The Brandos – Live At Loreley (2018)

FrontCover1.jpgThe Brandos are an American rock band formed in 1985 in New York City by Dave Kincaid (vocals, guitar), Ernie Mendillo (bass, vocals), Ed Rupprecht (guitar, vocals) and Larry Mason (drums, vocals).

The Brandos achieved commercial success in the United States in 1987 with the release of their first album, Honor Among Thieves and the single “Gettysburg”. They have also established a strong fan base in Europe, where they have done promotion and extensive touring since the late 1980s. They have occasionally made it high on the record charts in countries such as the Netherlands.

In 2010 the recordings from the 2004 Irish Tour were mixed and the live album David Kincaid and The Brandos – Live in Europe was released on Dec. 1, 2010 and distributed in Europe by Blue Rose. The only current member of The Brandos is singer, guitarist and songwriter Dave Kincaid.

The passion, grit and power of New York’s The Brandos has origins in the Seattle scene of the early eighties. In the fall of 1984, Dave Kincaid and Larry Mason were playing the Seattle club circuit as members of The Allies. With a local radio hit (‘Emma Peel’), critically acclaimed recordings, and a video under their belts. At the same time, New Jersey based Soul Attack (with Ernie Mendillo and Ed Rupprecht) were playing gigs in and around their home state, with occasional jaunts into New York City. They had also made and released a local record in 1984.

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Frustrated with The Allies’ lack of success, Kincaid decided to move to New York in 1985. Immediately upon arrival Kincaid began scouring the local music papers, namely the Village Voice, looking for a new band. Soul Attack had just lost their principal singer and songwriter, and had just placed an ad looking for a replacement. Kincaid joined the band and they eventually changed their name to The Brandos and performed their first show on February 14, 1986. Featuring Kincaid on vocals and guitar, Ernie Mendillo (bass, vocals), Ed Rupprecht (guitar), and Larry Mason (drums), the band began playing most of New York’s most renowned clubs such as CBGB, Tramps, The Bitter End and Kenny’s Castaways. The band also spent one month touring the Pacific Northwest. By October they had enough material for an album. While recording, the band continued to perform in the New York area, along with a brief tour of Germany in May 1987.

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The Brandos released their debut album, Honor Among Thieves, on Relativity Records in late August 1987. The album spent 19 weeks in the Billboard charts and peaked at No.108 in late October. During this period, the band began touring the U.S. and Europe, opening for well-known bands such as The Georgia Satellites, INXS, The Cars and The Alarm. Their first video was released and was placed in medium rotation on MTV. The favorable reviews began to pour in: the Gavin Report dubbed them “Best new American band”, Rolling Stone magazine ran a full-page story describing them as “Real contenders”, and Time magazine clinched it with their quote “The Brandos’ roots run deep and offer great nourishment”. In early 1988, the band won Best Album (Independent Label), and Kincaid was honored with Best Male Vocalist (Independent Label) at the New York Music Awards. The Brandos also left Relativity that year and signed with Geffen Records. Their relationship with Geffen was strained from the outset and the group ended up at RCA Records in 1989. After a massive corporate restructuring, RCA dropped The Brandos upon completion of their second LP, Trial by Fire (unreleased), in 1990.

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The better part of 1991 was spent writing and recording new material for a new album that would become Gunfire at Midnight, which would land a contract with SPV GmbH in Germany in the spring of 1992. Two singles from the album (‘The Solution’ and ‘The Keeper’) would reach the top 100 in the Netherlands. Extensive touring in Europe would follow, solidifying the band’s fan base even further, however Rupprecht and Mason decided to leave the band in 1993. The Brandos recorded their next album The Light of Day with the help of a few friends, especially ex-Del Lords members Scott Kempner (guitar, vocals) and Frank Funaro (drums, vocals). They filled out the live band, and an extensive tour and live album, recorded in Amsterdam in December 1994, followed. In 1996, The Brandos returned with Pass the Hat and Frank Giordano (guitar, vocals) replacing Kempner. The album marked a return to a more stripped-down guitar sound. Kincaid released a solo album, The Irish Volunteer, in 1997 but returned to The Brandos for another album (Nowhere Zone) in 1998 followed by two tours of Europe with the likes of Bryan Adams, Van Morrison, and Deep Purple.

1999 saw the release of Contribution: The Best of 1985-1999. The band continued to tour Europe over the next few years. (by wikipedia)

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And here´s one of their high energy gigs … recorded live in Germany, 1999:

1999 the Brandos did another European tour with the line-up Dave Kincaid, Ernie Mendillo, Frank Giordana and Tom Engels. One of the anchor dates the four piece played a outdoor festival for German TV show “Rockpalast” at Loreley on July 9th. The ste included nine songs, two more live tracks have been added to the disc; “I got It”, a Little Richard cover, was recorded at the Stadsfest in Bremen, germany 1987, another one in 1998 at the Kongresshalle in Giessen, also in Germany. (by sonicrendezvous.com)

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Personnel:
Tom Engels (drums, vocals)
Frank Giordana (guitar, vocals)
Dave Kincaid (vocals, guitar, mandolin)
Ernie Mendillo (bass, vocals)

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Tracklist:
01. Introduction (in German by Alan Bangs)/Can’t Go Home (Kincaid) 5.06
02. The Solution (Kincaid) 4.29
03. Trial By Fire (Funk/Kincaid) 6.54
04. Nothing To Fear (Funk/Kincaid) 6.38
05 The Warrior’s Son (Kincaid) 5.25
06. My Father’s Gun / Connachtmans’s Rambles / The Mist Covered Mountain (Kincaid) 6.48
07. Gettysburg (Funk/Kincaid) 4.57
08. Walk On The Water (Fogerty) 5.36
09. Gunfire At Midnight (Kincaid) 5.03
10. Strange Interiors (Funk/Kincaid) 3.54
11. I Got It (Penniman) 3.56

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Pornosonic – Unreleased 70s Porn Music (1999)

lpfrontcover1Pornosonic is a project by Don Argott inspired by the style of music in adult films. Two albums have been released.

This album claim to be soundtracks from non-existent unreleased porn movies, but they are modern creations. Famous adult film actor Ron Jeremy was to hired by Mini Mace Pro Records to perform voice overs. (by wikipedia)

Especially in the wake of Boogie Nights, it’s common to think of the ’70s as the golden age of porn, before a more businesslike, crank-’em-out approach and lower-budget production techniques began to rob the films of some of their liveliness. It’s also possible to link the music used in their soundtracks to that general trend, since much ’80s and ’90s porn used cheap-sounding, repetitive vamps played by generic synth/guitar rock combos, which never quite augmented the films like the classic, sexy ’70s sound. That sound — wah-wah guitars sometimes spiced with organ or horn accents, and a backbeat that’s half funk, half hard rock — is all over Pornosonic: Unreleased 70s Porno Music, which purportedly contains soundtrack excerpts from mid-’70s porn flicks. However, there are a few too many knowing winks in producer/guitarist/composer Don Argott’s presentation to believe that — from the spoken introductions by highly recognizable porn veteran Ron Jeremy, which mimic the blindingly obvious innuendo of porn-film dialogue, to the way the song titles play off of the titles of their supposed “source films.”

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But even if it isn’t genuine, Pornosonic accomplishes its mission quite well — so well, in fact, that the wink-wink-nudge-nudge dialogue snippets can actually break the mood created by some pretty sexy music. The irony is kind of fitting in a way, since porn rarely takes itself too seriously, but the slinky grooves are so effective at recreating their intended atmosphere that it isn’t really necessary. Quibbles aside, though, it’s a highly entertaining project. (by Steve Huey)

You don´t have to like porns from the Seventies … this is a pretty good Funk album … and it´s  a sort of a trash album …

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Personnel:
Jarred Alterman (bass, piano (clavinova)
Don Argott (guitar)
Rob Giglio (drums)
Jo Hewitt (vocals)
Nick Kendall (percussion, violin)
Daniel Lee (trumpet)
Dan McKinney (organ)
Benjamin Shwartz (flute)
Mike Viggiani (guitar)
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Nancy Falcow (vocals on 10.)
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background vocals:
D. Mason Bendewald – Laura Shepherd
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Ron Jeremy as Ron Jeremy

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Tracklist:
01. Dick Dagger’s Theme (from: Dick Dagger’s Big Dick Dilemma) (Argott) 3.10
02. Cramming For College (from: Cramming For College) (Argott) 2.53
03. Nice n’ Sleazy Does It (from If It Ain’t Easy It Ain’t Sleazy) (Argott) 3.25
04. Spiderpussy (from Spiderpussy) (Argott) 2.40
05. Special Delivery (from A Happy Ass) (Argott) 2.40
06. Sex Starved Secretaries (from Takin’ Dictation) (Viggiani/Argott) 3.52
07. Prepare For Take Off (from: Mile High Club) (Argott) 2.50
08. Her Magic Carpet (from: Donna Does DeNise) (Argott) 3.19
09. Laying Pipe (from Plumber’s DeLight) (Argott) 2.23
10. Spiderpussy (Slight Return) (from Spiderpussy 2: Caught in the Web) (Argott) 4.59

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US porn Star Ron Jeremy in action during the Seventies

Alpha Blondy – Elohim (1999)

FrontCover1.jpgAlpha Blondy (born Seydou Koné; 1 January 1953 in Dimbokro, Ivory Coast) is a reggae singer and international recording artist. Many of his songs are politically and socially motivated, and are mainly sung in his native language of Dioula, French and in English, though he occasionally uses other languages, for example, Arabic or Hebrew.

Elohim is his 1999 reggae album.

Six years old when it finally reached America, Elohim isn’t the great lost Alpha Blondy album as much as it is an exciting collection of tunes with a crummy cover and so-so production. The original Elohim cover displayed Blondy as a righteous, cross-carrying warrior, but ignore the post-concert, shoved-in-the-corner singer here and you’re in for an excellent — sometimes chilling — set of conscious lyrics with breezy music. Breezy to a fault, actually, since Blondy’s Solar System band seems flattened by the thin production most of the time. Compare the version of “Black Samourai” on the live Paris Bercy album to the one included here for proof, or consider how the wicked lyric “We take no prisoners/And we eat the wounded” sits on mannered, sterile beats. The tougher Merci from 2002 displayed that Blondy would grow as an executive producer, but Elohim is filled with prime Blondy songs, ones good enough to forgive the musical stiffness. “The Devil’s Tail” is up there with his best, “Take No Prisoner” is tougher than tough, and “Black Samourai” became the man’s anthem. To Shanachie’s credit, Elohim is 80 percent in French and the label does an excellent job of translating the lyrics for the booklet. Elohim is hardly the first reggae album to be brought down a peg by cheap, sterile production, but it makes you pine harder than usual for what could have been. (by David Jeffries)

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Personnel:
Wayne Armond (guitar)
Alpha Blondy (vocals)
Jacques Bolognesi (trombone)
Christopher Burch (keyboards)
Alain Hatot (saxophone)
Christophe Hebert Assistant
Clive “Azul” Hunt (bass)
Samuel Kone (drums)
Guy N’Sangue (bass)
Mao Otayeck (guitar)
Rohan Romain (programming)
Guy Sangue (bass)
Philipp Slominski (trumpet)
Abou Watt (percussion)
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background vocals:
Sarr Julia – Julia Fenere Sarr – Marylou Seba – Lydie “Oliza” Zamata

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Tracklist:
01. Black Samouri (Blondy) 4.39
02. Haridjinan (Blondy) 4.25
03. Les Voleurs de la République (Blondy) 4.22
04. Dictature (Blondy) 4.18
05. La Queue du Diable (Blondy) 4.52
06. Journalistes en danger (Démocrature) (Blondy) 4.13
07. When I Need You (Blondy) 3.48
08. Djeneba (Blondy) 4.37
09. Sabotage (Dekker) 4.01
10. Take No Prisoner (Cannibalistic) (Blondy) 4.43
11. Lune de miel (Honeymoon) (Blondy) 3.55
12. Waïkiki Rock (Blondy) 4.35
13. Petini Go Gaou (Blondy) 5.05
14. Mônin (Blondy) 4.13

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Nigel Kennedy – The Kennedy Experience (1999)

FrontCover1As one of the most successful classical performers of his time, violinist Nigel Kennedy’s genre-defying music helped him achieve a level of fame typically reserved for pop stars. A native of Brighton, England, he studied music at the Yehudi Menuhin School and at Juilliard; his debut recording, Elgar Violin Concerto, appeared in 1984, shortly followed by Nigel Kennedy Plays Jazz. In the years to follow, Kennedy collaborated not only with the more traditional likes of Riccardo Muti and the Philharmonia Orchestra, the Berlin Philharmonic Orchestra, and Andre Previn, but also with pop figures including Paul McCartney and Kate Bush; his fame reached new heights with the 1989 release of his recording of Vivaldi’s The Four Seasons, which went as high as number three on the U.K. pop charts and went on to sell well over a million copies. In 1992, neck surgery forced Kennedy to retire for several years; when he resurfaced with 1996’s Kafka, he performed his own compositions for the first time, broadening his scope to include not only classical music but also elements of Celtic, rock, and jazz. The Jimi Hendrix tribute The Kennedy Experience followed in 1999. (by Jason Ankeny)

The Kennedy Experience is a music group and eponymous instrumental album conceived and produced in 1999 by violinist Nigel Kennedy. The album is largely derived from the music of rock guitarist Jimi Hendrix and the title references his group The Jimi Hendrix Experience. According to a BBC interview with Kennedy, the violinist stated that the recording is “an album of music inspired by Jimi Hendrix. It is an extended instrumental work in six movements, each movement a classical interpretation of a Hendrix song”. On the recording, Kennedy is accompanied by seven other musicians, and the lineup includes two cellos, an oboe, two guitars, a Dobro, flute, and double bass. With cellist Lynn Harrell, he has recorded an album of duets. (by wikipedia)

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This disc goes places. Nominally it’s a set of improvisations by Nigel Kennedy and friends based on Jimi Hendrix tunes, but what starts out in ‘Third Stone from the Sun’ as a Celtic-flavored “unplugged” style jam session stretches a little further out in ‘Little Wing’ and ‘1983’ and becomes transformed into something much more dynamic and unpredictable in ‘Drifting,’ ‘Fire,’ and ‘Purple Haze,’ the music-making turning into the kind of kaleidoscopic voyage of discovery for which Hendrix was famous. Amazingly, the “Kennedy Experience,” two cellos, two guitars, oboe, flute and bass in addition to Nigel’s fiddle, is an entirely acoustic group and only a minimum of electronic effects are used in the production. This is a trip animated entirely by the energy and commitment of the performers. (by allmzsic.com)

Fascinating stuff. Worth a listen, fan or otherwise. (by Daniel Berry)

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Personnel:
Emma Black (cello)
John Etheridge (guitar)
Dave Heath (flute)
Nigel Kennedy (violin)
Rory McFarlane (bass)
Kate St. John (oboe)
Gerri Sutyak (cello)

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Tracklist:
01. Third Stone Drom The Sun 14.06
02. Little Wing 10.57
03. 1983… (A Merman I Should Turn to Be) 15.22
04. Drifting 6.04
05. Fire 3.26
06. Purple Haze 5.17

Music composed by Jimi Hendrix

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Spooky Tooth – Live In Europe (2001)

FrontCover1.jpgA new dawn broke in England in 1966-67 and it was a blues-rock dawn. Bands like Cream, Free, Ten Years After, The Rolling Stones and even Fleetwood Mac were blending their blues roots with the insistent beat of rock and gaining commercial success from it. and during the late 1960s, Spooky Tooth was one of a contingent of new British rock bands inspired by the first British Rock Invasion of acts like The Rolling Stones, The Yardbirds and The Animals.

Spooky Tooth took Europe and America by storm; alongside their Island Records label mates Traffic, Free and Jethtro Tull. From 1967 through 1974, they released seven Billboard-charting albums. After the band’s demise, all of the members went on to careers as solo artists or members of other successful bands.

It’s been 30 years since “It’s All About”, their first Stateside release on Bell Records (later reissued by A&M as “Tobacco Road”). For musicians who have not recorded together for many years, there were a number of obstacles to overcome. Each of the group members had created their own lives and coming together again presented somewhat of a challenge. Although the group wanted to honor some of their past material, they were also very conscious of writing contemporary new material which would reflect who they are now.

Part of the Spooky Tooth legacy is that they were always great at covering songs by then-unknown writers (Elton John, Robbie Robertson) and at recording songs by established writers and making them their own (Lennon/McCartney, Al Kooper, Bob Dylan) in the inimitable Spooky Tooth style.

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One of the more intriguing components of the blues-rock movement was Spooky Tooth. They differed from other bands in that they utilized two very distinctive, talented vocalists (Mike Harrison and Gary Wright) and they featured an ominous yet potent organ sound.

By 1968, they had broken through commercially in England and were on the verge of releasing their most popular material. It was at this time that they performed on several editions of BBC´s radio program Top Gear.

Six of the nine tracks presented on BBC Sessions are taken from those appearances and showcase a band poised at the brink of big-time success. An aural snapshot of a well known band at that juncture of its recording career is very rare.

~Spooky Tooth´s “BBC Sessions” is that rare photograph~

As a special bonus, three additional tracks are included, one an obscure 1966 recording from Deep Feeling (featuring Spooky Tooth guitarist Luther Grosvenor and pre Traffic drummer Jim Capaldi !)) and two alternate mixes from the Spooky Tooth´s 1999 reunion release Cross Purpose.

Music from Deep Yesterday, Classic Yesterday and Reunion Yesterday´s BBC Sessions is everything a title like this should be.

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This is a nice addition for every serious Spooky Tooth collector, but:

For years now bootlegs of Spooky Tooth’s BBC recordings have been circulating, most with less than excellent sound. Finally we get a chance to hear the band at its finest: LIVE “at the Beeb,” and what do we get? A truncated set, short in selections and definitely not what we would like to hear. The half dozen BBC songs come from but one or two of the numerous sessions the band recorded between 1968 and 1969, and many are faded in, suggesting that they are taken from transcription discs with spoken voice-over introductions that were simply edited out. Missing are some of the best BBC sessions, songs like “Tobacco Road,” and “Evil Woman” that were hallmarks of the band in concert. Although the studio outtakes from the 1999 reunion album are nice to have, they really do not fit comfortably into this collection. Equally disappointing are the two “bonus cuts” tacked on to the end of the disc which come from a 1970 Berlin concert, but which are rather shabby sounding, and which appear with no explanation as to their origins. In short we get a taste of what might have been, namely a Spooky Tooth BBC set to rival those recently issued by the Kinks, and the Who, but which instead winds up a missed opportunity. (by Christopher L. Dolmetsch)

More rare Spooky Tooth recordings will come !

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Personnel:

Live at the BBC:
Mike Harrison (vocals, keyboards)
Luther Grosvenor (guitar)
Mike Kellie (drums)
Greg Ridley (bass)
Gary Wright (vocals, organ)

Deep Feeling:
Jim Capaldi (drums, vocals)
Luther Grosvenor (guitar, vocals)
Gordon Jackson (guitar)
David Meredith (bass)
Poli Palmer (vibraphon, flute)

1999 Reunion:
Mike Harrison (vocals)
Luther Grosvenor (guitar, percussion)
Mike Kellie (drums, percussion, background vocals)
Dave Moore (keyboards, synthesizer)
Greg Ridley (bass, background vocals)

Live in Berlin, 1970:
Mike Harrison (vocals, keyboards)
Luther Grosvenor (guitar)
Mike Kellie (drums)
Andy Leigh (bass)
Gary Wright (vocals, keyboards)

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Tracklist:

Live at the BBC:
01. Sunshine Help Me (Wright) 2.03
02. Too Much Or Nothing (Dylan)I 3.54
03. Feelin’ Bad (Kellie/Wright) 2.56
04. The Weight (Robertson) 3.17
05. I Can’t Quit Her (Kooper/Levine) 3.02
06. Blues Town (Harrison/King/Wright) 3.35

Deep Feeling (feat. Jim Capaldi and Luther Grosvenor):
07. Pretty Colours (unknown) 2.41

1999 Reunion Recordings Studio Outtakes:
08. Sunshine (Wallinger) 4.55
09. How (Kellie) 4.49

Live in Berlin, 1970:
10. Better You Better Than Me (Wright) 4.17
11. Soulful Lady (unknown) 8.50

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Mike Harrison (03 September 1945 – 25 March 2018)
Mike Kellie (24 March 1947 – 18 January 2017)
Greg Ridley (23 October 1947 – 19 November 2003)

Jacques Loussier Trio – Ravel’s Boléro (1999)

FrontCover1Pianist/composer Jacques Loussier demonstrated musical ability at an early age, starting to play at the age of ten and entering the Conservatoire National de Musique in Paris at 16. Loussier’s main professor there was Yves Nat, who in turn was encouraged by Faure, Saint-Saens, and Debussy as a student himself. Loussier continued this distinguished tradition, graduating at the top of his class.

After traveling the world as an accompanist, in the late ’50s Loussier formed the Play Bach Trio with Pierre Michelot and Christian Garros. The Trio fused Loussier’s classical background with his interest in jazz, using Bach’s compositions as the basis for improvisation. The group was an immediate success, playing many shows and selling over six million albums in 15 years.

By the end of the ’70s, however, the group ran its course and Loussier retired to Provence, spending his days composing and recording at his studio in Miraval, experimenting with electronic and acoustic arrangements. The studio also played host to rock artists like Pink Floyd (including sessions for The Wall), Elton John, and Sting.

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1985 marked the 300-year anniversary of Bach’s birth, which prompted Loussier to re-form the Play Bach Trio with new members and a wider musical range, adding rock and electronic elements to the basic blend of classical and jazz. Loussier also continued composing through the ’80s and ’90s, as well as performing pieces by Bach and Ravel live and on albums like 1999’s Ravel: Bolero and Bach Book 40th Anniversary Album with his signature jazzy flair. A year later, Take Bach and Music of Debussy were released.

Ravel: Bolero continues Jacques Loussier’s series of jazz-inspired interpretations of classical music. His version of “Bolero” emphasizes the hypnotic, rhythmic structure of the work, and highlights his inspired, energetic playing. (by Heather Phares)

In other words: One of these brilliant albums by Jacques Loussier

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Personnel:
Andre Arpino (drums)
Jaques Loussier (piano)
Benoit Dunoyer de Segonzac (bass)

Booklet1Tracklist:
01. Ravel’s Bolero (Ravel) 17.16
2. Nympheas: I. Allegro (Loussier) 6.11
3. Nympheas: II. Andante (Loussier) 5.46
4. Nympheas: III. Vivace (Loussier) 5.29
5. Nympheas: IV. Largo (Loussier) 6.03
6. Nympheas: V. Presto (Loussier) 3.55
7. Nympheas: VI. Cantabile (Loussier) 3.08
8. Nympheas: VII. Prestissimo (Loussier) 4.09

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Land & Synir – Herbergi 313 (1999)

FrontCover1This is the first time I can present a band … and what a band ! from Iceland …

The band Land og Synir was founded in 1997 in Hvolsvollur by few Southeners and two of them are still in the band, Hreimur Ö. Heimisson singer and Jón Guðfinnsson bassist.

The band had a hitter that summer with the song Vöðvastæltur which was extreamly popular. In the beginning of the year 1998 occured some personnel changes in Land & synir, Birgir Nielsen drummer and Gunnar Þ. Eggertsson, gitarist joined the band along with Dísellu Lárusdóttur wichc played trumpet and keyboard. But in April ´98 Dísella quit the band and Njáll Þórðarson took her place. (by dalurinn.is)

This is the second album of Land & Synir and it´s an album full of magic … a powerful, a peaceful album with a very unique sound … strong melodies and great vocals …

Iceland must be a great country !

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Personnel:
Gunnar Þ. Eggertsson (guitar)
Jón Guðfinnsson (bass)
Hreimur Ö. Heimisson (vocals)
Birgir Nielsen (drums)
Njáll Þórðarson (keyboards)

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Tracklist:
01. Undraland (Heimisson/Eggertsson) 4.02
02. Allt Á Hreinu (Heimisson) 3.06
03. Freistingar (Heimisson) 3.50
04. Saga (Heimisson) 4.03
05. Örmagna (Heimisson/Eggertsson) 4.35
06. Lending 407 (Heimisson/Eggertsson/Guðfinnsson) 4.35
07. Eitthvað Nýtt (Heimisson/Guðfinnsson) 3.16
08. Hvað Er Að (Heimisson) 3.11
09. Stríð (Heimisson/Eggertsson) 3.36
10. Fordómar (Heimisson/Eggertsson) 4.49
11. Örmagna II (Heimisson/Eggertsson) 4.38

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