMore successful as a songwriter than a singer, Bobby Charles was nonetheless an important contributor to Louisiana music in both respects. He authored several hits for key artists in the early days of rock & roll (including Bill Haley and Fats Domino), and although he recorded mostly in obscurity, he emerged as one of the founding fathers of swamp pop.

Robert Charles Guidry was born February 21, 1938, in the Cajun-country town of Abbeville, LA, and grew up listening to traditional Cajun music. As a teenager, he discovered rock & roll and rhythm & blues, and began singing with a band called the Cardinals, who performed at local dances. During this period, he wrote a song called “See You Later, Alligator,” which particularly impressed a Crowley, LA, record-store owner who happened to know Chess Records founder Leonard Chess. The young singer auditioned over the phone and was rewarded with a recording session at the legendary Cosimo’s studio in New Orleans. After hearing the single version of “See You Later, Alligator,” Chess signed Guidry (by some accounts, not realizing he was a white Cajun) and soon shortened his name to the less regional Bobby Charles. Chess released “See You Later, Alligator” as Charles’ debut BobbyCharles01single in 1955, and he toured behind it after graduating from high school. While it connected with R&B audiences, the song didn’t become a big pop hit until 1956, when Bill Haley covered it for a national best-seller. Charles scored another minor hit that year with “Time Will Tell,” and stayed with Chess through 1957, recording R&B singles that even at this stage were already infused with a Cajun musical sensibility.

In 1958, Charles moved to Imperial and cut several more singles through the next year. Although he was silent for a few years after cutting a one-off cover of “Goodnight Irene” for Farie in 1959, Charles’ reputation as a songwriter continued to grow. In 1960, Fats Domino took “Walking to New Orleans” into the Top Ten, and Clarence “Frogman” Henry did likewise early the following year with “(I Don’t Know Why I Love You) But I Do.” Charles subsequently recorded sides for Hub City (1963), Jewel (1964), and Paula (1965), by which time he was experimenting with country music.

With little commercial success of his own, Charles drifted away from the music business for a while. He returned in 1972 on the Bearsville label and cut a self-titled album (his first full-length) that was co-produced by the Band’s Rick Danko. In fact, the majority of the Band appeared on the record as supporting musicians, as did Dr. John, David Sanborn, and Amos Garrett. In spite of considerable critical acclaim, Bobby Charles didn’t sell very well, and after recording with Paul Butterfield in 1973, a disenchanted Charles again retreated from music.

BobbyCharles02.jpgHe appeared with the Band in their 1976 concert film The Last Waltz, joining them on-stage for one song of their final performance. The following year, he returned to Bearsville and recorded another album with Spooner Oldham on piano, but the project was never released.

Wish You Were Here Right Now
Charles kept quiet for most of the next decade, returning in 1986 with a couple of singles on the Rice n’ Gravy label, plus a European-only album called Clean Water in 1987. In the meantime, his songs had been recorded by numerous artists from the worlds of blues, rock, country, and soul; a partial list includes Joe Cocker, Delbert McClinton, Lou Rawls, Ray Charles, Tom Jones, Kris Kristofferson, Rita Coolidge, Etta James, Junior Wells, Clarence “Gatemouth” Brown, Bo Diddley, David Allan Coe, and even UB40. In 1995, Charles signed with the Canadian blues and roots label Stony Plain and released a new album, Wish You Were Here Right Now, which consisted of sessions from 1992-1993 plus selections from a 1984 jam session at Willie Nelson’s studio. In addition to Nelson, guests included Neil Young, Fats Domino, and slide ace Sonny Landreth. A follow-up, Secrets of the Heart, appeared in 1998, but Charles returned to rural Cajun country to live the quiet life, supported by his songwriting royalties; he also became a local environmental activist. His excellent Bobby Charles album has been reissued several times (including once in 1988 under the title Small Town Talk, its most famous composition). Finally, in 2008, Charles issued a new album, Homemade Songs. Early in 2010, however, he collapsed at his home in Abbeville, LA, and died. (by Steve Huey)

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An unhurried, engaging singer whose songs (“Walking to New Orleans,” “See You Later, Alligator”) share the same offhand, lazy ease, Louisiana’s Bobby Charles seems fated to be one of those unsung artists whose records are heard only by the fortunate few. While Wish You Were Here Right Now isn’t as unified a statement as Charles’ 1972 masterpiece, Bobby Charles (produced by the Band’s Rick Danko), it is still a minor gem.

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Revisiting a couple of his biggest songs, and surrounding them with a handful of new ones, Charles’ comfortable bayou drawl here is irresistible, and with guest shots from the likes of slide guitar ace Sonny Landreth, fiddler extraordinaire Rufus Thibodeaux, Neil Young, Willie Nelson, and Fats Domino (pulling a cameo on “Walking to New Orleans”), the backing band isn’t too shabby, either. Highlights include Domino’s guest spot, the heartfelt “I Want to Be the One,” a restructuring of “Alligator” as a sprightly New Orleans shuffle, and the Randy Newman-like “Peanut,” an unabashed song of praise to a puppy. The music here is timeless, and those lucky enough to hear it will no doubt wonder why Bobby Charles isn’t a household name. (by Steve Leggett)

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Personnel:
George Bitzer (keyboards)
Pat Breaux (accordion, saxophone)
Bobby Brossard (guitar)
Steven Bruton (mandolin)
Mike Burch (drums)
Bobby Campo (percussion, trumpet)
Bobby Charles (vocals)
Marshall Cyr (trumpet)
Billy English (drums)
Karl Himmel (percussion)
David Hyde (bass)
Ben Keith (pedel-steel guitar)
Danny Kimbll (drums, rubboard)
Joe Krown (keyboards)
Sonny Landreth (guitar)
Roger Lewis (saxophone)
Tommy Moran (guitar)
Jody Payne (guitar)
David Peters (drums)
Micky Raphael (harmonica)
Bill Samuel (saxophone)
Jon Smith (saxophone)
B. Spears (bass)
Rufus Thibodeaux (fiddle)
Tommy Withrow (piano)
Reese Wynans (piano)
Neil Young (guitar)
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Fats Domino (piano on 06.)
Willie Nelson (vocals, guitar on 08.)
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background vocals:
Elaine Foster – Lisa Foster – Dona Duhon

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Tracklist:
01. Not Ready Yet (Charles) 3.07
02. The Jealous Kind (Charles) 4.11
03. See You Later Alligator (Guidry a.k.a. Bobby Charles) 3.49
04. I Want To Be The One (Charles) 4.01
05. Promises, Promises (The Truth Will Set You Free) (Charles/Nelson) 3.44
06. Walking To New Orleans (Guidry/Domino/Bartholomew) 3.13
07. The Mardi Gras Song (Charles) 4.25
08. And  I Remember When (Charles) 3.04
09. Ambushin’ Bastard (Charles) 3.13
10. Peanut (Charles) 2.23
11. I Don’t See Me (Charles) 5.51
12. Wish You Were Here Right Now (Charles) 2.24

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Robert Charles Guidry
(February 21, 1938 – January 14, 2010)

Electric Amish – Barn To Be Wild (1995)

FrontCover1The Electric Amish is an Indiana-based parody rock band that takes well-known rock standards and recasts them from a heavily tongue-in-cheek Amish perspective. The band consists of three fictional characters: Graeber Goodman (born in Las Vegas, Nevada, moved to Lancaster, Pennsylvania, and settled in Nappanee, Indiana) on electric guitar and vocals; Carl Goodman (born in Berne, Indiana) on electric bass and vocals; and Barry Goodman (born in Goshen, Indiana) on drums and vocals. The true identities behind these personas are, respectively, Dean Metcalf (producer of The Bob & Tom Show), and brothers Barclay Grayson and Kyle Grayson—all of central Indiana.

Much of the humor in their lyrics presupposes at least a passing understanding of Amish and Mennonite cultures (for example, outsiders are called “the English”). The band rose to stardom after performing on The Bob & Tom Show, where they can occasionally still be heard.

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The Electric Amish released their first album, Barn to Be Wild, in 1995, followed by Milkin’ It in 1996 and A Hard Day’s Work in 1999. They also have a song, “Farmageddon,” on the 1998 release Back in ’98, which features items from The Bob & Tom Show. While the band has not released anything since 1999, they continue to perform occasionally, mostly in the Upper Midwest US. They record on the DonkeyMonkey label. (by wikipedia)

ElectricAmish02AHere´s their first album … totally crazy …but it´s fun and fun only …

I had never even heard of this group until I ran across their CD in a music store in Minneapolis. Apparently they are very popular in the Chicago area and have had alot of air time through various radio shows. I thoroughly enjoyed this CD and it took a long time to wipe the tears from my eyes after listening to it! The group is like a cross between ZZ Top and Wierd Al Yankovic. If you like classic rock mixed with a little humor and wacky lyrics, you are truly going to enjoy listening to the Electric Amish! (an amazon customer)

But these guys knows how to rock .. Enjoy this funny part of rock music !

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Personnel:
Barclay Grayson(Carl Goodman) (bass, vocals)
Kyle Grayson (Barry Goodman) (drums, vocals)
Dean Metcalf (Graeber Goodman) (guitar, vocals)

BackCover1.jpgTracklist:
01. We Are An Amish Band 3.01
02. Black Bonner Girls 3.17
03. Come Together (And Build A Barn) 2.38
04. Mennonite Blues 2.04
05. Amish Lady 2.29
06. My Congregation 2.52
07. Barn To Be Wild 3.28
08. Amish Country Blues 1.53
09. Mennonite Girl 3.04
10. A Girl On Theology 3.12
11. Give Me Three Pigs 3.02
12. Very Amish Christmas 2.41

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I got this really very rare item from Mr. Sleeve — and I had to say thanks again !