K.D. Lang – All You Can Eat (1995)

FrontCover1Kathryn Dawn Lang OC AOE (born November 2, 1961), known by her stylized stage name k.d. lang, is a Canadian pop and country singer-songwriter and occasional actress. Lang has won Juno Awards and Grammy Awards for her musical performances. Hits include the songs “Constant Craving” and “Miss Chatelaine”.

A mezzo-soprano, lang has contributed songs to movie soundtracks and has collaborated with musicians such as Roy Orbison, Tony Bennett, Elton John, The Killers, Anne Murray, Ann Wilson, and Jane Siberry. She performed at the closing ceremony of the 1988 Winter Olympics in Calgary, Alberta, and at the opening ceremony of the 2010 Winter Olympics in Vancouver, British Columbia, where she performed Leonard Cohen’s “Hallelujah”.

Lang has also been active as an animal rights, gay rights, and Tibetan human rights activist. She is a tantric practitioner of the old school of Tibetan Buddhism.


All You Can Eat is the third solo album by k.d. lang, released in 1995.

In a Rolling Stone review, Barry Walters wrote “The rhythms and sonic textures draw from the vintage soul of Al Green, while the stark arrangements and lush melodies embrace the primal sophistication of trend-bucking college-radio faves like Björk and [PJ] Harvey without evoking either. By holding back on vocal volume and letting her creativity loose, Kathryn Dawn ultimately expresses much more. Traditional torch and twang gave her something to master and rebel against, but sublimely sensual art pop has set lang free.”


David Browne of Entertainment Weekly described the album as “Ten meditations on unrequited desire, courtship, rejection, and sex, All You Can Eat is both the most brazen and conventional album she’s ever made, and one of her best. With each new album, lang has gradually toned down the often cloying cowpunk giddiness of her early work. That course continues with Eat, a sober album that musically and lyrically picks up where Ingénue‘s hit ‘Constant Craving’ left off. The songs are a series of pleas to a lover to allow our tortured chanteuse into her life, each one highlighting varying degrees of optimism, confusion, and bleakness.”

The song “Sexuality” was also released on Friends Original TV Soundtrack. (wikipedia)


k.d. lang followed through on the promise of her adult contemporary changeover Ingénue with All You Can Eat. A more experimental and realized record than its predecessor, there are more daring production touches on All You Can Eat — it’s clear that she has been listening to contemporary pop, not just torch songs. It isn’t immediately accessible — the production is low-key, the melodies are gentle and subtle (although her cutesy, tongue-in-cheek song titles suggest otherwise), and lang gives a nuanced, sophisticated performance. Though it lacks a standout song like the aching “Constant Craving,” All You Can Eat has a more consistent set of songs and, given time, is a more rewarding listen. (by Stephen Thomas Erlewine)


Teddy Borowiecki (keyboards, synthesizer)
Graham Boyle (percussion)
John Friesen (cello)
K.D. Lang (guitar, harp, ukelin, banjo, glass harmonica, keyboards, vocals)
Ben Mink (bass, guitar, violin, keyboard, ukulele, viola)
David Piltch (bass)
Randall Stoll (drums)


01. If I Were You 3.59
02. Maybe 4.11
03. You’re Ok 3.03
04. Sexuality 3.24
05. Get Some 3.39
06. Acquiesce 3.32
07. This 4.03
08. World Of Love 3.46
09. Infinite And Unforeseen 2.58
10. I Want It All 3.39

All songs written by K.D. Lang & Ben Mink



More from K.D. Lang:

The official website:

Elvis Costello – Kojak Variety (1995)

FrontCover1Declan Patrick MacManus, OBE (born 25 August 1954), known professionally as Elvis Costello, is an English singer-songwriter.

He has won multiple awards in his career, including Grammy Awards in 1999 and 2020, and has twice been nominated for the Brit Award for Best British Male Artist.

In 2003, he was inducted into the Rock and Roll Hall of Fame. In 2004, Rolling Stone ranked Costello number 80 on its list of the 100 Greatest Artists of All Time.


Kojak Variety is a 1995 album by Elvis Costello, composed of cover songs written by others. Rhino Records reissued an expanded, double-CD in 2004 containing a bonus disc.

Costello said in the liner notes this was a “record of some of my favourite songs performed with some of my favourite musicians.”[13] but that he didn’t want to record songs that were too familiar. Costello had searched independent record shops: Potter’s Music in Richmond, Probe in Liverpool, Rock On in Camden Town, and many American thrift stores and pawn shops to discover albums that he previously had only known from singles or compilations. Costello said he made his best discoveries in what he called “the greatest record collecting store in the world”, Village Music in Mill Valley, California.

The first song recorded for the album was “Running Out of Fools”, while the last was a new rendering of “Days” by The Kinks, which he had previously recorded for the album soundtrack album Until the End of the World, for the Wim Wenders’ film of the same name. The title Kojak Variety refers to the name of a variety store in Barbados near where the album was recorded; Costello was amused by the seemingly random name of the enterprise, and in a similar spirit, decided to apply the name to his album.[14]


With Almost Blue, Elvis Costello wanted to be a honky tonker. With Kojak Variety, he’s a crooner, picking forgotten tunes by both minor and major artists (anyone from Screamin’ Jay Hawkins to Bob Dylan). From his song selections to the pseudo-avant-rock/R&B band, Costello doesn’t make any obvious moves. Yet that doesn’t mean that the record is difficult — it just shows the depths of Costello’s affection for music and record collecting (which is also clear from his loving, detailed liner notes). Costello and his band (featuring guitarists James Burton and Marc Ribot, drummer Jim Keltner and Attraction Pete Thomas) play with gusto, tearing through the songs with the vigor of a bar band on a Friday night. Some of the rockers sound slightly forced, although there’s no denying the power of Costello’s passionate vocals, even if he stretches his range a little too much (Little Richard’s “Bama Lama Bama Loo”). What matters here are the performances, and the majority of Kojak Variety is filled with fine interpretations. Kojak Variety does what any good covers album should do — it makes you want to seek out the originals. (by Stephen Thomas Erlewine)


This album is as good as any of Costello’s best. Sure, it’s a cover album. But, it doesn’t cover any songs you’re likely to have ever heard before. And that’s what elevates it from you run of the mill, dialed in cover collection. Costello has a passion for these tunes. He had been touring with this band and this album was their last opportunity to play together. You can tell that they’re truly enjoying the collaboration—there’s an energy and enthusiasm here. This is a hard driving, nostalgic rock & roll/R&B album featuring musicians who are at the top of their game. It’s a joy to listen to, and over the years, I’ve found myself returning to it again and again. The All Music two star rating doesn’t give this set the attention it deserves. (Jeremy Feldman)


James Burton (guitar)
Elvis Costello (vocals, harmonica)
Jim Keltner (drums)
Larry Knechtel (keyboards)
Marc Ribot (banjo, guitar, horn)
Jerry Scheff (bass)
Pete Thomas (drums)


01. Strange (Hawkins) 2.42
02. Hidden Charms (Dixon) 3.33
03. Remove This Doubt (B.Holland/Dozier/E.Holland, Jr.) 3.54
04. I Threw It All Away (Dylan) 3.26
05. Leave My Kitten Alone (John/Turner) 3.13
06. Everybody’s Crying Mercy (Allison) 4.08
07. I’ve Been Wrong Before (Newman) 3.03
08. Bama Lama Bama Loo (Penniman) 2.47
09. Must You Throw Dirt In My Face? (Anderson) Louvin Brothers 3.51
10. Pouring Water On A Drowning Man (Baker/McCormick) James Carr 3.40
11. The Very Thought Of You (Noble) Nat King Cole 3.43
12. Payday (Winchester) Jesse Winchester 3.00
13. Please Stay (Bacharach/Hilliard) 4.50
14. Running Out Of Fools (Ahlert/Rogers) 3.04
15. Days (Davies) The Kinks 4.56



More from Elvis Costello:

The official website:

The Manhattan Transfer – Tonin’ (1995)

FrontCover1The Manhattan Transfer is a Grammy award-winning jazz vocal group founded in 1969 that has explored a cappella, vocalese, swing, standards, Brazilian jazz, rhythm and blues, and pop music.

There have been two editions of the Manhattan Transfer, with Tim Hauser the only person to be part of both. The first group consisted of Hauser, Erin Dickins, Marty Nelson, Pat Rosalia, and Gene Pistilli. The second version of the group, formed in 1972, consisted of Hauser, Alan Paul, Janis Siegel, and Laurel Massé. In 1979, Massé left the group after being badly injured in a car accident and was replaced by Cheryl Bentyne.


The group’s long-time pianist, Yaron Gershovsky, accompanied the group on tour and served as music director. Trist Curless from the Los Angeles a cappella group m-pact became a permanent member in October 2014 following Hauser’s death. (wikipedia)


Tonin’ is a studio album by The Manhattan Transfer. It was released in 1995 on Atlantic Records. The expression “tonin'” is associated with the vocal groups of the 1950s and 1960s. The songs on this album are favorites of the band’s from that era. Singer-songwriter Laura Nyro makes one of her last performances on this recording. (wikipedia)


The idea on Tonin’ was to turn the Manhattan Transfer loose on a baker’s dozen of good old 1960s pop and R&B hits in league either with the original artists or prominent guests from that period and beyond. And yes, it’s a stellar list, guaranteed to stir warm and fuzzy memories, and the tunes echo the old lament of an earlier age, “they don’t write songs like they used to.” For almost any other vocal group, this would be an entertaining coup, yet for the hugely gifted, compulsively adventurous Transfer, this is just a detour into the tent of nostalgia that they had long outgrown (though they would do better in the retro arena with 1997’s buoyant Swing).


Moreover, they really have nothing new to bring to these tunes; they serve as background singers to Smokey Robinson on his “I Second That Emotion,” to Felix Cavaliere on his “Groovin’,” or — good grief — Phil Collins subbing for Marvin Gaye on “Too Busy Thinking About My Baby.” Indeed, “The Thrill Is Gone” can serve as its own epitaph; even with B.B. King’s authentic guitar obbligato and Ruth Brown’s rap, the Transfer’s smooth vocal harmonies turn this gritty blues into pap. However gutsy Arif Mardin’s productions were in Atlantic’s 1960s heyday, he just goes through the crisp-sounding motions here. (by Richard S. Ginell)BackCover1

Cheryl Bentyne – Tim Hauser – Alan Paul – Janis Siegel
Mike Baird (drums on  02., 03., 08. + 11.)
Herb Besson (trombone on 01. + 04.)
Edwin Bonila (percussion on 01.)
Ruth Brown (vocals on 07.)
Robbie Buchanan (keyboards, synthesizer (on 02., 03., 05., 08. – 11.)
Tony Cadlic (trumpet on  01. + 04.)
Jorgé Casas (synclavier programming, bass on 01.)
Lenny Castro (percussion on 02., 04. + 08.)
Felix Cavaliere (vocals on 02.)
Phil Collins (vocals on 06.)
Luis Conte (percussion on 01.,02. + 08.)
Paulinho da Costa (percussion on 11.)
Mike Finnigan (organ on 11.)
Jim Hines (trumpet on 01. + 04.)
Chris Hunter (saxophone on 01. +  04.)
Paul Jackson Jr. (guitar on 04. + 06.)
Jimmy Johnson (bass on 09. + 11.)
Randy Kerber (keyboards, synthesizer on 04.)
Chaka Khan (vocals on 08.)
B.B. King (guitar on 07.)
Ben E. King (vocals on 10.)
Robbie Kondor (keyboards on 09., programming on 10. + 11.)
Abraham Laboriel (bass on 03.)
Michael Landau (guitar on 02., 03, + 08.)
Will Lee (bass on 05.)
Mark Mann (programming on 02., 03., 08. – 11.)
Joe Mardin (programming, percussion on 05., drums on 06.)
Dave Marotta (bass on  07.)
Harvey Mason (drums on 07.)
Bette Midler (vocals on 03.)
Tommy Morgan (harmonica on 02.)
Laura Nyro (piano, vocals on 05.)
Clay Ostwald (keyboards, synclavier programming on 01.)
Chris Parker (drums on 05.)
Dean Parks (guitar on 09., 10. + 11.)
Joel Peskin (saxophone on 03 + 10, flute on 09.)
Greg Phillinganes (keyboards on 07.)
Mike Porcaro (bass on 10.)
Tom Ranier (synthesizer on 04.)
John Robinson (drums on 04. + 09.)
Smokey Robinson (vocals on 04.)
Roger Rosenberg (saxophone on 01. + 04.)
David Spinozza (guitar on 05.)
Steve Skinner (programming on 02., 04., 06.,08. + 09.,  (2, 4, 6, 8, 9), keyboards on 02., 06., 08. + 11.) (2, 8, 11)
Neil Stubenhaus (bass on 04 + 06.)
James Taylor (vocals on 10.)
Michael Thompson (guitar on 04. + 09.)
Rene Toledo (guitar on 01.)
Frankie Valli (vocals on 01.)
Carlos Vega (drums on 10.)
Danny Wilensky (saxophone on 06.)
David Williams (guitar on 07.)


01. Let’s Hang On (Crewe/Linzer/Randell) (with Frankie Valli) 4.41
02. Groovin’ (Brigati/Cavaliere) (with Felix Cavaliere) 4.09
03. It’s Gonna Take A Miracle (Randazzo/Stallman/Weinstein) (with Bette Midler) 3.57
04. I Second That Emotion (Cleveland/Robinson) (with Smokey Robinson) 3.40
05. La-La (Means I Love You) (Bell/Hart) (with Laura Nyro) 4.36
06. Too Busy Thinking About My Baby (Whitfield/Strong/Bradford) (with Phil Collins) 4.44
07. The Thrill Is Gone (Hawkins/Darnell) (with Ruth Brown & B.B. King) 6.07
08. Hot Fun In The Summertime (Stewart) (with Chaka Khan) 4.17
09. Along Comes Mary (Tandyn Almer) – 3:34
10, Dream Lover (Darin) (with James Taylor) 4.54
11. Save The Last Dance For Me (Pomus/Shuman) (with Ben E. King) 4.05
12. God Only Knows (Wilson/Asher) 2.47



The official website:

Sheryl Crow – Live USA (1995)

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

Sheryl Crow01

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

Sheryl Crow02

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

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


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

Sheryl Crow03

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



More from Sheryl Crow:

The official website:

Bob Dylan – Always Down The Road (1995)

FrontCover1Robert Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter, author and visual artist. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning 60 years. Much of his most celebrated work dates from the 1960s, when songs such as “Blowin’ in the Wind” (1963) and “The Times They Are a-Changin'” (1964) became anthems for the civil rights and anti-war movements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture.


Following his self-titled debut album in 1962, which mainly comprised traditional folk songs, Dylan made his breakthrough as a songwriter with the release of The Freewheelin’ Bob Dylan the following year. The album features “Blowin’ in the Wind” and the thematically complex “A Hard Rain’s a-Gonna Fall”. Many of his songs adapted the tunes and phraseology of older folk songs. He went on to release the politically charged The Times They Are a-Changin’ and the more lyrically abstract and introspective Another Side of Bob Dylan in 1964. In 1965 and 1966, Dylan drew controversy when he adopted electrically amplified rock instrumentation, and in the space of 15 months recorded three of the most important and influential rock albums of the 1960s: Bringing It All Back Home (1965), Highway 61 Revisited (1965) and Blonde on Blonde (1966). His six-minute single “Like a Rolling Stone” (1965) expanded commercial and creative boundaries in popular music.

Bob Dylan02

In July 1966, a motorcycle accident led to Dylan’s withdrawal from touring. During this period, he recorded a large body of songs with members of the Band, who had previously backed him on tour. These recordings were released as the collaborative album The Basement Tapes in 1975. In the late 1960s and early 1970s, Dylan explored country music and rural themes in John Wesley Harding (1967), Nashville Skyline (1969), and New Morning (1970). In 1975, he released Blood on the Tracks, which many saw as a return to form. In the late 1970s, he became a born-again Christian and released a series of albums of contemporary gospel music before returning to his more familiar rock-based idiom in the early 1980s. Dylan’s 1997 album Time Out of Mind marked the beginning of a renaissance for his career. He has released five critically acclaimed albums of original material since then, the most recent being Rough and Rowdy Ways (2020). He also recorded a series of three albums in the 2010s comprising versions of traditional American standards, especially songs recorded by Frank Sinatra. Dylan has toured continuously since the late 1980s on what has become known as the Never Ending Tour.

Bob Dylan03

Since 1994, Dylan has published eight books of drawings and paintings, and his work has been exhibited in major art galleries. He has sold more than 125 million records, making him one of the best-selling musicians of all time. He has received numerous awards, including the Presidential Medal of Freedom, ten Grammy Awards, a Golden Globe Award and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and the Songwriters Hall of Fame. The Pulitzer Prize Board in 2008 awarded him a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In 2016, Dylan was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”. (wikipedia)

Bob Dylan

This German release clocks in at over 76 minutes. The original show was 1½ hours. To facilitate a single disc release, Maggie’s Farm and It Ain’t Me, Babe were left off. The recording is from a a very good audience tape, with minimal audience noise. Unfortunately, the package is minimal as well. The coolest thing is the disc itself. It has been silk-screened to look like a 45RPM. Simple graphics, minimal colors, and lack of Dylan images make the aesthetics quite dull. This was offset by a low cost. In 1995, The release was available on the German retail market for @ $8 USD. All said and done, this would be better left for the completeists.

… but then … I got a copy from the master tapes of this show:

Ok this is another Dylan 1995 tour show I received from maybe an internet download possibly “The Midnight Cafe” or other such place from a number of years ago.

For my own listen pleasure I placed the tracks into one folder but if you wish to return them to two folders the break is as show above.

FC+BC (Complete show)

As usual I thank the taper for recording this show and those that have shared this with me, it’s their generosity that allows us all to enjoy this concert 26 years later.

The sound quality of this is once again sensational and can only be bettered by a soundboard recording, so thats a 9.5/10 or Sup-

As I’ve been working through my Dylan collection and sharing shows from the 1995 tour I’ve been blown away by the quality of the recordings from the tour.
I assume its because of the advent of the DAT recording machines which are superb I have a Tascam DR 07 and it’s never let me down yet. (unknown colletor)

This is a great show from a great tour! Brussels March 23, 1995. Bob Dylan plays a setlist full of hits with a crackerjack band and an excellent recording. Fantastic energy and performances. (heartofmarkness.com)


Bucky Baxter (pedal steel guitar, slide guitar)
Bob Dylan (vocals, guitar)
Tony Garnier (bass)
John Jackson (guitar)
Winston Watson (drums, percussion)



CD 1:
01. Crash On The Levee (Down In The Flood) 5.04
02. If Not For You 4.07
03. All Along The Watchtower 5.05
04. Just Like A Woman 6.40
05. Tangled Up In Blue 7.54
06. Queen Jane Approximately 8.10
07. Mr. Tambourine Man 6.25

CD 2:
01. Boots Of Spanish Leather 6.53
02. Don’t Think Twice, It’s All Right 6.50
03. Dignity 7.07
04. I And I 6.08
05. Maggie’s Farm 6.26
06. Like A Rolling Stone 9.49
07. It Ain’t Me, Babe 8.56

All songs written by Bob Dylan



The official website:

More from Bob Dylan:

Hootie & The Blowfish – Cracked Rear View (1995)

FrontCover1Hootie & the Blowfish is an American rock band that was formed in Columbia, South Carolina, in 1986. The band’s lineup for most of its existence has been the quartet of Darius Rucker, Mark Bryan, Dean Felber, and Jim Sonefeld. The band went on hiatus in 2008 until they announced plans for a full reunion tour in 2019 and released their first new studio album in fourteen years, Imperfect Circle.

As of 2019, the band had landed sixteen singles on various Billboard singles charts and recorded six studio albums. Their debut album, Cracked Rear View (1994), is the 19th-best-selling album of all time in the United States, and was certified platinum 21 times. The group was also popular in Canada, having had three number-one singles in the country.

Hootie & the Blowfish01

Cracked Rear View is the debut studio album by Hootie & the Blowfish, released on July 5, 1994 by Atlantic Records. Released to positive critical reviews, it eventually sold an equivalent of 21 million copies in the US, becoming one of the best-selling albums of all time.
Don Gehman was chosen by A&R man Tim Sommer as a producer because of his previous work with John Mellencamp and R.E.M.
Cracked Rear View is Hootie & the Blowfish’s most successful album. It was the best-selling album of 1995, with 10.5 million shipments that year alone, eventually achieving 21 million album equivalent units by May 21, 2018. It is the joint 19th-best-selling album of all time in the United States. Cracked Rear View reached number one on the Billboard 200 five times over the course of 1995. The album also reached number one in Canada and New Zealand. Three million copies were sold through the Columbia House mail-order system. (wikipedia)


Hootie & the Blowfish’s debut album, Cracked Rear View, was the success story of 1994/1995, selling over 12 million copies. It’s a startling, large number, especially for a new band, but in some ways, the success of the record isn’t that surprising. Although Hootie & the Blowfish aren’t innovative, they deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks. “Hold My Hand” has a singalong chorus that epitomizes the band’s good-times vibes. None of the tracks transcend their generic status, but they are strong songs for their genre, with crisp chords and bright melodies. Still, the songs wouldn’t be convincing without the emotive vocals of Darius Rucker, whose gruff baritone has more grit than the actual songs. At their core, Hootie & the Blowfish are a bar band, but they managed to convince millions of listeners that they were the local bar band, and that’s why Cracked Rear View was a major success. (by Stephen Thomas Erlewine)

What a strong and powerful album !!!


Mark Bryan (guitar, vocals, percussion, mandolin on 04., piano on 10.)
Dean Felber (bass, clavinet, vocals, piano on 04.)
Darius Rucker (vocals, guitar, percussion)
Jim “Soni” Sonefeld (drums, percussion, vocals, piano on 09. + 11.)
David Crosby (background vocals on 02.)
Lili Haydn (violin on 05. + 09.)
John Nau (organ, piano on 06.)


01. Hannah Jane 3.34
02. Hold My Hand 4.16
03. Let Her Cry 5.08
04. Only Wanna Be With You 3.47
05. Running From An Angel 3.37
06. I’m Goin’ Home 4.11
07. Drowning 5.01
08. Time 4.53
09. Look Away 2.38
10. Not Even The Trees 4.37
11. Goodbye 4.05
12. Sometimes I Feel Like A Motherless Child (hidden track) (Traditional) 0.54

All songs written by Mark Bryan, Dean Felber, Darius Rucker and Jim Sonefeld
except 04. Mark Bryan, Dean Felber, Darius Rucker, Jim “Soni” Sonefeld and Bob Dylan




The official website:

Various Artists – For The Love Of Harry – Everybody Sings Nilsson (1995)

FrontCover1Harry Edward Nilsson III (June 15, 1941 – January 15, 1994), known professionally as Nilsson, was an American singer-songwriter who achieved the peak of his commercial success in the early 1970s. His work is characterized by pioneering vocal overdub experiments, returns to the Great American Songbook, and fusions of Caribbean sounds. A tenor with a 3+1⁄2 octave range, Nilsson was one of the few major pop-rock recording artists to achieve significant commercial success without ever performing major public concerts or undertaking regular tours. The craft of his songs and the defiant attitude he projected remain touchstones for later generations of indie rock musicians.

Born in Brooklyn, Nilsson moved to Los Angeles as a teenager to escape his family’s poor financial situation. While working as a computer programmer at a bank, he grew interested in musical composition and close-harmony singing, and was successful in having some of his songs recorded by various artists such as the Monkees. In 1967, he debuted on RCA Victor with the LP Pandemonium Shadow Show, followed by a variety of releases that include a collaboration with Randy Newman (Nilsson Sings Newman, 1970) and the original children’s story The Point! (1971).

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His most commercially successful album, Nilsson Schmilsson (1971), produced the international top 10 singles “Without You” and “Coconut”. His other top 10 hit, “Everybody’s Talkin'” (1968), was featured prominently in the 1969 film Midnight Cowboy. A version of Nilsson’s “One”, released by Three Dog Night in 1969, also reached the U.S. top 10.

During a 1968 press conference, the Beatles were asked what their favorite American group was and answered “Nilsson”. Sometimes called “the American Beatle”,[5] he soon formed close friendships with John Lennon and Ringo Starr. In the 1970s, Nilsson, Lennon and Starr were members of the Hollywood Vampires drinking club, embroiling themselves in a number of widely publicized, alcohol-fueled incidents. They produced one collaborative album, Pussy Cats (1974). After 1977, Nilsson left RCA, and his record output diminished. In response to Lennon’s 1980 murder, he took a hiatus from the music industry to campaign for gun control. For the rest of his life, he recorded only sporadically. In 1994, Nilsson died of a heart attack while in the midst of recording what became his last album, Losst and Founnd (2019).

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Nilsson created the first remix album (Aerial Pandemonium Ballet, 1971) and recorded the first mashup song (“You Can’t Do That”, 1967). He was voted No. 62 in Rolling Stone’s 2015 list of the “100 Greatest Songwriters of All Time”, where he was described as “a pioneer of the Los Angeles studio sound, a crucial bridge between the baroque psychedelic pop of the late Sixties and the more personal singer-songwriter era of the Seventies”. The RIAA certified Nilsson Schmilsson and Son of Schmilsson (1972) as gold records, indicating over 500,000 units sold each. He earned Grammy Awards for two of his recordings; Best Contemporary Vocal Performance, Male in 1970 for “Everybody’s Talkin'” and Best Pop Vocal Performance, Male in 1973 for “Without You”.

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For the Love of Harry: Everybody Sings Nilsson, released on 9 May 1995 by Musicmasters, is a tribute album by various artists and edicated to the songs of American musician Harry Nilsson. The album was released the year after Nilsson’s death. Proceeds went to the Coalition to Stop Gun Violence.


Shortly before Nilsson’s 1993 heart attack, he was visited by Al Kooper of Blood, Sweat & Tears, who had previously recorded versions of Nilsson’s “Without Her” and “Mournin’ Glory Story”. Kooper learned of Nilsson’s financial troubles and later met with producer Danny Kapilian with the idea of persuading Nilsson’s friends and colleagues to record a tribute album in his honor. Nilsson gave his blessings for the project, and suggested that one of his favorite bands, Jellyfish, be included. The single from the album, “Coconut” performed by Fred Schneider, was produced by Richard Barone who joined Schneider to perform the song on Late Night with Conan O’Brien. Barone also contributed “I Guess the Lord Must Be in New York City” to the album. (wikipedia)


Tribute albums are difficult things to pull off at the best of times, so it’s no surprise that not quite everything works on this 23-track set. Part of the problem is that Harry Nilsson wrote some amazing songs in his time — but he also wrote some that were not quite so amazing. Another part of the problem is that some of these songs don’t lend themselves easily to interpretation — thus we have Fred Schneider destroying “Coconut” with a loud, crunchy treatment, and LaVern Baker turning “Jump into the Fire” into a wimpy R&B outing. On the other hand, “Spaceman” is even more interestingly quirky in the hands of the Roches and Mark Johnson, Aimee Mann brings out the sweet side of “One,” Adrian Belew does a fine “Me and My Arrow,” and Steve Forbert turns in a supremely cute take on “The Moonbeam Song.” Overall a nice project (with money going to the Coalition to Stop Gun Violence), though it does not replace the original Nilsson performances by a long chalk. (by Steven McDonald)

And a real great booklet (32 pages)

01. Randy Newman: Remember (Christmas) 2.22
02. Marc Cohn: Turn On Your Radio 3.55
03. Aimee Mann: One 3.02
04. Fred Schneider: Coconut 5.06
05. Joe Ely: Joy 3.59
06. Ringo Starr &Stevie Nicks: Lay Down Your Arms 3.25
07. Gerry Beckley, Robert Lamm & Carl Wilson: Without Her 4.28
08. LaVern Baker: Jump Into The Fire 3.36
09. Steve Forbert: The Moonbeam Song 3.30
10. Peter Wolf & The Houseparty: You’re Breakin’ My Heart 1.53
11. Jennifer Trynin: Mournin’ Glory Story 2.55
12. Al Kooper: Salmon Falls 4.42
13. Victoria Williams: The Puppy Song (Nilsson) 3.21
14. Marshall Crenshaw: Don’t Forget Me 3.31
15. Brian Wilson: This Could Be the Night (Nilsson) 2.31
16. Jellyfish: Think About Your Troubles 2.42
17. Bill Lloyd: The Lottery Song 2.26
18. Ron Sexsmith: Good Old Desk 2.07
19. Adrian Belew: Me And My Arrow 3.12
20. Richard Barone: I Guess The Lord Must Be In New York City 2.41
21. The Roches & Mark Johnson: Spaceman 3.42
22. John Cowan: Don’t Leave Me 3.56
23. Jimmy Webb: Lifeline 4.02

All songs are written by Harry Nilsson
except 12.: written by Harry Nilsson & Klaus Voormann




More from Harry Nilsson:

Maurice André – Trompettissimo (1995)

FrontCover1Maurice André (born 21 May 1933 – 25 February 2012) was a French trumpeter, active in the classical music field.

He was professor of trumpet at the Conservatoire National Supérieur de Musique in Paris where he introduced the teaching of the piccolo trumpet including the Baroque repertoire on trumpet. André has inspired many innovations on his instrument and he contributed to the popularization of the trumpet.

André was born in Alès in the Cévennes, into a mining family. His father was an amateur musician; André studied trumpet with a friend of his father, who suggested that André be sent to the conservatory. In order to gain free admission to the conservatory, he joined a military band. After only six months at the conservatory, he won his first prize.

At the conservatory, André’s professor, Raymond Sabarich, reprimanded him for not having worked hard enough and told him to return when he could excel in his playing. A few weeks later, he returned to play all fourteen etudes found in the back of Arban’s book to a very high standard. Sabarich later said that “it was then that Maurice Andre became Maurice Andre.” Maurice André won the Geneva International Music Competition in 1955, together with Theo Mertens, and the ARD International Music Competition in Munich in 1963. He was made an honorary member of the Delta chapter of Phi Mu Alpha Sinfonia at Ithaca College in New York in 1970.


André rose to international prominence in the 1960s and 1970s with a series of recordings of baroque works on piccolo trumpet for Erato and other labels. He also performed many transcriptions of works for oboe, flute, and even voice and string instruments. André had over 300 audio recordings to his name, from the mid-1950s to his death.

André had three children: Lionel (1959-1988) trumpeter and music teacher; Nicolas, who plays the trumpet; and Béatrice, who plays the oboe. All three performed with their father in concert. He also made several recordings with his brother Raymond (b. 1941).

One of André’s students, Guy Touvron, wrote a biography entitled Maurice André: Une trompette pour la renommée (Maurice André: A Trumpet for Fame), which was published in 2003.

André spent the last few years of his life in retirement in southern France. He died at the age of 78 in a hospital in Bayonne on 25 February 2012. He is buried in the cemetery of the village of Saint-André-Capcèze (in the Lozère). (by wikipedia)


At the height of his career, the name of Maurice André was synonymous with the trumpet. Not only was he largely responsible for establishing the trumpet as a popular solo instrument, but he also dominated the scene in the 1960s and 70s with a punishing schedule of concerts (an average of 180 a year) and more than 300 recordings, many made on his trademark piccolo trumpet.

André’s eventual success was founded on a solid technique, superb breath control and seemingly inexhaustible stamina, attributed by him to his years in the coalmine: “I built myself up when working in the mine at 14 years old, when I was moving 17 tons of coal a day,” he once said.


Certainly the technique was formidable. Playing a three-valve Selmer instrument (a fourth valve was added by the manufacturer in 1967 in collaboration with André to extend the register downwards), he effortlessly negotiated the stratospheric pitch range for which the Baroque repertoire was notorious. In the virtuoso faster movements, his tone sparkled brilliantly; in the slow movements it was creamy and seductive. As Karajan once opined: “He’s undoubtedly the best trumpet player, but he’s not from our world.” (theguardian.com)

So … it´s time to listen to Maurice Andrea again … and again … and again …. He was brilliant !


Maurice Andre (trumpet)
Wolfgang Karius (organ)
Guy Perdersen (bass)
Jean-Marc Pulfer (organ)
Gus Wallez (drums)
Harmonia Nova (on 01.):
Jean-Francois Jenny-Clark (bass)
Niels Lan Doky (clavecin, harpsichord, cembalo)
Daniel Humair (drums)



Marc-Antoine Charpentier:
01. Te Deum – Introduction 4.44

Johann Sebastian Bach:
Suite/Ouverture N°3 BWV 1068:
02. Air 3.24
03. Gavotte 1.19

Kantate BWV 78:
04. Aria pour 2 Trompettes 2.23
05. Suite/Ouverture N°2 BWV 1067 – Badinerie 1.25
06. Kantate BWV 140 -Choral “Wachet auf, ruft uns die Stimme” 2.17
07. Suite/Ouverture N°2 BWV 1067 – Bourrées I & II 2.11

Antonio Vivaldi:
08. Le Quattro Stagioni – Largo 3.22

Johann Sebastian Bach:
09. Brandenburgisches Konzert – NR. 3 BWV 1048 – Allegro 2.15

Benedetto Marcello:
10. Adieu Venise 4.14

Arcangello Corelli:
11. Allemande 2.30

Jean-Michel Defaye:
12. Fugatissimo 2.21

Georg Friedrich Händel:
13. Allegro 2.40

Domenico Cimarosa:
14. Melodie 2.58

Georg Friedrich Händel:
15. Water Music – Aria 2.41



Maurice André (21 May 1933 – 25 February 2012)

Tethered Moon (Masabumi Kikuchi, Gary Peacock, Paul Motian) – Play Kurt Weill (1995)

FrontCover1Tethered Moon Play Kurt Weill is an album by the group Tethered Moon, comprising pianist Masabumi Kikuchi, bassist Gary Peacock and drummer Paul Motian, recorded in late 1994 and released on the JMT label. The album features the groups interpretation of Kurt Weill’s compositions. (by wikipedia)

Although well known in his native Japan, pianist Masamui “Poo” Kikuchi has not received much attention in America. Kikuchi deserves accolades for not settling for another standard piano trio workout with the usual flashy runs and melody-solo-melody format. Instead, he really delves into the pieces, offering probing voicings and careful pacing, varying moods, timing, and tempo. His treatment of “Misterioso” approximates the quirky embellishments and off-center comping and chording Monk injected into the original, while other numbers have genuine movements rather than being continuous linear presentations.


Bassist Gary Peacock and drummer Paul Motian intersect and work alongside Kikuchi, sometimes playing solo but most often meshing and establishing real dialogues rather than individual contrasts. (by Ron Wynn)

Paul Motian and Gary Peacock have always preferred to be equal partners rather than “rhythm section” in piano trios, and Tethered Moon continues the tradition. Masabumi Kikuchi may not be a well-known pianist, but he is absolutely worthy of his peerless partners, and of course Kurt Weill’s melancholy songs. If you like your jazz more abstract but still introspective rather than aggressive, you’ll like this. (by Dave Stagner)


Masabumi Kikuchi (piano)
Paul Motian (drums)
Gary Peacock (bass)

01. Alabama Song 9.36
02. Barbara Song 6.42
03. Moritat 11.19
04. September Song 8.40
05. It Never Was You 1.52
06. Trouble Man 5.03
07. Speak Low 6.56
08. The Bilbao Song 4.40
09. My Ship 5.27

Music composed by Kurt Weill




Brandos – In Exile – Live (1995)

FrontCover1In Exile – Live is the first live album of THE BRANDOS from 1995, available for the first time as digipak edition! They owe their name to their love of Marlon Brando. Their fans know them as one of the most vital American live rock bands of the 20th century’s final decades. THE BRANDOS, known for timeless classics like “”The Solution”” and “”Gettysburg”” and their straight and true rock sound, were founded in 1986 with the line-up of David Kincaid (voc, g, mand, banjo), Ed Rupprecht (g), Larry Mason (dr) and Ernie Mendillo (b, voc) in New York City. The voice of Dan Kincaid was always compared to John Fogerty and Creedence Clearwater Revival and the catching live document In Exile – Live sounds exactly like one of the best American bands from the 60s. The album which contains 18 tracks was recorded with the line-up Dave Kincaid, Ernie Mendillo, Scott Kempner and Frank Funaro on December 20th and 21st, 1994 in Amsterdam and Utrecht (The Netherlands) and contains songs from the band’s studio albums plus the traditional “”The Recruiting Sergeant””.


This is one of the best albums that The Brandos have yet to produce. There are very few rock bands today that demonstrate the versatility, musicianship, and song writing capabilities as The Brandos. This is a great first album for someone who is unfamiliar with their work to purchase since it demonstrates their creativity and original music. As I noted in a previous review of The Brandos, they are (for my money) the best group around. (Roger M. Longo)

One of the most underrated bands of all time !


Frank Funaro (drums, vocals)
Scott Kempner (guitar, vocals)
Dave Kincaid (guitar, banjo, mandolin, vocals)
Ernie Mendillo (bass, vocals)


01. Hard Luck Runner (Kincaid) 4.08
02. Anna Lee (Funk/Kincaid) 3.42
03. The Solution (Kincaid) 4.21
04. Partners (Kincaid) 3.39
05. The Warrior’s Son (Kincaid) 5.09
06. The Light Of Day (Kincaid) 4.22
07. Come Home (Kincaid) 2.31
08. The Last Tambourine (Kincaid) 2.43
09. Hard Times Come Again No (Foster) 4.00
10. Skillet Good ‘N Greasy (Traditional) 2.35
11. Gettysburg (Funk/Kincaid) 4.35
12. Fight For Love (Kincaid) 3.55
13. Gunfire At Midnight (Kincaid) 4.24
14.  Strychnine (Roslie) 3.54
15. The Recruiting Sergeant (Kincaid) 3.26
16.  Get Tough (Kempner) 5.25
17. Fortunes Of War (Kincaid) 3.02
18. Psycho (Roslie) 3.58




More from The Brandos: