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)


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.


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)


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)
Fats Domino (piano on 06.)
Willie Nelson (vocals, guitar on 08.)
background vocals:
Elaine Foster – Lisa Foster – Dona Duhon


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




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.


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 !


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

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




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

Nicolò Paganini – Trios For Strings And Guitar (1995)

FrontCover1.jpgPaganini holds an esteemed status as probably the world’s finest ever virtuoso violinist but his chamber music compositions are, with minor exceptions, almost totally ignored. It is often forgotten that Paganini also played and composed for the guitar. In fact, of the five opus numbers published during his lifetime only the op. 1 set of 24 Caprices for Solo Violin did not include the guitar. It may come as a surprise that Paganini also wrote a sacred choral score entitled Le couvent du mont St. Bernard for violin, chorus and orchestra. I have yet to hear it but it was given its first recording by the Dynamic label.

Dynamic, the independent Italian record label, based close to Paganini’s birthplace in Genoa, has compiled this ten disc set of their previously issued Paganini recordings. It seems that several of these recordings were receiving their first recording. Although this box includes the complete edition of Paganini’s fifteen quartets for strings and guitar; the three string quartets and a number of other chamber works there is certainly much of Paganini’s chamber music not included here. It omits the large amount of chamber music that Paganini wrote for guitar and violin, solo guitar and for solo violin. There are seventy or so duets for violin and guitar, including the familiar Sonata concertata, MS2, Grand Sonata, MS3 and the Cantabile, MS109. In addition Paganini wrote over a hundred scores for solo guitar. Dynamic have issued discs of a sizeable number of Paganini’s works for violin and guitar and a disc of some of his solo guitar scores.

Paganini holds an esteemed status as probably the world’s finest ever virtuoso violinist but his chamber music compositions are, with minor exceptions, almost totally ignored. It is often forgotten that Paganini also played and composed for the guitar. In fact, of the five opus numbers published during his lifetime only the op. 1 set of 24 Caprices for Solo Violin did not include the guitar. It may come as a surprise that Paganini also wrote a sacred choral score entitled Le couvent du mont St. Bernard for violin, chorus and orchestra. I have yet to hear it but it was given its first recording by the Dynamic label.


It seems that Paganini wrote chamber music from an early age and continued to do so regularly throughout his life. Often he would compose whilst on tour as a virtuoso performer during the long and arduous coach journeys. Biographer Danilo Prefumo has written that, “Paganini’s chamber music is the genuine expression of the more private side of this composer’s musicality …” The general neglect of Paganini’s chamber music is highlighted by the fact that for many decades a large number of the scores have not been generally available for performance. For example his three string quartets MS20 were published as recently as 1976 with a performing edition in 1991; some hundred and fifty years after their composition.


In addition to his fame for composing for the violin Paganini also wrote a substantial amount of music for the guitar. The majority of the scores on this Dynamic release include the guitar. Swiss composer Franz von Wartensee, an associate of Paganini, wrote in his memoirs, “Not everyone knows that Paganini was a first-rate guitarist, since he did not consider it worth the effort to present himself publicly as such.” The sources of information that I have checked are rather vague on the origins and dates of Paganini’s attraction to the guitar. I understand that the main influence was his father Antonio who was himself a mandolin player and it is likely that from an early age Paganini would have received instruction from Antonio. It seems that from around 1801, during the few years that Paganini lived with a wealthy lady on her country estate in Tuscany, his energies were principally channelled into guitar study and composition.

These rarely encountered chamber music scores from the Genoese Maestro are certainly worthy of investigation. (by Michael Cookson)


Dora Bratchkova (violin)
Antonello Farulli (viola)
Götz Hartmann (violin)
Andrea Noferini (cello)
Adriano Sebastiani (guitar)



Serenata in C major for viola, cello and guitar, M.S. 17:
01. Allegretto spiritoso 5.06
02. Minuetto (Andantino – Amorosamente) 1.39
03. Adagio non tanto (Unione con anima) 2.10
04. Rondò con maestria e grazia (Canzonetta genovese) 1.57
05. Andantino alla polacca 4.20

Terzetto Concertante in D major for viola, cello and guitar, M.S. 114:
06. Allegro 8.12
07. Minuetto 4.11
08. Adagio cantabile 3.18
09. Waltz a rondò (Allegretto con energia) 7.15

Terzetto in D major for violin, cello and guitar, M.S. 69:
10. Allegro con brio 6.53
11. Minuetto (Allegro vivace) 3.58
12. Andante, Larghetto (Cavate) 3.29
13. Rondò (Allegretto) 5.56

Terzetto in A minor for 2 violins and guitar, M.S. 116:
14. Andante sostenuto 0.29
15. Tempo di minuetto 1.26
16. Andantino – Allegro 1.19

Serenata in F major for 2 violins and guitar, M.S. 115:
17. Introduzione, Largo 0.39
18. Tempo di minuetto – Amoroso 1.39
19. Andantino scherzando 1.52



Thunder – Behind Closed Doors (1995)

FrontCover1.jpgBehind Closed Doors is the third studio album by English hard rock band Thunder. Recorded between May and August 1994 at various studios, primarily Southern Tracks in Atlanta, Georgia, it was produced the band’s lead guitarist Luke Morley and Mike Fraser, the latter of whom also mixed the album at the Record Plant in Los Angeles, California. The album was released on 23 January 1995 by EMI Records in Europe and Japan, and was not released in the United States.

Following the departure of the band’s original bassist Mark “Snake” Luckhurst in December 1992, Behind Closed Doors is the first (and only) Thunder album to feature his replacement Mikael “Micke” Höglund, who joined in February 1993. All five band members, as well as former producer Andy Taylor, contributed to the writing of the material on the album, which also featured a wide range of additional guest musicians. Behind Closed Doors peaked at number 5 on the UK Albums Chart.

Behind Closed Doors was promoted on the Behind Closed Doors Tour beginning in April 1995, which included shows in the UK, Europe and Japan, as well as a number of festival dates. Three singles were released from the album, all of which reached the top 40 of the UK Singles Chart – “Stand Up” peaked at number 23, “River of Pain” peaked at number 31 and “Castles in the Sand” peaked at number 30. All three singles also reached the UK Rock & Metal Singles Chart top five.


After recording some initial demos of new material in London,[1] Thunder began pre-production on their third studio album on 6 May 1994 at Stanbridge Studios in Haywards Heath, West Sussex.[2] Mike Fraser, who had previously mixed the band’s debut album Backstreet Symphony in 1990, returned as the main producer for Behind Closed Doors alongside the band’s lead guitarist and primary songwriter Luke Morley (Fraser also engineered and mixed the record). On 23 May, the band flew out to Atlanta, Georgia to begin recording of the new album at Southern Tracks. Speaking about the decision to record the album in the United States, Morley explained that it was “a last-ditch attempt to motivate Geffen”, the band’s American record label, who he claimed had failed to support previous release Laughing on Judgement Day. However, the band’s A&R representative John Kalodner later left Geffen for Sony Music Entertainment, and the album was ultimately not released in the US.


Most of the recording for Behind Closed Doors was completed at Southern Tracks in Atlanta, although additional recording continued at Rumbo Recorders in Los Angeles, California throughout June and July. Bassist Mikael “Micke” Höglund, who had joined the band the previous year, recalls that “The drums and bass were supposed to be recorded at Southern Track Studios in Atlanta, but our guitar tech was a big dope smoker and completely useless. When I asked him to set up my bass to make it as easy to play as possible … he loosened the bolts that hold the neck to the body so that the strings and the fretboard were closer together”, which resulted in his instrument being out of tune for the sessions.[3] Guitarist and keyboardist Ben Matthews praised Höglund’s contributions to the album, suggesting that “His love of Geezer Butler and all things Black Sabbath was reflected in his playing and his songwriting contributions to Behind Closed Doors, giving it a darker and heavier feel.”

Recording of Behind Closed Doors was completed with additional sessions at Jacobs Studios in Farnham, Surrey, Armoury Studios in Vancouver, British Columbia, and the Record Plant in Los Angeles. The album was later mixed by Fraser at the Record Plant in July 1994, and mastered by George Marino at Sterling Sound in New York City, New York. Recording of Behind Closed Doors was completed by 12 August 1994, according to the album’s liner notes.


“Stand Up” was released as the first single from Behind Closed Doors on 28 December 1994, accompanied by a music video filmed during a show at the Shepherd’s Bush Empire in London three weeks earlier. The single debuted at number 23 on the UK Singles Chart and number 2 on the UK Rock & Metal Singles Chart, behind Van Halen’s “Don’t Tell Me (What Love Can Do)”. “River of Pain” was issued as the album’s second single on 13 February 1995, debuting at number 31 on the UK Singles Chart and number 5 on the UK Rock & Metal Singles Chart, and “Castles in the Sand” was released as the third and final single from the record on 24 April 1995, reaching number 30 on the UK Singles Chart and number 2 on the UK Rock & Metal Singles Chart.

Behind Closed Doors was released on 23 January 1995 in Europe by EMI Records, and two days later in Japan by Toshiba EMI Prior to the album’s release, Thunder completed the short Stand Up and Be Counted Tour, which visited a number of UK cities in December 1994. The opening European leg of the Behind Closed Doors Tour began on 5 April 1995 in Hamburg, Germany and wrapped up on 12 May at London’s Hammersmith Apollo. The band supported Bon Jovi alongside acts including Van Halen and Slash’s Snakepit in June and July, and later toured Japan in late-August.


Upon its release, Behind Closed Doors debuted at number 5 on the UK Albums Chart, its peak position, and topped the UK Rock & Metal Albums Chart. It remained in the UK top 40 for three weeks and the top 100 for a total of six weeks, and later returned to the chart for two weeks in May. The album also reached the top 20 of the Scottish Albums Chart, peaking at number 18. Outside of the UK, Behind Closed Doors reached number 56 on the German Albums Chart, number 22 on the Swedish Albums Chart,[14] and number 44 on the Swiss Albums Chart. (by wikipedia)

Like soldiers marching towards certain doom, British hard rockers Thunder stared down the indomitable forces of grunge as they unsheathed their third studio long-player, Behind Closed Doors, in January 1995, never losing faith in the rightness of their musical cause. What choice did they have, anyway? Well, they could have just thrown on the flannel and attempted to infiltrate the enemy lines like so many cowardly, fluffy-haired Luke Morley.jpgcolleagues and make even bigger fools of themselves in the process, so give the quintet credit for sticking to their guns and facing down their fate like men. Needless to say, Thunder got themselves “killed” regardless, poor saps (everywhere but in their homeland the U.K., where this album reached a highly respectable number five), but at least they went down fighting behind every punchy, accessible, yet commendably earthy melodic rock nuggets like “River of Pain,” “Stand Up,” and “Ball and Chain.” Thunder also embraced slightly darker vibes with memorable results on portentous opener “Moth to the Flame” and “Preaching from a Chair”; got the funk out successfully (“Fly on the Wall”), and not so much (“Too Scared to Live”); and noticeably toned down over all pomp rock thresholds, particularly on the bluesy “I’ll Be Waiting” (boasting shades of ‘70s Whitesnake) and the folksy ballad “Til the River Runs Dry” (another weeper, “Castles in the Sand,” sounds like a virtual memorial to this dying breed of ‘80s rock). But what Thunder couldn’t do was carry on operating with confidence in their talents, as the alternative rock era continued to make mincemeat of their peers while swallowing up most of the media and any touring opportunities that had once been at their disposal. By the time Thunder got around to recording their fourth album, 1996’s sardonically named The Thrill of it All, both their hopes and inspiration had pretty much run themselves dry. (by Eduardo Rivadavia)


Danny Bowes (vocals)
Mikael Höglund (bass)
Gary “Harry” James (drums)
Ben Matthews (guitar, keyboards)
Luke Morley (guitar)
Paul Baron (trumpet)
Derry Byrne (trumpet)
Denyse Nadeau Buffum (viola)
Bruce Dukov (violin)
Hazza Ling Hoi (percussion)
Suzie Katayama (cello)
Tom Keenlyside (saxophone)
Peter Lockett (percussion)
Bill Runge (saxophone)
Sheldon Sanov (violin)
The Rattling Monk (percussion)
background vocals:
The Suntan Sisters
Katie Kissoon (on 10.)
Tessa Niles (on 10.)


01. Moth To The Flame (Morley/Taylor/Höglund) 5.27
02. Fly On The Wall (Morley) 4.22
03. I’ll Be Waiting (Morley) 4.22
04. River Of Pain (Morley) 3.41
05. Future Train (Morley/James/Matthews/Höglund) 5.26
06. ‘Til The River Runs Dry (Morley/James) 4.20
07. Stand Up (Morley/James) 4.00
08. Preaching From A Chair (Morley) 6.17
09. Castles In The Sand (Morley) 4.44
10. Too Scared To Live (Morley) 4.24
11. Ball And Chain (Morley/Bowes/James/Matthews) 4.48
12. It Happened In This Town (Morley/James) 5.55



Emmylou Harris – Wrecking Ball (1995)

FrontCover1.jpgWrecking Ball is the eighteenth studio album by American country artist Emmylou Harris, released on September 26, 1995 through Elektra Records. Moving away from her traditional acoustic sound , Harris collaborated with producer Daniel Lanois (best known for his production work with U2) and engineer Mark Howard. The album has been noted for atmospheric feel, and featured guest performances by Steve Earle, Larry Mullen, Jr., Kate & Anna McGarrigle, Lucinda Williams and Neil Young, who wrote the title song.

Though her choice of songs had always been eclectic, the album was regarded as a departure. Harris, the age of 48, had become something of an elder stateswoman in country music. The album received almost universally positive reviews, making many critics’ year-end “best of” lists, and pointed Harris’ career in a somewhat different direction, where she would incorporate a harder edge. As a career-redefining album, Wrecking Ball was compared to Marianne Faithfull’s 1979 Broken English album and Johnny Cash’s American Recordings. Wrecking Ball won the 1996 Grammy Award for Best Contemporary Folk Recording.

Harris covered Neil Young’s song “Wrecking Ball”, and the track includes harmonies by Young. Although the song was released by Harris as a 2-track CD single with Lucinda Williams’ “Sweet Old World”, reviewers did not consider the title track the high point on the album. (by wikipedia)


Wrecking Ball is a leftfield masterpiece, the most wide-ranging, innovative, and daring record in a career built on such notions. Rich in atmosphere and haunting in its dark complexity, much of the due credit belongs to producer Daniel Lanois; best known for his work with pop superstars like U2 and Peter Gabriel, on Wrecking Ball Lanois taps into the very essence of what makes Harris tick — the gossamer vocals, the flawless phrasing — while also opening up innumerable new avenues for her talents to explore. The songs shimmer and swirl, given life through Lanois’ trademark ringing guitar textures and the almost primal drumming of U2’s Larry Mullen, Jr. The fixed point remains Harris’ voice, which leaps into each and every one of these diverse compositions — culled from the pens of Neil Young, Bob Dylan, Jimi Hendrix, Steve Earle, and others — with utter fearlessness, as if this were the album she’d been waiting her entire life to make. Maybe it is. (by Jason Ankeny)


Malcolm Burn (keyboards, vibraphone, tambourine synthesizer, slid-guitar on 08. + 12., bass on 11., drums on 11., background vocals)
Emmylou Harris (vocals, guitar)
Daniel Lanois (mandolin, guitar, bass on 01. + 03., dulcimer on 10,  vocals on 01. + 09., percussion on 04., bass pedals on 08.)
Larry Mullen, Jr. (drums, percusion)
Tony Hall (bass, percussion, stick drum on 10.)
Daryl Johnson (background vocals, percussion)
Richard Bennett (guitar on 08.)
Brian Blade (drums on 01, Indian hand drum on 05.)
Steve Earle (guitar on 02., 07. + 08.)
Kufaru Mouton (percussion on 05.)
Sam O’Sullivan (roto wheel on 04.)
Lucinda Williams (guitar on 08.)
Neil Young (harmonica on 08, background vocals on 04. + 08.)
background vocals on 12.:
Anna McGarrigle – Kate McGarrigle


01. Where Will I Be? (Lanois) 4.16
02. Goodbye (Earle) 4.53
03. All My Tears (Miller) 3.42
04. Wrecking Ball (Young) 4.50
05. Goin’ Back To Harlan (A.McGarrigle) 4.51
06. Deeper Well (Olney/Lanois/Harris) 4.19
07. Every Grain Of Sand (Dylan) 3.56
08. Sweet Old World (Williams) 5.06
09. May This Be Love (Hendrix) 4:45
10. Orphan Girl (Welch) 3.15
11. Blackhawk (Lanois) 4.28
12. Waltz Across Texas Tonight (Crowell/Harris) 4.47




Sirinu – The Cradle Of The Renaissance (1995)

FrontCover1.jpgI guess, this is a real very special album:

Italian music from the time of Leonardo da Vinci – This recording of music from 15th century Italy features many lighter songs, with a predominance of instrumental work. The connection with Leonardo da Vinci is basically nominal. (

This is a magnificent disc of Renaissance instrumental music, songs and dances. Ensemble Sirinu is pure magic, really my only complaint is that they only have a few releases. (

‘An excellent and hugely enjoyable recording’ (Early Music Review)

‘Sarah Stowe … is perfectly suited for this music. She has an astonishing capacity to alter the character of her voice, sounding on occasion sweet and pure, on others sexy and alluring, and sometimes even downright common, which really helps the text come alive. An excellent disc for newcomers to this sort of music, and for aficionados’ (Classic CD)

This music is heart-balm !


Jon Banks (harp, sackbut, organ, viol, recorder, percussion, vocals)
Matthew Spring (lute, vocals, hurdy-gurdy, shawm, lira da braccio, viol, gittern)
Henry Stobart (recorder, bagpipes, vocals, viol, shawm, pipe, tabor)
Sara Stowe (soprano vocals, organ, recorder, percussion)

01. Uccelino, bel uccelino + Piva (unknown) 3.28
02. Non e tempo d’aspectare (Cara) 4.17
03. Cecus non iudicat de coloribus (Agricola) 4.45
04. Yerra con poco sabe (Cornago) 3.37
05. Scaramella / Io ne tengo (unknown) 2.40
06. O mia cieca e dura sorte (Cara) 9-09
07. Helas madame que feraige (Agricola) 2.06
08. Nam edunt de micis (unknown) 1.48
09. Ben venga maggio (unknown) 3.31
10. Io vegio la mia vita io finire (unknown) 1.27
11. Ricercare XV (Bossinensis) / Scopri, lingua (Tromboncino) 5.38
12. De dos la mer (unknown) 1.24
13. Gridan vostri ochi (Aquila) 3.11
14. Per la mya cara (unknown) 1.23
15. Aime sospiri (Giustinian) 1.41
16. La martinella (Isaac) 3.06
17. J’ay pris amours (unknown) 4.18
18. Canzon de’ pifari dico el Ferrarese (unknown) 1.22
19. Regina del cor mio (unknown) 1.33
20. Dunque piangiamo (Poliziano) 2.39
21. Udite selve / Villana (Poliziano) 4.36


About the composers:
Alexander Agricola (?1446-1506)
Serafino de’ Ciminelli dall’ Aquila (1466-1500)
Franciscus Bossinensis (fl1510-1510)
Marchetto Cara (c. 1470-? 1525)
Johannes Cornago (fl c1455-1485)
Leonardo Giustinian (c1383-1446)
Heinrich Isaac (c1450-1517)
Angelo Poliziano (1454-1494)
Bartolomeo Tromboncino (c1470-1535)




Dave Brubeck Quartet – Vienna (1995)

FrontCover1.jpgDavid Warren Brubeck (December 6, 1920 – December 5, 2012) was an American jazz pianist and composer, considered one of the foremost exponents of cool jazz. He wrote a number of jazz standards, including “In Your Own Sweet Way” and “The Duke”. Brubeck’s style ranged from refined to bombastic, reflecting both his mother’s attempts at classical training and his own improvisational skills. His music is known for employing unusual time signatures as well as superimposing contrasting rhythms, meters, and tonalities.

Often incorrectly attributed to Brubeck, the song “Take Five”, which has become a jazz standard, was composed by Brubeck’s long-time musical partner, alto saxophonist Paul Desmond. Appearing on one of the top-selling jazz albums, Time Out, and written in 5
4 time, “Take Five” has endured as a jazz classic associated with Brubeck. (by Dave Brubeck)

And here´s  a very rare bootleg Brubeck recording from 1995, I guess this is a braodcast recording (excellent quality).

Listen to a master of jazz …unbelieveable stuff … And listen tho this brilliant saxophone of Gerry Mulligan on “These Foolish Things” !

Recorded live at the Konzerthaus in Vienna/Austria, May 15, 1995

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6 December 1995: Brubeck, with his sons (l to r) Matthew, Chris, Darius and Danny in Vienna for his 75th birthday.

Dave Brubeck (piano)
Randy Jones (drums)
Jack Six (bass)
Bill Smith (clarinet)
Gerry Mulligan (saxophone 0n 04.)


01. Variations on Johann Sebastian Bach (Bach/Brubeck) 12.07
02. Cinkuje (Brubeck) 4.42
03. Take Five (Desmond) 10.36
04. These Foolish Things (Strachey) 10.07

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Dave Brubeck (December 6, 1920 – December 5, 2012)