Andrew Lloyd Webber & Tim Rice – Evita- The Complete Motion Picture Music Soundtrack (1996)

FrontCover1Evita is a 1996 American musical historical drama film based on the 1976 concept album of the same name produced by Tim Rice and Andrew Lloyd Webber, which also inspired a 1978 musical. The film depicts the life of Eva Perón, detailing her beginnings, rise to fame, political career and death at the age of 33. Directed by Alan Parker, and written by Parker and Oliver Stone, Evita stars Madonna as Eva, Jonathan Pryce as Eva’s husband Juan Perón, and Antonio Banderas as Ché, an everyman who acts as the film’s narrator.

Following the release of the 1976 album, a film adaptation of the musical became mired in development hell for more than fifteen years, as the rights were passed on to several major studios, and various directors and actors considered. In 1993, producer Robert Stigwood sold the rights to Andrew G. Vajna, who agreed to finance the film through his production company Cinergi Pictures, with Buena Vista Pictures distributing the film through Hollywood Pictures.


After Stone stepped down from the project in 1994, Parker agreed to write and direct the film. Recording sessions for the songs and soundtrack took place at CTS Studios in London, England, roughly four months before filming. Parker worked with Rice and Lloyd Webber to compose the soundtrack, reworking the original songs by creating the music first and then the lyrics. They also wrote a new song, “You Must Love Me”, for the film. Principal photography commenced in February 1996 with a budget of $55 million, and concluded in May of that year. Filming took place on locations in Buenos Aires and Budapest, and on soundstages at Shepperton Studios. The film’s production in Argentina was met with controversy, as the cast and crew faced protests over fears that the project would tarnish Eva’s image.


Evita premiered at the Shrine Auditorium in Los Angeles, California, on December 14, 1996. Hollywood Pictures gave the film a platform release, which involved releasing it in select cities before expanding distribution in the following weeks. The film had a limited release on December 25, 1996, before opening nationwide on January 10, 1997. It grossed over $141 million worldwide. The film received a mixed critical response; reviewers praised Madonna’s performance, the music, costume designs and cinematography, while criticism was aimed at the pacing and direction. Evita received many awards and nominations, including the Academy Award for Best Original Song (“You Must Love Me”), and three Golden Globe Awards for Best Picture – Comedy or Musical, Best Original Song (“You Must Love Me”) and Best Actress – Comedy or Musical (Madonna).


Evita is the soundtrack album to the 1996 musical film of the same name, performed mostly by American singer Madonna. It was released by Warner Bros. Records on November 12, 1996. Directed by Alan Parker, the film was based on Tim Rice and Andrew Lloyd Webber’s 1978 musical Evita about First Lady of Argentina, Eva Perón, portrayed by Madonna. The soundtrack consists of reworked songs from its original 1976 concept album as well as a new song, “You Must Love Me”. Additional performers on the soundtrack include Antonio Banderas, Jonathan Pryce and Jimmy Nail.


After securing the title role in Evita, Madonna underwent vocal training in order to enhance her singing abilities. The actors were tense during the recording sessions for Evita, since they were from a non-musical background. The musical style for Evita differed from Madonna’s previous works and she was not comfortable in recording her vocals inside the studio alongside the orchestra. After an emergency meeting with the principal personnel, it was decided she would record in a separate location. It took almost four months for the soundtrack to be finished. Rice and Lloyd Webber had employed the classical technique while creating the music, taking the central theme, “Don’t Cry for Me Argentina”, and tweaking it to cater to a variety of settings. Through the songs, the soundtrack tells the story of Eva Perón’s beginnings, her rise to fame, political career and gradually her death.


Recording sessions began in September 1995, and took place at the CTS Studios in London, with Madonna and co-actors Antonio Banderas and Jonathan Pryce. Engineer David Reitzas performed the mixing of the track at Larrabee North Studios, utilizing their Solid State Logic 9000 J series consoles for the mix. For the first day’s sessions, music supervisor David Caddick suggested to record “Don’t Cry for Me Argentina” with the 84 piece orchestra backing Madonna’s vocals. However, Lloyd Webber was critical of the recording arrangements done in the studio. The cast was also nervous. Flick noted that Banderas found the experience “scary” while Madonna was “petrified” when it came to recording the songs. “I had to sing ‘Don’t Cry For Me Argentina’ in front of Andrew Lloyd Webber … I was a complete mess and was sobbing afterwards. I thought I had done a terrible job”, the singer recalled. Conductor John Mauceri remembered another challenge the production faced was adapting the stage numbers into a feature film; “On film, it’s different than being on stage because the person on the screen in front of you is never farther than someone on the pillow in bed next to you”. Parker declared the first day of recording as “Black Monday”, since it was “filled with trepidation and nerves … All of us came from very different worlds—from popular music, from movies, and from musical theater—and so we were very apprehensive”.


According to producer Nigel Wright, the lead actors would first sing the numbers backed by a band and orchestra, “then they would go off with Alan and David in a more intimate recording environment and perfect their vocals”. However, more trouble arose as Madonna was not comfortable with laying down a “guide vocal” simultaneously with an 84 piece orchestra inside the studio. Also, unlike her previous soundtrack releases, she had little to no control over the project; “I’m used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn’t … To work on 46 songs with everyone involved and not have a big say was a big adjustment”, she recalled.


An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part at Whitfield Street, a contemporary studio, while the orchestration would take place somewhere else. She also had alternate days off from the recording to save and strengthen her voice. Recording the soundtrack was a slow process and took almost four months before it was completed. But Parker noticed at the end of recording that they did not have the new song in place. Recalling in his The Making of Evita essay:

Finally, while I was visiting Andrew at his country estate in Berkshire to play him the tracks we had recorded, he suddenly sat down at the piano and played the most beautiful melody, which he suggested could be our new song. Needless to say, I grabbed it. However, we still needed lyrics and Tim dutifully began to put words to the music. The vast majority of the original Evita score had been done this way: music first, lyrics afterwards. After many weeks of nail biting, Tim was finally cajoled into writing the lyrics that now accompany the music to “You Must Love Me”. (wikipedia)


Madonna staked much of her career on Evita, gambling that it would establish her as a proper movie star and a respected actress, as well as reviving her slumping musical career. Both the film and the soundtrack, while worthy efforts, fall just short of their goals, despite their numerous strong points. The double-disc soundtrack to Evita — which essentially is an audio document of the entire film, since there is no dialogue in the movie — is an exquisitely produced and expertly rendered version of Andrew Lloyd Webber and Tim Rice’s rock-inspired musical, yet it remains curiously unengaging.


Part of the reason is Madonna’s performance. While she gives a startlingly accomplished and nuanced performance — her voice actually sounds like it matures over the course of the album — it is impossible to listen to her without getting the impression that she is trying really hard to be credible, which makes it difficult to connect with her. It doesn’t help that her supporting cast of Jonathan Pryce and Antonio Banderas are only fitfully successful; Banderas’ performance, in particular, suffers from being removed from the visuals. Even with the faults, Evita has its merits, including the written-for-film ballad “You Must Love Me,” and is worth investigating. It just isn’t the definitive work that it wishes to be. (by Stephen Thomas Erlewine)






CD 1:
01. A Cinema in Buenos Aires, July 26, 1952 1.19
02. Requiem For Evita 4.16
03. Oh What A Circus (Antonio Banderas, Madonna) 5.45
04. On This Night Of A Thousand Stars (Jimmy Nail) 2.24
05. Eva And Magaldi / Eva Beware Of he City (Madonna, Jimmy Nail, Antonio Banderas, Julian Littman) 5.20
06. Buenos Aires (Madonna) 4.09
07. Another Suitcase In Another Hall (Madonna) 3:33
08. Goodnight And Thank You (Madonna, Antonio Banderas) 4.18
09. The Lady’s Got Potential (Antonio Banderas) 4.25
10. Charity Concert / The Art Of The Possible (Jimmy Nail, Jonathan Pryce, Antonio Banderas, Madonna) 2.33
I’d Be Surprisingly Good For You (Madonna, Jonathan Pryce) 4.19
12. Hello And Goodbye (Madonna, Andrea Corr, Jonathan Pryce) 1.47
13. Peron’s Latest Flame (Antonio Banderas, Madonna) 5.17
14. A New Argentina (Madonna, Jonathan Pryce, Antonio Banderas) 8.13

CD 2:
01. On The Balcony Of The Casa Rosada (Part 1) (Jonathan Pryce) 1.28
02. Don’t Cry For Me Argentina (Madonna) 5.31
03. On the Balcony Of The Casa Rosada (Part 2) (Madonna) 2.00
04. High Flying, Adored (Antonio Banderas, Madonna) 3.32
05. Rainbow High (Madonna) 2.27
06. And The Money Kept Rolling In (And Out) (Antonio Banderas) 3.53
07. Partido Feminista (Madonna) 1.40
08. She Is A Diamond (Jonathan Pryce) 1.40
09. Santa Evita 2.31
10.Waltz For Eva And Che (Madonna, Antonio Banderas) 4.12
11.Your Little Body’s Slowly Breaking Down (Madonna, Jonathan Pryce) 1.25
12. You Must Love Me (Madonna) 2.51
13. Eva’s Final Broadcast (Madonna) 3.05
14.Latin Chant 2.11
15. Lament (Madonna, Antonio Banderas) 5.14

Music: Andrew Lloyd Webber
Lyrics: Tim Rice





Sara K. – Hobo (1996)

FrontCover1Born and raised in Dallas, Texas, Sara (Sara Katherine Wooldridge) recalls having heard music constantly from an early age: “Everyone in my family sang as a hobby. My dad had a deep bass voice and used to sing in a barbershop quartet, while my mom was in a church choir. I was 15 when I started to play guitar, although my instrument is a bit different. I took the strings off a flamenco guitar and put on four bass strings, which makes the notes deeper than on a regular guitar, but not as low as a standard bass. When I was 17, I started playing in local clubs and bars and I received a good response; I knew immediately that this was what I wanted to do. There was a lull in acoustic solo acts during the late 1970s, but I stayed with it, doing studio work and putting together a band of my own. I also did backup work in Dallas for country music and local jingles.”

After spending time in New Mexico and Los Angeles as leader of Sara K. and The Boys Without Sleep between 1978-83, Sara hooked up with country recording artist Gary Nunn, and toured with him for over two years. “It was great fun and a valuable experience,” says Sara, “but my heart was really in writing and performing my own songs. So after I moved to Santa Fe, I met some good musicians and put out Gypsy Alley on Mesa/Bluemoon Records.”


Gypsy Alley teamed Sara with Bruce Dunlap, a guitarist from Santa Fe who has recorded two releases of his own with Chesky Records and helped bring her to the label. Sara, who still makes her home in New Mexico, was the proud recipient of the New Mexico Music Industry Coalition’s Best Album Award for Gypsy Alley. After being signed to Chesky, she recorded four critically acclaimed albums: Closer Than They Appear, Play On Words, Tell Me I’m Not Dreamin’, and Hobo. In 1997, she completed a nearly sold-out tour of Germany with guitarist/arranger Hui Cox and worked on the soundtrack to the Kevin Costner movie The Postman. (press release Chesky Records)

SaraK03She recorded six albums for Chesky.

She toured Europe and planned to moved to San Francisco but remained where she was. At the end of her contract with Chesky, she felt she had “been ripped off in many directions by labels and touring companies”.

On her last tour through Germany under the Chesky contract, the owner of the German label Stockfisch Records, Günter Pauler, was called to be her sound specialist. He gave her a tour of his studio and offered her a contract and the prospect of having guitarist Chris Jones as a guest musician.[3] Her first Stockfisch album, Water Falls (2001), was followed by a tour, which provided material for a live DVD and the album Live in Concert (2003). She won the Hi-Fi Music Award in 2003 from the German magazine Audio/Steoreoplay.

Her album Hell or High Water (2006) again featured Chris Jones on guitar and dobro. Jones died of Hodgkin’s lymphoma shortly after recording, before the album was released. Her fourth album for Stockfisch, Made in the Shade, came out in 2009, with new versions of songs from her debut album.


After the release of this album, she announced that she was going to quit the music business. In a note to her fans on her label’s website, she stated, “After many years on the road and writing music, I’ve decided to stop touring and recording. It’s hard to explain why but I hope you will understand. I had a good run but I think it’s over. It’s just too much for too little these days. Made in the Shade explains it as best as I know how.”

In 2015, Stockfisch published a live album called Horse I Used to Ride based on the recording of a solo concert in Sülbeck, Germany, on April 6, 2001. Out of habit, Günter Pauler, head of Stockfisch, had brought his mobile recording equipment to this concert. He asked Sara K. if he could record the concert, and she agreed. After that concert, Chris Jones added dobro guitar solos to these tracks in the studio. When Pauler sent the recordings to Sara K., she was thrilled. (wikipedia)


The music is ok, but the sound quality stinks. It reminds me of the sound we got when taping our choir in the local church with an mp3 recorder. (by Bruce)

Bruce’s opinion and approval are obscure at least. I’ve listen HOBO from net at first time, and purchase CD, it sounds much better. Cheskys 96Khz/24bit recordings are true audiophylle. Pro fully music delights, it’s required quality equipments and there are no mistakes. Great old songs like “Brickhouse” and “Oh Well” are amazing. Accoustic guitar, harmonica, retiring bass and percussions offers a straight live sensations. If you have an affection for naturaly sound, sans mixing, dubbing, electronics etc, your ears will be captured for a best award.
P.S. I’m a owner of ALL Saras recordings, and that’s most pleasurablly in my collection certainly. (by Vlada Neron)

Booklet03I’ve only just recently discovered Sara k, The reason I have, is due to the the fact that I have a reference audio system and always on the look out for new quality sounds to play. Despite other reviews here I found the recording excellent with a great sound stage and a rich and realistic recording of some beautifully played acoustic instruments. I have another Sara cd and although I find some of her songs rather bland this CD. Contains some tracks that are a little more inventive especially tracks 1 & 7 which utilize diverse percussive sections to create a dynamic and absorbing experience, they are my current favorites from a collection of over 450 cd’s. Even if other tracks are not quite to my personal taste in their composition, the quality of the musicians performances and the recording itself make this CD a pleasure to listen to time after time. Listen, you wont regret it especially if you have a quality sound system. This leaves me confused as to one review here complaining about sound quality I can only imagine he/she has a problem with her/his equipment or the CD was not a genuine Chesky product. What ever the reason I would 100% disagree with his/her review.. (by Amatrix)


Hui Cox (guitar)
Bruce Dunlap (guitar)
William Galison (harmonica)
Randy Landau (bass)
Satoshi Takeishi (percussion)
Matthew Andrae (guitar, vocals on 09.)


01. Me Missin` You (Wooldridge) 5.18
02. If I Don`t See You Later (Wooldridge) 3.48
03. Brick House (Richie/Williams/La Pread/McClary/Orange/King) 5.59
04. I Really Do (Wooldridge) 4.06
05. Written In Stone (Wooldridge) 3.35
06. You`ll Never Walk Alone (Hammerstein II/Rodgers) 3.11
07. Oh Well (Green) 2.37
08. Hobo (Wooldridge) 3.31
09. Oughtta Be Happy By Now (Andrae/Wooldridge) 5.06
10. I Couldn`t Change Your Mind 4.08
11. Sizzlin` (Wooldridge) 3.51
12. Moving Big Picture (Wooldridge) 4.40




More from Sara K.:

Charlie Watts (feat. Bernard Fowler) – Long Ago And Far Away (1996)

FrontCover1Charles Robert Watts (born 2 June 1941) is an English drummer, best known as a member of the Rolling Stones since 1963. Originally trained as a graphic artist, he started playing drums in London’s rhythm and blues clubs, where he met Brian Jones, Mick Jagger, and Keith Richards. In January 1963, he joined their fledgling group, the Rolling Stones, as drummer, while doubling as designer of their record sleeves and tour stages. He has also toured with his own group, the Charlie Watts Quintet, and appeared in London at Ronnie Scott’s Jazz Club with the Charlie Watts Tentet.

In 2006, Watts was elected into the Modern Drummer Hall of Fame; in the same year, Vanity Fair elected him into the International Best Dressed List Hall of Fame. In the estimation of noted music critic Robert Christgau, Watts is “rock’s greatest drummer.” In 2016, he was ranked 12th on Rolling Stone’s “100 Greatest Drummers of All Time” list. (by wikipedia)

Forget what the label says — this is a Bernard Fowler recording. On this ultra-polite recital of classic ballads, vocalist Fowler is in the spotlight, crooning to pleasant, if never electrifying effect. The jazz content of Long Ago and Far Away stays under wraps, as if too much stimulation would sully the proceedings. And it is claimed that the man swishing the brushes ever so wispily over his drum set is Charlie Watts of the Rolling Stones. (by Steve Futterman)


“Charlie departs the hard rocking rhythm of the Rolling Stones and takes you through a jazz web of sheer beauty. Charlie has always loved jazz and he is by far one of the most prolific and pure drummers in the world today. He takes percussion very seriously as it should be and delivers with a resounding punch. This is a wonderful piece of work and shows his talent and knowledge and background in the world of jazz. This is a must own for all Stones fans and lovers of great jazz music. I do hope that Charlie continues his amazing percussion work in the jazz venue. He is a one of a kind musician and the quintet is stunning.”


“Charlie Watts sure knows how to rekindle romance and soft candlelight with the likes of “Long Ago and Far Away”, a song itself that re-assures magical moments of love splendors. The exquisite musical arrangements and the musicians themselves are top-notch. The versatility of the drumming Rolling Stoner Charlie himself lends wonder to the lush finesse of the CD itself. I truly enjoy the delightful titles within, and what better to do than to put on the album in the wee small hours of the evening if you know what true romance is all about…Enjoy!!” (b Peter Lim)


Tell me why you chose songs like “I’ve Got a Crush on You” and “In a Sentimental Mood” for the new album:
My mother used to sing some of them when I was a kid, hence the title of the album. It’s quite nice setting a singer up like that with the strings. If you’re a drummer, and you sit and the strings just swell like that, it’s a fantastic sound to just swish away to. I enjoy that because I play with guitar players all the time. (Charlie Watts, taken from an interview wit the Rolling Stone Magazine, May 30, 1996)


Bernard Fowler (vocals)
David Green (bass)
Louis Jardim (percussion)
Peter King (saxophone)
Brian Lemon (piano)
Gerard Presencer (flugel horn, trumpet
Charlie Watts (drums)
London Metropolitan Orchestra:
Levine Andrade(viola)
Rachel Bolt (viola)
Aline Brewer (harp)
Andrew Brown (viola)
David Daniels (cello)
Caroline Dearnley (cello)
David Emanuel (violin)
Cathy Giles (cello)
Ian King (violin)
Vanessa King (french horn)
Siobhan Lamb (flute)
Sophie Langdon (violin)
Rita Manning (violin)
David Ogden (violin)
Judith Shatin (oboe)
James Sleigh (viola)
Peter Tanfield (violin)
Cathy Thompson (violin)
Chris Van Kampen (cello)
Nicholas Ward (violin)
Jeremy Williams (violin)

01. I’ve Got A Crush On You (G.Gershwin/I.Gershwin) 4.24
02. Long Ago (And Far Away) (Kern/I.Gershwin) 5.05
03. More Than You Know (Eliscu/Rose/Youmans) 4.54
04. I Should Care (Cahn/Stordahl/Weston) 4.08
05. Good Morning Heartache (Drake/Fisher/Higginbotham) 4.56
06. Someday You’ll Be Sorry (Armstrong) 2.52
07. I Get Along Without You Very Well (Carmichael) 4.24
08. What’s New? (Burke/Haggart) 3.50
09. Stairway To The Stars (Malneck/Parish/Signorelli) 4.14
10. In The Still Of The Night (Porter) 4.07
11. All Or Nothing At All (Altman/Lawrence) 5.12
12. I’m In The Mood For Love (Fields/McHugh) 3.55
13. In A Sentimental Mood (Ellington/Kurtz/Mills) 3-43
14. Never Let Me Go (Evans/Livingston) 3.14





Faithless – Reverence (1996)

FrontCover1Faithless are a British electronica band consisting of Maxi Jazz, Sister Bliss and Rollo.[3] The group is best known for the songs “Salva Mea”, “Insomnia”, “God Is a DJ” and “We Come 1”. Faithless recorded six studio albums, with total sales exceeding 15 million records worldwide. The band announced they would split up after their Passing the Baton dates at Brixton Academy on 7 and 8 April 2011. However, in February 2015, they reunited to celebrate the 20th anniversary of the band.

Reverence is the debut album by Faithless, released in April 1996 and then reissued in October. The album contains several singles that have subsequently become Faithless classics, such as “Don’t Leave”, “Salva Mea”, and “Insomnia”. The album reached #26 in the UK charts.

Faithless01In 1996, the album was re-released as Reverence / Irreverence containing an extra CD with remixes of the original songs. (by wikipedia)

Maxi Jazz, the maestro behind Faithless, is well titled as “the grand oral disseminator.” The tales he spins make this album a manifesto, religious experience, sexual escapade, and 24-hour rave all rolled up into one tightly constructed package. As Jazz explored hip-hop through the 1980s and his path converged with dub superstar Jah Wobble, the ultra funky Jamiroquai, and the Soul II Soul amalgamation (among others), the foundation was laid for the delicious blend of genres and sounds that would break through in the mid-’90s. Reverence is the culmination of all those experiences, as Jazz unleashes a fat packet worth of songs that are really an acid house tapestry in disguise. This album is best heard in one sitting, where all its styles work together to tell the story. But break it apart, peel the layers back, and the songs stand alone as well. The hypnotic title track serves nicely as an introduction, before it’s waylaid Faithless02by the downtempo soul ballad “Don’t Leave,” which is replete with needle, pops, and skips throughout. “Salva Mea,” “Insomnia,” and “Dirty Ol’ Man,” three very different songs, tangle themselves together and pick up the thread from “Reverence.” “Angeline,” meanwhile, emerges as a perfectly impassioned love song. The U.S. release includes the bonus “Monster Mix Radio Edit” of “Insomnia.” Maxi Jazz hits a deep chord with this album. It’s clubby enough for the kiddies, but is incredibly complex beyond the dancefloor. The songs are great, the beats are compelling, and it’s almost impossible to not bounce around the room while listening. But this album is also a collection of shadows, of mirror images, where songs mimic one another before spinning off to do their own thing. Moments are caught and lost, tangled, and straightened out. Really, it’s brilliant. (by Amy Hanson)

Really not my kind of music, but … you know: Many fantastic colors …


Sister Bliss (keyboards, background vocals)
Jamie Catto (vocals)
Maxi Jazz (vocals)
Rollo (programming)
Matt Benbrook (drums)
Vince DeCicco (accordion)
Aubrey Nunn (bass)
Dido (vocals)
Paulie (guitar)
Gaeten Schurrer (programming)
Penny Shaw (vocals)
Pauline Taylor (vocals)
Mr. V (keyboards)


01. Reverence (Armstrong/Bliss/Jazz) 7.43
02. Don’t Leave (featuring Pauline Taylor) (Armstrong/Bliss/Catto) 4.02
03. Salva Mea (Armstrong/Bliss/Jazz) 10.47
04. If Lovin’ You is Wrong (Armstrong/Bliss/Jazz) 4.17
05. Angeline (Armstrong/Bliss/Catto) 3.45
06. Insomnia (Armstrong/Bliss/Jazz) 8.39
07. Dirty Ol’ Man (Armstrong/Bliss/Jazz) 3.06
08. Flowerstand Man (featuring Dido) (Armstrong/Dido) 3.22
09. Baseball Cap (Armstrong/Bliss/Jazz) 2.56
10. Drifting Away (featuring Penny Shaw) (Armstrong/Bliss) 4.09




Maria Muldaur – Fanning The Flames (1996)

FrontCover1.jpgFor those who only know of Muldaur through her 1974 hit “Midnight at the Oasis,” please scratch that from memory. This lady can flat out sing! Although the CD insert art suggests a “pops orchestra” recording, don’t let it mislead you; Muldaur belts out gritty blues and gospel and soulful R&B as very few can. She appropriately terms this musical gumbo “bluesiana.” A crack band was assembled featuring longtime Muldaur guitarist Cranston Clements, Dave Torkanowsky on keyboards, and Hutch Hutchinson on bass. Guest singer Johnny Adams joins Muldaur on “Trust in Me,” but the two really hit stride as they swap vocal licks on the boogie number “Heaven on Earth.” Muldaur and gospel singer Mavis Staples spend themselves emotionally on the mournful duet “Well, Well, Well,” accompanied by Clements and guest Sonny Landreth on slide and National steel guitars; rarely has a Bob Dylan song sounded as sweet and alive. (by Dave Sleger)


Cranston Clements (guitar)
Hutch Hutchinson (bass)
Maria Muldaur (vocals)
Steve Potts (drums)
Johnny Adams (vocals on 05.)
Bob Henderson (saxophone on 03., 06.)
Sonny Landreth (slide guitar on 01. +11.)
Huey Lewis (harmonica on 08.)
Bonnie Raitt (vocals on 04.)
Mavis Staples (vocals on 03. + 11.)
Bill Summers (percussion on 02.. 03., 06., 10. + 11.)
Dave Torkanowsky (keyboards, synthesizer)
background vocals:
Ann Peebles – Don Bryant – Jon Cleary – Mavis Staples –  Alisa Yarbrough – Ann Peebles – Benita Arterberry – Lucy Anna Burnett – Tracy Nelson – Jennie Muldaur – Lady Bianca

Maria Muldaur01

01. Home Of The Blues (James/Steen) 4.22
02. Fanning The Flames (Cleary) 5.30
03. Trust In My Love (Grebb/Richmond) 4.11
04. Somebody Was Watching Over Me (Burns) 5.07
05.  Heaven On Earth (Muldaur) 5.15
06. Stand By Me (Pardini/Driscoll) 4.35
07. Talk Real Slow (McDaniel) 4.21
08. Stop Runnin’ From Your Own Shadow (Hughes) 4.21
09. Can’t Pin Yo’ Spin On Me (Cleary) 4.06
10. Brotherly Love (Burns/Boaz) 6.20
11. Well, Well, Well (Dylan/O’Keefe) 4.55
12. Strange And Foreign Land (Cleary) 3.26



Various Artists -The Irish Folk Festival – Celtic Roots & Celtic Moods (1996)

FrontCover1.jpgThe Irish Folk Festival (not to be confused with the St. Patrick’s Day Celebration tour organised by Petr Pandula) exists since 1974, and is the oldest of the German Celtic Folk Festival tours. The Festival has yet presented 18 tours (in a couple of years the tour did not take place); since 1988 it has taken place every year again. All in all, 145 different musicians (from Ireland, along with a few from the United States, Scotland, England and Brittany) have participated, and 427 concerts have taken place in 100 different towns. Nearly half a million visitors have come to the tours, mainly in Germany, with sometimes extensions to Switzerland, Austria or Denmark. Over the 25 years, the size of the festival tour has stayed always quite at the same level: Mostly ca. three weeks long, with between 13 and 17 musicians, and concerts with an average 1.000 head audience. These 1.000 visitors per evening were needed as soon as – after a few wild first tours – the festival became more musician-friendly, with a chartered tour bus with driver and accommodation in single rooms in hotels. Both organisers, Carsten Linde and Axel Schuldes, have a permanent job since a long time, and do the festival tour parallely more as a hobby.


Tour Poster 1974

The whole story started in the early 70s when Carsten Linde discovered the Furey brothers, after having been an important person in the German folk scene already in the 60s promoting American folk music. He was impressed by them, and thought that this kind of music should be brought to a bigger audience than just the back rooms of pubs. These thoughts resulted in the first Irish Folk Festival Tour in May 1974, which was quite a Furey invasion, with Eddie, Finbar, George Paul and father Ted, joined by Davey Arthur and Bobby Clancy representing the emigrated Irish. The second festival presented again several Fureys, but also Clannad and Micho Russell. “The idea of combining a festival and a tour was new, and that has been and is still one of the reasons of the success of the IFF.”

Today, the Irish Folk Festival has the reputation as one of Europe’s most important tours for Irish Folk music. What rank does it have today for Irish Music? Thinks Axel, “I hope quite the same as it had right from the start, which is defined by the intention of the festival. The Irish Folk Festival has never wanted to be a trend setter; it never wanted to define what is important in the Irish Folk Scene. It always tried to be a reflection, a micro cosmos of what is happening in the Celtic scene in Ireland.” Still, the organisers were often very much in time with the Irish scene; a good example being that Clannad played as a brand new band on the second Irish Folk Festival in 1975.


Seamus Creagh with Aidan Colley; photo by Sean Laffey The importance of the maxim to reflect the current scene in Ireland is also represented in the break of the IFF between 1982 and 1987. “The scene not only in Germany was at a low point – mainly because of ‚overfeeding’ with too much poor quality music from Ireland -, simultaneously in Ireland there did not happen very much. So we were consistent and stopped the tour for some years. Until in the mid-eighties, with Moving Hearts, new life was breathed into the scene. The scene simply had to regenerate a bit after the huge boom in the 70s. When the Irish tree was in full bloom once again in the end of the 80s, the Irish Folk Festival tour came back in 1988.” (


And here is a sampler (all songs were recorded in the studio) to promote the Irish Folk Festival in 1996 … all tunes are beautiful … and if you love and like this very unique Irish Folk (like me), than you have to listen !



Reel Time:
Eilis Egan (accordion)
Mairin Fahy (fiddle, vocals, tin whistle)
Yvonne Fahy (percussion)
Benny Heyes (keyboards)
Chris Kelly (guitar)

Maire Breatnach Band:
Maire Breatnach (fiddle, viola, keyboards)
Conor Byrne (flute, tin whistle)
Alan Connaughton (guitar)
Steve Dunford (bodhran)

Conor Keane & Kevin Griffin:
Kevin Griffin (banjo)
Conor Keane (accordion)

Sean Tyrrell:
Sean Tyrrell (vocals, mandola, mandolin, guitar, bass)


01. Reeltime: The Bridge Across The Atlantic (Traditional) 3.38
02. Reeltime: Buachaill On Eírne (Traditional) 4.28
03. Maire Breatnach Band: The Monaghan Twig / Jenny’s Chickens (Traditional) 2.18
04. Conor Keane & Kevin Griffin: Cooley’s Hornpipe / The Fairy Queen (O’Brien/ Traditional) 4.38
05. Maire Breatnach Band: Taimse Im Chodladh (Traditional) 4.24
06. Sean Tyrrell: The Moon Behind The Hill (Traditional) 4.00
07. Conor Keane & Kevin Griffin: The New Mown Meadow / The Dublin Reel / The Steampacket (Traditional) 4.12
08. Maire Breatnach Band: Nead Ná Lachan / Mall Rua (Traditional) 2.57
09. Sean Tyrrell: Lady My Love (Traditional) 3.21
10. Kevin Griffin: Two Barndances (Traditional) 4.44
11. Reeltime: The Trip To Germany (Traditional) 3.03
12. Conor Keane: The Jig Of Slurrs / Páidín O’Raifeartaigh (Traditional) 4.17
13. Sean Tyrrell: I Am A Rover (Traditional) 7.30




Still alive and well:


A Canorous Quintet – Silence Of A World Beyond (1996)

FrontCover1.jpgAn extremely underlooked Melodic Death Metal Record. If you like this genre, this is a must listen.

The sound of another world so dark and grim. Across the deep murky waters in the midnight fog is where you are headed. Melodic Death Metal at some of its finest. A Canorous Quintets Silence of the World Beyond is another under looked melodeath record, everything good about the genre packed into a solid well written and executed record.

First off this record never lets up and never gets stale. They keep things dynamic yet don’t try to get overly flashy. You’ve got plenty of blazing tremolo riffs, sorrowful leads and brutal drums. A Canorous Quintet knows how to keep the songs moving in the right directions and never get lost. The drums are quite impressive, Fredrik Andersson pulls everything he knows out. A big part of what keeps everything dynamic in this record is his performance, from blast beats, to some catchy double peddle action and fills. Fredrik doesn’t back down and let the rest of the music leave him in the dust. The only issue is the lower end of this record can get slightly lost behind the guitars, but it doesn’t get to bad. The vocals from Mårten Hansen are no sinker either. While nothing really unique, he can let his brutal lows fire into a black metal style higher pitched scream which he does mostly throughout the record. But hes always making sure to fit perfectly with whats going on in the song.

A Canorous Quintet01

Nothing like plain old good riffs. The writing is immensely impressive, for a band that stays in the higher parts of the frets, they never lose their brutal side. Finding different and unique ways to reach a brutal state. Fast picking and soaring leads blasting from every angle. With the drums they make perfect harmony with each other. But its not all heavy, they manage to fit in some dreamy dark acoustic guitars on a couple songs. Even if its just for a couple seconds, they almost let you breathe. Other than the gloomy moody intro which goes on a little longer in The Orchids Sleep, which launches perfectly back in the tremoloing blazing leads.

A Canorous Quintet02

I just simply think the right people got together, they knew there instruments and what they wanted. They just played there ***ing hearts out and made a catchy and heavy Melodic Death Metal with a unique tone and plenty of things to offer. If you even slightly like this genre, this might be worth checking out. But if you are a die-hard fan of this genre this is a must listen. (by Fluttertrank)

Attention: This is an extremly heavy metal album from Sweden … and definitely not the genre I love …


Fredrik Andersson (drums)
Mårten Hansen (vocals)
Jesper Löfgren (bass)
Linus Nirbrant (guitar)
Leo Pignon (guitar)


01. Silence Of The World Beyond 4.39
02. Naked With Open Eyes 4.06
03. Spellbound 3.46
04. The Orchid’s Sleep 6.22
05. The Black Spiral 4.09
06. The Last Journey 2.49
07. In The Twilight Of Fear 5.40
08. Burning, Emotionless 5.42
09. Dream Reality 4.51

All songs written by: Fredrik Andersson – Mårten Hansen – Jesper Löfgren – Linus Nirbrant – Leo Pignon




Al Di Meola – Al Di Meola Plays Piazzolla (1996)

FrontCover1.jpgDi Meola Plays Piazzolla is an album by Al Di Meola which is a tribute to Argentinian composer Ástor Piazzolla. Eight of the ten songs were written by Piazzolla. Di Meola is accompanied by percussionist Arto Tuncboyacian and Dino Saluzzi, who plays bandoneon. Vince Mendoza provided some of the string arrangements. (by wikipedia)

Latin music has been a strong influence on Al Di Meola since his early years, and in the ’90s, he paid especially close attention to the music of Argentina. A welcome addition to his already impressive catalog, Di Meola Plays Piazzolla pays homage to the late Argentine tango master Astor Piazzolla (whose distinctive and very poetic brand of romanticism was considered quite daring and radical in Argentina). It would have been easy for an artist to allow his own personality to become obscured when saluting Piazzolla’s legacy, but the charismatic Di Meola is too great an improviser to let that happen. Though his reverence for Piazzolla comes through loud and clear on these haunting classics, there’s no mistaking the fact that this is very much an Al Di Meola project. (by Alex Henderson)


Allthough this is Al Di Meola playing Piazzolla´s compositions in his style, and not Al Di Meola´s own compositions, don´t be afraid to try out this album as it is close to his work on the World Sinfonia albums, especially Heart of the Immigrants where four of the songs from Al Di Meola plays Piazzolla are also featured: Night Club 1960, Tango II, Bordel 1900 and the beautiful Milonga del Angel.

Piazolla is most known for playing complicated tango compositions on his bandoneón which included jazz and classical influences. He is widely considered as the creator of the music genre Nuevo Tango. This means that it is not your traditional tango on display here. The music on this album is very complicated but at the same time mellow and almost easy listening ( Not in a bad way though).

The production is worth mentioning too, as it is flawless and a real pleasure to listen to. (by Umur)


Chris Carrington (guitar)
Al Di Meola (guitar, pandean pipe, vocals, percussion)
Gumbi Ortiz (percussion)
Hernan Romero (keyboards, charango, vocals)
Dino Saluzzi (bandoneon)
Arto Tunçboyacıyan (percussion, vocals)

01. Oblivión (Piazzolla) 6.04
02. Café 1930 (Piazzolla) 6.16
03. Tango Suite, Pt. I (Piazzolla) 8.49
04. Tango Suite, Pt. III (Piazzolla) 8.51
05. Verano Reflections (Piazzolla/Di Meola) 4.13
06. Night Club 1960 (Piazzolla) 5.50
07. Tango II (Piazzolla) 5.36
08. Bordel 1900 (Piazzolla) 4.33
09. Milonga del Angel (Piazzolla) 3.48
10. Last Tango For Astor (Di Meola) 6.18




Allen Ginsberg – The Ballad Of The Skeletons (1996)


Throughout his long career, Allen Ginsberg was keenly aware of the power of music—and an association with generationally key musicians, like Bob Dylan and The Clash—as the candy-coated bullet to see his poetry and ideas for social and political transformation reach the younger generation.

“The Ballad Of The Skeletons” with Philip Glass, Lenny Kaye, session guitarist David Mansfield, Marc Ribot and Paul McCartney (on organ, maracas and drums) was Ginsberg’s final 1996 release and in many ways, it’s probably the best of his recorded work. Even at nearly 8-minutes in length, the number never never gets dull—well with a backing band like that one…—as Ginsberg voices the lines of 66 skeletons representing American culture and hegemony. The poem was first published in the pages of The Nation in 1995.

Allen Ginsberg was an unlikely MTV star. In late 1996 the Beat poet was 70 years old and in declining health. He had less than a year to live. But Ginsberg managed to stay culturally and politically relevant, right up to the end. His last major project was a collaboration with Paul McCartney and Philip Glass, among others, on a musical adaptation of his poem, “The Ballad of the Skeletons.”

Sticker.jpgThe poem was first published in 1995. The American political climate from which it arose bears a striking resemblance to the one we’re living in today. “I started it,” Ginsberg told Harvey Kubernik of The Los Angeles Times in 1996, “because [of] all that inflated bull about the family values, the ‘contract with America,’ Newt Gingrich and all the loudmouth stuff on talk radio, and Rush Limbaugh and all those other guys. It seemed obnoxious and stupid and kind of sub-contradictory, so I figured I’d write a poem to knock it out of the ring.”

The skeletal imagery was inspired by the Mexican holiday, the Day of the Dead, and takes a playful poke at the vanity of human desires. “It’s an old trick,” Ginsberg told Steve Silberman in a 1996 interview for HotWired, “to dress up archetypal characters as skeletons: the bishop, the Pope, the President, the police chief. There’s a Mexican painter–Posada–who does exactly that.”

In October of 1995, Ginsberg visited Paul McCartney and his family at their home in England. He recited “The Ballad of the Skeletons while one of McCartney’s daughters filmed it. As Ginsberg recalled to Silberman, he mentioned that he had to give a reading with Anne Waldman and other poets at the Royal Albert Hall, and was looking for a guitarist to accompany him. “Why don’t you try me,” McCartney said. “I love the poem.” Ginsberg continued the story:


He showed up at 5 p.m. for the sound check, and he bought a box for his family. Got all his kids together, four of them, and his wife, and he sat through the whole evening of poetry, and we didn’t say who my accompanist was going to be. We introduced him at the end of the evening, and then the roar went up on the floor of the Albert Hall, and we knocked out the song. He said if I ever got around to recording it, let him know. So he volunteered, and we made a basic track, and sent it to him, on 24 tracks, and he added maracas and drums, which it needed. It gave it a skeleton, gave it a shape. And also organ, he was trying to get that effect of Al Kooper on the early Dylan. And guitar, so he put a lot of work in on that. And then we got it back just in time for Philip Glass to fill in his arpeggios on piano.

The recording was produced by Lenny Kaye, guitarist for the Patti Smith Group, who had put together a group of musicians for a performance of the song at a Tibet House benefit in April of 1996. One member of the audience that night was Danny Goldberg, president of Mercury Records and a fan of Ginsberg. He invited the poet to record the song, and it all came together quickly. In a 1997 article in Tikkun, Goldberg remembered Ginsberg’s giddiness over the project: “He loved that Paul McCartney had overdubbed drums on ‘Skeletons.’ He said, ‘It’s the closest I’m going to ever come to being in the Beatles,’ and giggled like a teenager.”


The recording features Ginsberg on vocals, Glass on keyboards, McCartney on guitar, drums, Hammond organ and maracas, Kaye on bass, Marc Ribot on guitar and David Mansfield on Guitar. Mercury released the song as a CD single in two versions, including one with the language sanitized for radio and television. The “B side” was a recording of Ginsberg’s “New Stanzas for Amazing Grace” that did not include McCartney or Glass. The next step was to create a video. As Goldberg recalled, Ginsberg knew an opportunity when he saw one:

When Tom Freston, the CEO of MTV, bought five of Allen’s photos, Ginsberg promptly called me, not too subtly implying that if Mercury would fund production of a video, we might be able to get on MTV. Allen had an unerring instinct of how to mobilize his mystique for those who were interested. He regaled Freston with stories of the beatniks one night at our house, which made it almost impossible for MTV to reject his video despite the fact that he was decades older than typical MTV artists and audience members.

A political satire of both generations, “Skeletons” received highly pubicized and much-coveted “buzz bin” rotation on MTV in the weeks before the last election–to the consternation of other record companies who were submitting artists with more conventional credentials. This made Allen the only seventy-year-old besides Tony Bennett to ever be played on MTV.

The video was directed by Gus Van Sant, who had ties to surviving members of the Beat generation. Van Sant had directed William S. Burroughs in the film Drugstore Cowboy, and had made short films–Thanksgiving Prayer and The Discipline of DE– based on writing by Burroughs. Ginsberg was happy with Van Sant’s work, despite a tight filming budget. “It’s a great collage,” Ginsberg told Silberman. “He went back to old Pathé, Satan skeletons, and mixed them up with Rush Limbaugh, and Dole, and the local politicians, Newt Gingrich, and the President. And mixed those up with the atom bomb, when I talk about the electric chair– ‘Hey, what’s cookin?’–you got Satan setting off an atom bomb, and I’m trembling with a USA hat on, the Uncle Sam hat on. So it’s quite a production, it’s fun.”

What a great statement !


Allen Ginsberg (vocals)
Philip Glass (keyboards)
Lenny Kaye (bass)
David Mansfield (guitar)
Paul McCartney (guitar, organ, drums, maracas)
Marc Ribot (guitar)


01. The Ballad Of The Skeletons (Ginsberg/Glass/McCartney) 7.48
02. The Ballad Of The Skeletons (Edit) (Ginsberg/Glass/McCartney)
03. Amazing Grace (Traditional) 2.51
04. The Ballad Of The Skeletons (Clean) (Ginsberg/Glass/McCartney) 7.49



Said the presidential skeleton
i won’t sign the bill
said the speaker skeleton
yes you will
Said the representative skeleton
i object
said the supreme court skeleton
whaddya expect
Said the miltary skeleton
buy star bombs
said the upperclass skeleton
starve unmarried moms
Said the yahoo skeleton
stop dirty art
said the right wing skeleton
forget about yr heart
Said the gnostic skeleton
the human form’s divine
said the moral majority skeleton
no it’s not it’s mine
Said the buddha skeleton
compassion is wealth
said the corporate skeleton
it’s bad for your health
Said the old christ skeleton
care for the poor
said the son of god skeleton
aids needs cure
Said the homophobe skeleton
gay folk suck
said the heritage policy skeleton
blacks’re outa luck
Said the macho skeleton
women in their place
said the fundamentalist skeleton
increase human race
Said the right-to-life skeleton
foetus has a soul
said pro choice skeleton
shove it up your hole
Said the downsized skeleton
robots got my job
said the tough-on-crime skeleton
tear gas the mob
Said the governor skeleton
cut school lunch
said the mayor skeleton
eat the budget crunch
Said the neo conservative skeleton
homeless off the street!
said the free market skeleton
use ’em up for meat
Said the think tank skeleton
free market’s the way
said the saving & loan skeleton
make the state pay
Said the chrysler skeleton
pay for you & me
said the nuke power skeleton
& me & me & me
Said the ecologic skeleton
keep skies blue
said the multinational skeleton
what’s it worth to you?
Said the nafta skeleton
get rich, free trade,
said the maquiladora skeleton
sweat shops, low paid
Said the rich gatt skeleton
one world, high tech
said the underclass skeleton
get it in the neck
Said the world bank skeleton
cut down your trees
said the i.m.f. skeleton
buy american cheese
Said the underdeveloped skeleton
we want rice
said developed nations’ skeleton
sell your bones for dice
Said the ayatollah skeleton
die writer die
said joe stalin’s skeleton
that’s no lie
Said the middle kingdom skeleton
we swallowed tibet
said the dalai lama skeleton
indigestion’s whatcha get

said the world chorus skeleton
that’s their fate
said the u.s.a. skeleton
gotta save kuwait
Said the petrochemical skeleton
roar bombers roar!
said the psychedelic skeleton
smoke a dinosaur
Said nancy’s skeleton
just say no
said the rasta skeleton
blow nancy blow
Said demagogue skeleton
don’t smoke pot
said alcoholic skeleton
let your liver rot
Said the junkie skeleton
can’t we get a fix?
said the big brother skeleton
jail the dirty pricks
Said the mirror skeleton
hey good looking
said the electric chair skeleton
hey what’s cooking?
Said the talkshow skeleton
fuck you in the face
said the family values skeleton
my family values mace
Said the ny times skeleton
that’s not fit to print
said the cia skeleton
cantcha take a hint?
Said the network skeleton
believe my lies
said the advertising skeleton
don’t get wise!
Said the media skeleton
believe you me
said the couch-potato skeleton
what me worry?
Said the tv skeleton
eat sound bites
said the newscast skeleton
that’s all goodnight

Patti Smith – Divine Intervention (1996)

FrontCover1.jpgThrough most of the 1980s Smith was in semi-retirement from music, living with her family north of Detroit in St. Clair Shores, Michigan. In June 1988, she released the album Dream of Life, which included the song “People Have the Power”. Fred Smith died on November 4, 1994, of a heart attack. Shortly afterward, Patti faced the unexpected death of her brother Todd.

When her son Jackson turned 14, Smith decided to move back to New York. After the impact of these deaths, her friends Michael Stipe of R.E.M. and Allen Ginsberg (whom she had known since her early years in New York) urged her to go back out on the road. She toured briefly with Bob Dylan in December 1995 (chronicled in a book of photographs by Stipe).[19]
1996–2003: Re-emergence
In 1996, Smith worked with her long-time colleagues to record Gone Again, featuring “About a Boy”, a tribute to Kurt Cobain. That same year she collaborated with Stipe on “E-Bow the Letter”, a song on R.E.M.’s New Adventures in Hi-Fi, which she has also performed live with the band. After the release of Gone Again, Patti Smith went on tour …


… And this was the first Patti Smith concert in Europe since the seventies. This concert was in the summer of 1996 at the annual Roskilde Festival in Denmark and followed the release of the album, ‘Gone Again’.

This is an audience recording of Patti Smith … Great show and excellent sound quality, except for some distortion in the bass.


Jay Dee Daugherty (drums)
Lenny Kaye (guitar, background vocals)
Oliver Ray (guitar)
Tony Shanahan (bass, background vocals)
Patti Smith (vocals, guitar)


01. About A Boy (P.Smith) 7.40
02. Because The Night (Smith/Springsteen) 4.14
03. Beneath The Southern Cross (P.Smith/Kaye) 5.15
04. Dancing Barefoot (P.Smith/Kral) 6.30
05. Free Money (P.Smith/Kaye) 5.55
06. Gone Again (P.Smith/F.Smith) 5.55
07. Land/Rock N Roll Nigger (Kenner/Dominoe/P.Smith/Kaye) 8.37
08. People Have The Power (P.Smith/F.Smith) 2.10
09. Redondo Beach (P.Smith/Sohl/Kaye) 4.09
10. Summer Cannibals (P.Smith/F.Smith) 4.30
11. Walkin Blind (Ray) 6.35
12. Wicked Messenger (Dylan) 4.49
13. Wild Leaves (P.Smith/F.Smith) 4.04



More Patti Smith: