Bernd Kistenmacher & Harald Grosskopf – Stadtgarten Live (1995)

FrontCover1Bernd Kistenmacher is a german producer and musician specialised in spherical “kosmische” synthscapes. He started his career in the 80’s with a handful of sonic, epic synthezised electronic efforts taking inspiration from Klaus Schulze and the Berlin electronic school.

His musical releases deliver complex, achieved floating dreamy-like melodies floating throw deep cerebral spaces. Published in 1987, “Wake up in the sun” can be considered among his classic albums.

He also collaborated with the drummer and synthesist Harald Grosskopf (Wallenstein, Klaus Schulze, The Cosmic Jockers…) for the long piece “Stadtgarten Live” (1995) (

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arald Grosskopf (born Harald Großkopf) is a German electronic musician. He played with several Krautrock and progressive rock bands of the 1970s in Germany, and released solo music.

Harald Grosskopf playing with Wallenstein (1972):
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Grosskopf was born in Hildesheim on October 23, 1949. He started his career in the 1960s as a drummer in the beat group The Stuntmen, and toward the end of the decade played in a then-unknown Scorpions. He later played drums in Wallenstein and Ashra, as well as for many of Klaus Schulze’s solo albums. In 1980, he issued his debut LP, Synthesist, which became a cult classic of German electronic music. New York’s RVNG international label reissued the album, with remakes by James Ferraro, Oneohtrix and others in February 2011.In 1980 Grosskopf co-founded the Neue Deutsche Welle band Lilli Berlin, and he remained their drummer until 1983 (wikipedia)

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The duo of Bernd Kistenmacher and Harold Grosskopf teamed up in the early 1990s and produced “Characters”, a studio album, and “Stadtgarten Live”, a concert recording.
“Stadtgarten Live” clearly show how two musicians with different styles and instrumentation can collaborate to create something in a slightly new direction for both of them. Kistenmacher, well known throughout Europe for his hypnotic sequences and textures has found a great team mate in Grosskopf, an experienced drummer and percussionist with strong roots in electronic and progressive music.

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Characters moves all over the map from mid tempo songs layering sequences and melody with dynamic rhythmic elements to more ambient affairs. Regardless, you will stay interested because each composition shows the benefit of two minds bringing some of their best ideas to bear.
It can be argued that many collaboration projects either create something new and remarkable or something pretty much forgettable with little middle ground in between. Characters is an album in the former category in that you really hear the intertwining of two fine minds.
Kistenmacher has never lacked the ability to create entrancing moods throughout his career; Grosskopf’s presence just brings out new flavors that make the music more easily accessible without losing integrity. (


Harald Grosskopf (drums, percussion)
Bernd Kistenmacher (keyboards, synthesizer)

Harald Grosskopf & Bernd Kistenmacher

01. Nightsounds Part I 45.43
02. Different Feelings 18.26
03. Nightsounds Part II (Excerpt) 15.12

Music: Bernd Kistenmacher



The offical Bernd Kistenmacher website:

The official Harald Grosskopf website:

Ry Cooder & David Lindley – The Family Tour (1995)

FrontCover1Ryland Peter “Ry” Cooder (born March 15, 1947) is an American musician, songwriter, film score composer, record producer, and writer. He is a multi-instrumentalist but is best known for his slide guitar work, his interest in traditional music, and his collaborations with traditional musicians from many countries.

Cooder’s solo work draws upon many genres. He has played with John Lee Hooker, Captain Beefheart, Taj Mahal, Gordon Lightfoot, Ali Farka Touré, Eric Clapton, The Rolling Stones, Van Morrison, Neil Young, Randy Newman, Linda Ronstadt, Vishwa Mohan Bhatt, David Lindley, The Chieftains, The Doobie Brothers, and Carla Olson and The Textones (on record and film). He formed the band Little Village, and produced the album Buena Vista Social Club (1997), which became a worldwide hit; Wim Wenders directed the documentary film of the same name (1999), which was nominated for an Academy Award in 2000.

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Cooder was ranked at No. 8 on Rolling Stone magazine’s 2003 list of “The 100 Greatest Guitarists of All Time”, while a 2010 list by Gibson Guitar Corporation placed him at No. 32. In 2011, he published a collection of short stories called Los Angeles Stories. (wikipedia)

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David Perry Lindley (born March 21, 1944) is an American musician who founded the band El Rayo-X, and has worked with many other performers including Jackson Browne, Ry Cooder, Bonnie Raitt, Warren Zevon, Curtis Mayfield and Dolly Parton. He has mastered such a wide variety of instruments that Acoustic Guitar magazine referred to Lindley not as a multi-instrumentalist, but instead as a “maxi-instrumentalist.”


The majority of the instruments that Lindley plays are string instruments, including the acoustic and electric guitar, upright and electric bass, banjo, lap steel guitar, mandolin, hardingfele, bouzouki, cittern, bağlama, gumbus, charango, cümbüş, oud, and zither.

Lindley was a founding member of the 1960s band Kaleidoscope, and has worked as musical director for several touring artists. In addition, he has occasionally scored and composed music for film.


And here´s a delightful broadcast recording from Cooder & Lindley when Ry Cooder & David Lindley went out on a short tour across Europe, Cooder s last solo-album had been 1987 s Get Rhythm. He had, however been spending time working alongside a number of fellow musicians during this period, such as Malain guitarist, Ali Farka Touré, Hindi slide and classical guitarist, Vishwa Mohan Bhatt and, most successfully, with John Hiatt, Nick Lowe and Jim Keltner, as a member of Little Village. David Lindley, as was his want, had also been collaborating with others, most recently with Warren Zevon, on Zevon s ninth record Mutineer. But in the early summer of 95, both these master musicians decided to keep it in the family , and indeed set out for a jaunt with Cooder s son, drummer, percussionist and keyboard player Joaquim in tow, and with Lindley s daughter, vocalist Roseanne, on what came to be known as The Family Tour.


The entourage performed in the UK, the Netherlands, France, Italy et al, and on 6th July they played in Vienna at the prestigious State Opera House, for a concert that was recorded and broadcast both locally and back home in the US. Playing a superb and eclectic set, with all members of the line-up taking turns to front this delightful combo, (


You would have thought this was recorded yesterday the sound is so good and the combination of Ry Cooder and David Lindley with David’s daughter singing some numbers and Ry’s son on percussion quite a family affair works so well. Anything with Lindley in is well worth it he only plays with the best and 140 mins of happy music in times of Coronavirus you may be cheered up (Jim Sproull)

Alternate front + backcover:

A real treat unearthed from the vaults. What a wonderful live performance of two excellent guitarists, featuring their fine slide work in particular and the soulful bluesy vocal of Roseanne Lindley. Good variety, including a traditional Irish tune and one from Madagascar but also some of the slow mournful stuff such as the theme from Paris Texas and Vigilante Man which doesn’t quite fit in with the rest of the great up-tempo material embracing reggae rhythms, old r n b, gospel, blues, soul and rock.
The highest quality pin-sharp recording in the Vienna Opera house.(Mal)

Cooder & Lindley, assisted by their offspring, tackle a wide ranging collection of song styles , working hard to involve a rather stolid & reserved audience in this Viennese palace of culture. Maybe something got lost in translation. Pristine recording, virtuoso performances as one would expect from this lineup. (Doris H.)

 Recorded live at Opera House, Vienna /Austria, 06. July 1995
(excellent broadcast recording)


Joachim Cooder (drums, percussion)
Ry Cooder (guitar, vocals, accordion, bouzouki, tambora, mandolin)
David Lindley (guitar, vocals, bajo sexto, bouzouki, tambora)
Rosanne Lindley (vocals, guitar)

Another alternate frontcover:


CD 1:
01. Intro 1.23
02. Promised Land (Lindley) 6.38
03. Jesus On The Mainline (Traditional) 6.15
04. Mercury Blues (Douglas) 7.57
05. Afindafrindrao (Madagascar) (Traditional) 5.28
06. Si Beg Si Mhor (O`Carolan) 2.54
07. Paris Texas (Cooder)  / Vigilante Man (Guthrie) 10.32
08. All Shook Up (Blackwell/Presley) 6.01
09. That’s The Way The Girls Are From Texas (Chambers/Holiday/Lewis) 6.05
10. How Can A Poor Man Stand Such Times and Live (Reed) 7.11
11. Leave Home Blues (Lindley) 4.07

CD 2:
01. I´m A Lonesome Fugitive (Haggard) 3.57
02. Me And My Chauffeur (Memphis Minnie) 4.03
03. Ain´t No Way Baby (Lindley) 4.55
04. Break Up Your Happy Home (Matthews/Jackson Jr.) 4.38
05. Little Sister (Shuman/Pomus) 3.41
06. Play It All Night Long (Zevon) 6.43
07. If Walls Could Talk (Miller) /Smell (Davis) / 5-10-15 (Boyd/Powell) 8.32
06. Hold That Snake (Cooder) 6.27
07. Talk To The Lawyer (Lindley) 5.32
08. Good Night Irene (Ledbetter) 9.11
09. The Very Thing That Makes You Rich (Bailey) 5.55
10. Do You Want My Job (CooderHiatt/Keltner/Lowe) 6.21



More from Ry Cooder:

More from David Lindley:

The official Ry Cooder website:
Ry Cooder Website

The official David Lindley website:
David Lindley Website

Bill Whelan – Riverdance (Music From The Show) (1995)

FrontCover1Bill Whelan (born 22 May 1950 in Limerick, Ireland) is an Irish composer and musician. He is best known for composing a piece for the interval of the 1994 Eurovision Song Contest. The result, Riverdance, was a seven-minute display of traditional Irish dancing that became a full-length stage production and spawned a worldwide craze for Irish dancing and Celtic music and also won him a Grammy. “Riverdance” was released as a single in 1994, credited to “Bill Whelan and Anúna featuring the RTÉ Concert Orchestra”. It reached number one in Ireland for 18 weeks and number nine in the UK. The album of the same title reached number 31 in the album charts in 1995.

Bill with his mother and father:
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Whelan has also composed a symphonic suite version of Riverdance, with its premiere performed by the Ulster Orchestra on BBC Radio 3 in August 2014.

Whelan is a native of Limerick, and was educated at Crescent College.[3] He gained his Bachelor of Civil Law degree at University College Dublin in 1973 and then went to King’s Inns. In 2011, Whelan was awarded the UCD Foundation Day Medal in recognition of his outstanding achievements and his contribution to Irish music worldwide.

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While he is best known for his “Riverdance” composition and the theatrical show of the same name, Whelan has been involved in many ground-breaking projects in Ireland since the 1970s. As a producer he has worked with U2 (on their War album), Van Morrison, Kate Bush, The Dubliners, Planxty, Andy Irvine & Davy Spillane, Patrick Street, Stockton’s Wing and fellow Limerickman Richard Harris.

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Riverdance: Music from the Show is an album of the music composed by Bill Whelan for the Riverdance theatrical show, and performed by the show’s own musicians and singers.
The recording was engineered and mixed at Windmill Lane Studios in 1995. In 1997, it won the Grammy Award for Best Musical Show Album for 1996. The album was released five times: in 1995, 1997, 2003, 2005 and 2020, each time with a different cover, sometimes different versions or mixes of the songs, and a slightly different track list. Notably, the “Cloudsong” and “Riverdance” segments are placed under one track going by the name of the latter. (wikipedia)

Concert Poster

Even though the visual elements are missing, this soundtrack to Riverdance sounds quite spectacular, making a no-holds-barred attempt to captivate the listener with grandiose variations on Celtic musical forms. Adding to the grandeur and magic of the music are performances by artists such as Davy Spillane, Maire Breatnach, Anúna, Nicola Parov, and others who are forces to reckon with individually. The music transitions between soaring vocal pieces and floor-shaking orchestral numbers that possess astonishing energy. Lead ceilidh dancer Michael Flatley left the production under something of a cloud, turning up later with the derivative and far more mediocre Lord of the Dance. On this recording of Riverdance: Music from the Show, Flatley, female lead Jean Butler, and the other ceilidh dancers can be heard providing taps on three tracks, including the thunderous “The Countess Cathleen/Women of the Sidhe.” (Steven McDonald)


Cormac Breatnach (tin whistle)
Máire Breatnach (fiddle)
Ronan Browne (uilleann pipes)
Robbie Casserly (bass, drums)
Áine Uí Cheallaigh (vocals)
Anthony Drennan (guitar)
Noel Eccles (percussion)
Kenneth Edge (saxophone)
Juan Reina Gonzalez (cantor)
Robbie Harris (bodhrán)
David Hayes (keyboards)
Tom Hayes (bodhrán, spoons)
Eileen Ivers (fiddle)
Declan Masterson (low whistle)
Des Moore (guitar)
Máirtín O’Connor (accordion)
Eoghan O’Neill (bass)
Nikola Parov (gadulka, kaval)
Desi Reynolds (drums)
Rafael Riqueni (guitar)
Davy Spillane (uilleann pipes, tin whistle)

Conducted by Michael McGlynn & Prionsias O’Duinn


01. Reel Around The Sun 8.42
02. The Heart’s Cry  2.27
03. The Countess Cathleen/Women Of The Sidhe  5.41
04. Caoineadh Cú Chulainn (Lament) 4.11
05. Shivna 3.38
06. Firedance 6.03
07. Slip Into Spring 3.46
08. Riverdance 5.44
09. American Wake (The Nova Scotia Set) 3.08
10. Lift The Wings 4.59
11. Macedonian Morning 2.56
12. Marta’s Dance / The Russian Dervish 6.03
13. Andalucía 4.21
14. Home And The Heartland 3.26
15 The Harvest 3.38
16. Riverdance 3.47

All songs written by Bill Whelan



Michael Flatley and Jean Butler – Riverdance – opening night The Point Theatre 9/2/1995:

The official Riverdance website:

Bernward Koch – Still Magic (1995)

FrontCover1Bernward Koch (born January 23, 1957 in Siegen) is a German composer, pianist and keyboardist. Additionally, he plays percussion, bass, and guitar. His music mainly evokes a soothing and calming style, with a clearly recognizable melody from the piano, enriched with keyboards, flute, guitar and percussion. His first release, 1989’s Flowing, was successful especially in the United States, hit song: “Ever Returning”.

The second album Laguna de la Vera achieved top positions on the Billboard New Age Chart. Kochs tracks contributed to several US-Aids-benefit compilations among others together with Sting, Bonnie Raitt, Al Jarreau, Ottmar Liebert, Dave Grusin, Dave Stewart. The song “Touched by Love” from the Walking through Clouds album appears on a compilation in Belgium/Luxembourg Universal Music Group together with Ennio Morricone, Tony Bennett and Lang Lang.


The Weber State University in Ogden, Utah recommends his music as anti stress. Many airlines around the world apply his “music against fear of flying”. The track “Childhood Hour”, a piece from his record Walking through Clouds, was used in the award-winning movie “Shaniko” with Melissa Goad in 2008. All of his US releases were released by the Californian label Real Music (based in Sausalito near San Francisco). Since 2019 the label, including all previous albums and album Becoming, has been taken over by the new label myndstream (Beverly Hills / LA).

The album Montagnola was recorded as an piano solo improvisation and is dedicated to the German Swiss writer Hermann Hesse. Koch has earned such awards as Piano Heaven Award in England and Audiophiles Highlight Award from STEREO in Germany. In 2012 he won the cultural prize from his hometown Wenden. Koch has published fourteen albums so far, the current release is called Becoming (myndstream/Real Music, USA). Since 2016 Koch is an official member of The Recording Academy (National Academy of Recording Arts and Sciences, NARAS) and thereby a Grammy Award voting member. (wikioedia)

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And here´s his third solo-album;

Still Magic” is an album by an artist, who has experienced a most astonishing rise within the New Instrumental Music scene during last couple of years. With his 1990 album “Flowing” Bernward Koch had a very successful debut, both in Europe and the United States, where the influential radio station “The Wave” popularized the work of the then completely unknown German keyboardist via power rotation. Bernward Koch’s fame began to transcend the New Instrumental Music community, when in 1991 the artist (among greats such as Pat Metheny, Suzanne Vega, Enja or Sting) contributed a track to the compilation “Wave Aid”, a benefit for a charity initiated by the Liz Taylor Foundation. Bernward Koch’s final BernwardKoch01breakthrough came in 1992, when his second album “Laguna de la Vera” stayed high in the Billboard New Age charts for a couple of months. Simultaneously it became one of the most highly acclaimed instrumental records of the year in various other countries. Today Bernward Koch is considering by many as one of the genre’s leading new artists.
Nobody, who knows Koch’s music, will be surprised by his success: the classically trained artist composes pieces of outstanding formal maturity with an astonishing musical finesse. Koch himself calls his compositions “songs without lyrics” – and ideed they are delicately crafted and clearly show their creators sense of form.
Koch’s arrangements are always marked by a tasteful balance of synthetic and natural sounds. The organic pulse of a real, flesh and blood drummer is essential for Koch’s music, and the exquisite flute playing of his wife Christiane Böhm has over the years become a trademark feature of his sound. On “Still Magic” the music of Bernward Koch more than ever unfolds an unobtrusive but seducitve charm – and once again many listeners on both sides of the Atlantic will soon be under its spell. (


Christiane Böhm (flute)
Michael Hunold (guitar)
Bernward Koch (keyboards, bass)
Christoph Koch (drums)
Philipp Schneider (percussion)
Markus Schröder (bass)

01. My Heart 2.53
02. Short Story 2.37
03. Still Magic 3.25
04. Summernight 4.49
05. Cousin Beko 4.22
06. Golden Sands 3.25
07. Gentle Wings 2.28
08. Pleuss The Painter 3.25
09. Little Hannah 2.39
10. A Chase In A Castle 3.19
11. Lazy Afternoon 2.58
12. Flair de France 3.10
13. Dark Northsea 3.42
14. Wonderful Glider 3.21

Music: Bernward Koch



The official website:

Helga Schauerte – Die Passauer Domorgel (The Passau Cathedral Organ) (1995)

FrontCover1Through her numerous concert tours, radio recordings and musicological research, organist Helga Schauerte (born March 8, 1957 in Lennestadt/Germany) has become one of the most outstanding musicians of her generation. She has recorded some thirty CDs featuring the complete organ works of Jehan Alain, Dieterich Buxtehude and Johann Sebastian Bach as well as her Composer Portraits series focussing on the music of Johann Heinrich Buttstett, Michel Corrette, Max Reger, Léon Boëllmann, Théodore Dubois and Jean Langlais. Schauerte gives recitals to great acclaim in Europe and the USA, is Staff Organist at the German Protestant Church (Christuskirche) in Paris and a professor at the Conservatoire Municipal of the 9th Arrondissement in Paris, lectures and sits on the juries of international organ competitions. In her work, the organist combines the traditions of the German and French schools. In 2006 she established the Bach Organ Academy in Pontaumur (Auvergne, France).

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Helga Schauerte wrote the first ever book about the music of Jehan Alain to be published in Germany, and for her own collection has tracked down and acquired almost forty of the composer’s original manuscripts. She was involved in preparations to publish a new issue of the encyclopaedia Die Musik in Geschichte und Gegenwart (Music in History and in the Present) for Bärenreiter-Verlag, has written articles about French organ music for The Manual of Organ Music and has prepared scholarly-critical releases of the full works of Léon Boëllmann, Théodore Dubois, Louis Vierne and Jehan Alain as well as the complete vocal music of Marc-Antoine Charpentier.

Helga Schauerte has produced several French and German Christmas carol-settings for organ and other instruments (published by Merseburger-Verlag).

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Schauerte made her first public appearance at the age of ten. At the age of thirteen she became an organist in Lennestadt (Germany). She studied music, pedagogy and philosophy in Cologne under Viktor Lukas, subsequently continuing her studies in Paris under Marie-Claire Alain. Jean Langlais entrusted her with the first performances of several of his works, among which Miniature II is dedicated to her.

In 1987 Helga Schauerte received the cultural prize of the town of Olpe (Germany). Since 1990 her biography has been included in the International Who’s Who in Music every year. The organist was also selected for inclusion in the encyclopaedia 2000 Outstanding Musicians of the 20th Century.

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And here´s a wonderful album recorded on the organ of St. Stephen’s Cathedral in Passau/ Germany:

Is there the world’s largest organ in the St. Stephen’s Cathedral in Passau, the world’s largest church organ or the world’s largest cathedral organ? All these titles applied once to this organ from its creation in the year 1928 up until now. They also applied individually to the organ during their respective times.


With its 17,974 pipes and 233 registers, the organ in Passau’s cathedral is considered to be the largest Catholic church organ in the world and the largest organ in Europe. It ranks at the fifth place with its number of pipes.

Cathedral organ concerts are among the highlights when visiting Passau. To hear the sound of this unique instrument while experiencing the cathedral’s unparalleled atmosphere is an emotional and unforgettable moment.

Enjoy the magic and the power of this great organ music !


Helga Schauerte (organ)

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01. Toccata et Fugue in D Minor, BWV 565 (Bach) 9.04
02. Ave Maria d’Arcadelt (Liszt) 5.10
03. Toccata in D Minor, Op. 59 (Reger) 4.28
04. Toccata sur HSK (U.Schauerte) 8.55
05. Toccata prima (Frescobaldi) 3.30
06. Largo, Allegro, Largo (Zipoli) 3.35
07. Musette (Bossi) 5.23
08. Carillon (Charpentier) 3.12

Suite Gothique (Boelmann)
09. I. Introduction, Choral 2.28
10. II. Menuet Gothique 2.40
11. III. Prière à Notre-Dame 5.25
12. IV. Toccata 3.58

13. Canzona (Vierne) 4.48
14. Caprice (Guilmant) 5.28
15. Toccata (Dubois) 8.01

The St. Stephen’s Cathedral in Passau/Germany:
St. Stephen’s Cathedral Passau


Bette Midler – Bette Of Roses (1995)

FrontCover1Bette Midler (born December 1, 1945) is an American actress, comedian, singer, and author. Throughout her career, which spans over five decades, Midler has received numerous accolades, including four Golden Globe Awards, three Grammy Awards, three Primetime Emmy Awards, two Tony Awards and a Kennedy Center Honor, in addition to nominations for two Academy Awards and a British Academy Film Award.

Born in Honolulu, Hawaii, Midler began her professional career in several off-off-Broadway plays, prior to her engagements in Fiddler on the Roof and Salvation on Broadway in the late 1960s. She came to prominence in 1970 when she began singing in the Continental Baths, a local gay bathhouse where she managed to build up a core following. Since 1970, Midler has released 14 studio albums as a solo artist, selling over 30 million records worldwide, and has received four Gold, three Platinum, and three Multiplatinum albums by RIAA.[3][4] Many of her songs became chart hits, including her renditions of “The Rose”, “Wind Beneath My Wings”, “Do You Want to Dance”, “Boogie Woogie Bugle Boy”, and “From a Distance”. She won Grammy Awards for Best New Artist, Best Female Pop Vocal Performance for “The Rose”, and Record of the Year for “Wind Beneath My Wings”.

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Midler made her starring film debut with the musical drama The Rose (1979), which won her the Golden Globe Award for Best Actress – Motion Picture Comedy or Musical, as well as a nomination for the Academy Award for Best Actress. She went on to star in numerous films, including Down and Out in Beverly Hills (1986), Ruthless People (1986), Outrageous Fortune (1987), Big Business (1988), Beaches (1988), Hocus Pocus (1993), The First Wives Club (1996), The Stepford Wives (2004), Parental Guidance (2012), and The Addams Family (2019). Midler also had starring roles in For the Boys (1991) and Gypsy (1993), winning two additional Golden Globe Awards for these films and receiving a second Academy Award nomination for the former.

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In 2008, Midler signed a contract with Caesars Palace in Las Vegas for a residency, Bette Midler: The Showgirl Must Go On, which ended in 2010. She starred in the Broadway revival of Hello, Dolly!, which began previews in March 2017 and premiered at the Shubert Theatre in April 2017. The show was her first leading role in a Broadway musical. Midler received the Tony Award for Best Actress in a Musical for her performance.

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Bette of Roses is the eighth studio album by the American singer Bette Midler, released on Atlantic Records in 1995. It became Midler’s final album for the label, twenty-three years after the release of her debut album The Divine Miss M (Midler was transferred to Atlantic’s sister label Warner Bros. Records for her next two albums, then left the Warner group completely in 2002 when she signed with the Sony-owned Columbia Records). The title Bette of Roses is a play on one of the tracks, “Bed of Roses.”


Bette of Roses marked a change in musical direction as it exclusively included contemporary material composed by songwriters in the soft rock, country and folk genres such as Cheryl Wheeler, Maria McKee, Bonnie Hayes, Marc Jordan, Tonio K, Andy Hill, Pete Sinfield and Roger Cook. “In This Life” had previously been recorded by country singer Collin Raye on his 1992 album of the same name. According to AllMusic’s review, Midler is said to have personally chosen the track listing from “hundreds and hundreds of songs.” Just like Some People’s Lives the album was chiefly produced by Arif Mardin, but the arrangements were consequently also more guitar-based and the soundscape altogether more acoustic than synthesized, the songs chosen were mainly midtempo ballads, like “Bottomless,” “As Dreams Go By” and “I Believe In You,” or country rock influenced tracks, like “I Know This Town” and “The Last Time,” and the set as a whole was geared towards the American adult contemporary and adult Top 40 markets rather than the pop or dance charts.


Although Bette of Roses met with generally positive reviews on its release, it proved to be Midler’s lowest-charting studio album since 1983’s new wave/rock-influenced No Frills, peaking at No. 45 on Billboard’s album chart and No. 55 in the UK. This resulted in the release of a radically remixed dance version of Maria McKee’s country rock ballad “To Deserve You,” which more or less only retained the lead vocals and a sample of the spoken line “I would die for you” from the album version, which had been arranged by the composer herself.

Review from  Music & Media 1995:
Review Music & Media 1995

The original backing track was replaced with a 123 BPM mid-’90s dance production in the style of house music remixers like Shep Pettibone, Frankie Knuckles and Junior Vasquez, although it in fact had been remixed and re-produced by Arif Mardin himself. The promo video was also re-edited and re-released, then using the dance remix instead of the original Bette of Roses recording. In Europe, Australia and New Zealand the remix single was issued to promote Atlantic/Warner Music’s expanded re-release of Midler’s 1993 hits compilation Experience the Divine: Greatest Hits—on which it was placed as the opening track—instead of the actual Bette of Roses album. Although notably different to Midler’s original recording of the song and indeed the whole Bette of Roses album project as such, the dance remix of “To Deserve You” proved to be one of the biggest commercial successes of her musical career as the track became a major dancefloor hit in the US in early 1996, reaching No. 1 on the Hot Dance Club Play chart.

Midler can be seen performing two tracks from the Bette of Roses album (“To Comfort You” and “Bed of Roses”) in her 1997 Diva Las Vegas concert film.

The Bette of Roses album was certified Platinum by the RIAA in 2001, six years after its original release. It was certified Silver by the BPI (UK) in 2013. (wikipedia)


Mike Baird (drums)
Jerry Barnes (bass, background vocals)
Chris Botti (trumpet)
Jimmy Bralower (drum programming)
Robbie Buchanan (keyboards, synthesizer, programming)
Larry Cohn (synthesizer)
Paulinho da Costa (percussion)
Buzz Feiten (guitar, tambourine)
Reggie Hamilton (bass)
Bonnie Hayes (programming)
Danny Jacob (guitar)
Robbie Kondor (keyboards, synthesizer, programming)
Abraham Laboriel (bass)
Michael Landau (guitar)
Bobby Lyle (piano)
Jay Dee Maness (pedal steel-guitar)
Marc Mann (programming)
Joe Mardin (drums, background vocals)
Bette Midler (vocals)
Michael O’Reilly (guitar)
Gene Orloff (violin)
Dean Parks (guitar)
Steve Skinner (keyboards, synthesizer, programming)
Michael Visceglia (bass)
Tom “T-Bone” Wolk (bass)
Shelley Woodworth (oboe)
background vocals:
Lani Groves – Ula Hedwig – Vaneese Thomas – Angela Cappelli – Rachele Cappelli


01. I Know This Town (Wheeler) 3.54
02. In This Life (Reid/Shamblin) 4.11
03. Bottomless (Hayes) 5.18
04. To Comfort You (Thomas) 4.44
05. To Deserve You (McKee) 5.16
06. The Last Time (McKee) 4.52
07. Bed Of Roses (Hayes) 4.12
08. The Perfect Kiss (Tibbs/Jordan) 3.43
09. As Dreams Go By (Hill/Sinfield) 5.09
10. It’s Too Late (Tonio K/Thiele Jr./Hayes) 4.41
11. I Believe In You (Hogin/Cook) 4.33



More from Bette Midler:

The official website:

Various Artist – Tapestry Revisited – Tribute To Carole King (1995)

FrontCover1Carole King Klein (born Carol Joan Klein; February 9, 1942) is an American singer, songwriter, and musician who has been active since 1958, initially as one of the staff songwriters at the Brill Building and later as a solo artist.

Regarded as one of the most significant and influential musicians of all time, King is the most successful female songwriter of the latter half of the 20th century in the US, having written or co-written 118 pop hits on the Billboard Hot 100. King also wrote 61 hits that charted in the UK, making her the most successful female songwriter on the UK singles charts between 1962 and 2005.


King’s major success began in the 1960s when she and her first husband, Gerry Goffin, wrote more than two dozen chart hits, many of which have become standards, for numerous artists. She has continued writing for other artists since then. King’s success as a performer in her own right did not come until the 1970s, when she sang her own songs, accompanying herself on the piano, in a series of albums and concerts. After experiencing commercial disappointment with her debut album Writer, King scored her breakthrough with the album Tapestry, which topped the U.S. album chart for 15 weeks in 1971 and remained on the charts for more than six years.


King has made 25 solo albums, the most successful being Tapestry, which held the record for most weeks at No. 1 by a female artist for more than 20 years. Her record sales were estimated at more than 75 million copies worldwide. She has won four Grammy Awards and was inducted into the Songwriters Hall of Fame. She has been inducted twice into the Rock and Roll Hall of Fame, as a performer and songwriter. She is the recipient of the 2013 Library of Congress Gershwin Prize for Popular Song, the first woman to be so honored. She is also a 2015 Kennedy Center Honoree.


Tapestry Revisited: A Tribute to Carole King is a 1995 tribute album honoring American singer, songwriter, and pianist Carole King. It features a diverse lineup of artists including Richard Marx, Aretha Franklin, Rod Stewart, Celine Dion, The Bee Gees and Amy Grant. The idea of this release was to re-create King’s 1971 album Tapestry track-for-track using other artists.

The album peaked at number 53 on the Billboard 200 and was certified Gold by the RIAA in the United States. (wikipedia)


Carole King’s 1971 album Tapestry was one of the best-selling LPs of the early ’70s and has had a lasting influence on pop singer/songwriters ever since. The idea of this tribute album was to re-create the album track-for-track using other artists. Since King had begun her career as a songwriter, with songs such as “Will You Love Me Tomorrow?” and “(You Make Me Feel Like) A Natural Woman” hitting for other artists before turning up on Tapestry, it was an appropriate concept. Though each artist was asked to submit a finished track, there was some musical continuity in that several tracks — “You’ve Got a Friend,” by BeBe & CeCe Winans, featuring Aretha Franklin, “Will You Love Me Tomorrow?,” by the Bee Gees, and “Smackwater Jack,” by the Manhattan Transfer — were produced by Arif Mardin, and a couple of others — “So Far Away,” by Rod Stewart, and “(You Make Me Feel Like) A Natural Woman,” by Celine Dion — were handled by David Foster.


In such a project, casting is everything, and the best versions were turned in by artists who grew up with the original album, such as Amy Grant (“It’s Too Late”), Richard Marx (“Beautiful”), and Faith Hill (“Where You Lead”). Such artists achieved a reasonable compromise between the King versions and their own sound. Artists like the Bee Gees and Stewart, who were King’s contemporaries, seemed to be going through the motions, and a raft of newer artists, such as Eternal, Curtis Stigers, Blessid Union of Souls, All-4-One, and Dion, seemed to be on the album because someone at their management companies thought it would be a good idea and displayed little feel for the material. But King’s music has a flexibility that allows for many interpretations, and while this album could not be recommended over the original, the new performances didn’t do it much harm. (by William Ruhlmann)


I am too lazy to list all the musicians who participated in this album (see booklet)


01. Eternal: I Feel the Earth Move(King) 4.59
02. Rod Stewart: So Far Away (King) 4.25
03. Amy Grant: It’s Too Late (King/Stern) 3.58
04. Curtis Stigers: Home Again (King) 3.41
05. Richard Marx: Beautiful (King) 3.46
06. Blessid Union of Souls: Way Over Yonder (King)  3.53
07. BeBe & CeCe Winans feat. Aretha Franklin: You’ve Got A Friend(King) 6.03
08. Faith Hill: Where You Lead (King/Stern) 3.32
09. Bee Gees: Will You Love Me Tomorrow (King/Goffin) 5.02
10. The Manhattan Transfer: Smackwater Jack (King/Goffin) 4.37
11. All-4-One: Tapestry (King) 3.12
12. Celine Dion: (You Make Me Feel Like) A Natural Woman (King/Goffin/Wexler) 3.43



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Ginger Baker Trio – German Jazz Festival Frankfurt (1995)

FrontCover1Peter Edward “Ginger” Baker (19 August 1939 – 6 October 2019) was an English drummer, composer, songwriter and a co-founder and occasional vocalist of the rock band Cream. His work in the 1960s and 1970s earned him the reputation of “rock’s first superstar drummer”, for a style that melded jazz and African rhythms and pioneered both jazz fusion and world music.

Baker gained early fame as a member of Blues Incorporated and the Graham Bond Organisation, both times alongside bassist Jack Bruce, with whom Baker would often clash.


In 1966, Baker and Bruce joined guitarist Eric Clapton to form Cream, which achieved worldwide success but lasted only until 1968, in part due to Baker’s and Bruce’s volatile relationship. After briefly working with Clapton in Blind Faith and leading Ginger Baker’s Air Force, Baker spent several years in the 1970s living and recording in Africa, often with Fela Kuti, in pursuit of his long-time interest in African music.[3] Among Baker’s other collaborations are his work with Gary Moore, Masters of Reality, Public Image Ltd, Hawkwind, Atomic Rooster, Bill Laswell, jazz bassist Charlie Haden, jazz guitarist Bill Frisell and Ginger Baker’s Energy.


Baker’s drumming is regarded for its style, showmanship, and use of two bass drums instead of the conventional one. In his early days, he performed lengthy drum solos, most notably in the Cream song “Toad”, one of the earliest recorded examples in rock music. Baker was an inductee of the Rock and Roll Hall of Fame as a member of Cream in 1993, of the Modern Drummer Hall of Fame in 2008,[4] and of the Classic Drummer Hall of Fame in 2016.[5] Baker was noted for his eccentric, often self-destructive lifestyle, and he struggled with heroin addiction for many years. He was married four times and fathered three children.  (/wikipedia)


The Ginger Baker Trio featuring Bill Frisell & Charlie Hayden, live on 9/24/1995 at Jazzfestival Frankfurt. This concert was broadcast on FM radio in Germany, probably NDR. This trio released the albums Going Back Home in 1994 and Falling Off The Roof in 1996.


Strangely, even the biggest Baker obituaries are often (almost) devoid of his ambitions in the jazz genre. In 1995, for example, Ginger Baker played at the German Jazz Festival in Frankfurt together with guitarist Bill Frisell and bassist Charlie Haden. It is no coincidence that these are two musicians who belong(ed) to the first world league of jazz. And the meeting of the three was one of those rare constellations for which the Frankfurt Festival has always had a good hand.


Bill Frisell spoke about Ginger Baker in a Rolling Stone interview after his death, emphasising Baker’s sensitivity (behind his hard shell) and his inimitable drumming style. – The three-piece constellation presented here with Baker, Frisell and Haden was considered sensational at the time. (Claus Gnichwitz)

Recorded live at the 26. German Jazzfestival Frankfurt/Germany, broadcasting hall des Hessischer Rundfunk, 29.09.1995
(excellent broadcast recording)


Ginger Baker (drums)
Charlie Haden (bass)
Bill Frisell (guitar)

Alternate frontcover:

01. Intro (in German) 0.53
02. Rambler (Frisell) 6.07
03. Ginger Blues (Haden) 7.34
04. I Lu Kron (Baker) 4.42
05. Ramblin’ (Coleman) 12.50
06. Spiritual (Haden) 5.40
07. Ain Temouchant (Baker) 5.27
08. When We Go (Bill Frisell) 4.41
09. Straight No Chaser (Monk) 6.53
10. In The Moment (Haden) 13.34


More from Ginger Baker:

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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



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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:

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