Carla Bruni – Quelqu’un M’a Dit (2002)

FrontCover1Quelqu’un m’a dit is the debut album of Italian-French singer, model, and former First Lady of France Carla Bruni, released in 2003.Quelqu’un m’a dit (Someone told me) is the debut album of Italian-French singer, model, and former First Lady of France Carla Bruni, released in 2003.

Quelqu’un m’a dit debuted at number one on the French Album Chart, spending thirty-four non-consecutive weeks in the top ten. The album also reached the top ten in Germany, Switzerland, Italy, Portugal and Chile.
Three tracks appeared in Hans Canosa’s 2005 American film Conversations with Other Women (“J’en connais”, “Le plus beau du quartier”, and “L’excessive”), and the song “Le plus beau du quartier” was used in H&M’s Christmas 2006 commercial. The title track was played over the closing credits of Mensonges et trahisons et plus si affinités…, included on the (500) Days of Summer soundtrack released in 2009, and appeared in the 2010 Carte d’Or Muffin commercial. The song “Le Ciel Dans Une Chambre” also appeared in an episode of Skins, series 3.
The second track, “Raphaël”, is named for Bruni’s then-lover, philosophy professor Raphaël Enthoven,[3] with whom she had a son, Aurélien Enthoven, in 2001.
Bruni has further collaborated with the co-producer, Louis Bertignac, in 2005 duetting with him on the song “Les Frôleuses” on his new album. (by wikipedia)


Carla Bruni is an Italian supermodel and this is her first album. Like Milla Jovovich’s debut, this caught everyone by surprise. It’s a very good effort, far beyond what one would have expected. It’s an acoustic and intimate album, and the songs are from her own harvest. She also plays guitar. The talented French guitarist Louis Bertignac produced the album. Although she’s Italian, most of the album is sung in French with some Italian touches, like in “Le Ciel Dans une Chambre.” The result is a kind and smooth album that mixes folk and chanson Française in equal parts. Although she’s not breaking any new ground, the result is compelling. (by Iván Adaime)


Louis Bertignac (guitar, piano, percussion, organ, bass, oboe, mandolin)
Carla Bruni (vocals, guitar, percussion)
Vincent Catulescu (cello)
Régis Ceccarelli (drums)
Léna Fablet (violin)
Rachid Guissous (piano)
Roselyne Macario (viola)
Steve Shehan (percussion)
Laurent Vernerey (bass)


01. Quelqu’un M’a Dit (Bruni/Carax) 2.46
02. Raphaël (Bruni) 2.26
03. Tout Le Monde (Bruni) 3.17
04. La Noyée (Ginsburg) 4.00
05. Le Toi Du Moi (Bruni) 3.21
06. Le Ciel Dans Une Chambre (Paoli/Bruni) 4.49
07. J’en Connais (Bruni) 2.35
08. Le Plus Beau Du Quartier (Bruni) 3.30
09. Chanson Triste (Bruni) 3.31
10. L’excessive (Bruni) 3.04
11. L’amour
12. La Dernière Minute (Bruni) 1.03


CarlaBruni01.jpgThe nude side of Carla Bruni


Dick Heckstall-Smith – You Don’t Know Dick (2004)

DHSFrontCover1This book is a fascinating read and well worth the cover price of £16.95, because it includes a CD of 7 previously unreleased examples of Dick’s playing, with bands that cover a large spectrum of jazz and blues. The book shows Dick to be a well educated and highly intelligent individual, equally at home in Blues, Jazz and Contemporary Music bands.

In the semi-pro world where I played during the same period, it was the guys who could not hack the Jazz or Dance Band scene that formed the blues bands. The London scene must have been very different however, Dick and his contemporaries would have been capable of holding their own in any scene.

The life and times of musicians in any touring band are always interesting and Dick’s tales of his adventures, musical and otherwise, with The Graham Bond Organisation, Alexis Korner’s Blues Incorporated, John Mayall’s Bluesbrakers and Jon Hiseman’s Colosseum make for a most interesting read.

Dick’s commentaries on his life and times are frank and detailed, but interestingly although he opens up to his readers on some matters, there is a reserve that somehow prevents the reader from getting a real measure of Dick until the whole of the book has been read. Whether this is intentional or it just happened that way I don’t know.

I have known other very highly talented musicians who have difficulty in coping with those things that us mere mortals find easy, one who springs directly to mind and may have been known to Dick was Brian Gray Brian was an enormously talented saxophone player but he struggled to make a living and eventually gave the business up. Dick on the other hand has ploughed on but always had to live from hand to mouth.



Pete Grant’s part of the book attempts to analyse why this should have happened to someone as talented as Dick. His conclusion that the public are never sure whether he is in the blues world or the contemporary music world is probably correct. Before the UK public hand over their money, they want to be more certain of what they are going to get. The fact that a very large sector of the public prefer the Tenor playing of Stan Getz and Zoot Sims to that of John Coltrane, may also be a contributing factor.

The clearest insight into Dick that we get is where he writes about racism and proves quite rightly in my opinion that there can be no alternative but to classify people as those we like and those we don’t, colour race and creed have nothing to do with it. Having said that however people like people like themselves! (by Don Mather) (*)


And here´s this very rare CD (“not for sale seperately from the book”). Maybe I will scan this book later ..

And this is not onyl a very rare CD, bit a great tribute to one of he finest Bristish Jazz musicians ever: Mister Dick Heckstall-Smith.

Listen and enjoy !


01. The Deluxe Blues Band: Heatwave (McGrath/Heckstall-Smith) 4.10
02. Dick Heckstall-Smith: Aquamarine (1) (Heckstall-Smith) 10.46
03. Jon T-Bone Taylor’s Bop Brothers: Try (Green/Plotel) 5.13
04. Dick Heckstall-Smith:  Il Collingdale (1) (Heckstall-Smith) 20.26
05. The Hamburg Blues Band: Woza Nasu (2) (Heckstall-Smith) 16.14
06. The Wentus Blues Band: Looking Back (3) (unknown) 4.38
07. The Graham Bond Organisation: Only Sixteen (4) (Bond) 3.20

(1): previously unreleased live recording, Newcastle, 1991 (Heckstall-Smith)
(2): previously unreleased live recording, Flensburg/Germany, 2002
(3): previously unreleased live recording, Helsinki/Finland, 2002
(4): previously unreleased live recording, Broadcat, 1965




(*) Don Mather plays Tenor Sax and Clarinet and runs a Big Band and a Quartet and Quintet in Coventry, he was for five years Chairman of the Coventry Jazz Festival Committee, during which time the festival joined the big league. Don is a member of the Musicians Union and a Coventry Branch Committee man. His jazz tastes are catholic, but he confesses to be sometimes bemused by some so called ‘contemporary jazz’.

Wentus Blues Band & Dick Heckstall-Smith – Man Of Stone (2015)

FrontCover1Dick Heckstall-Smith was much more than “only” the Saxophone Player for one of the best Jazz-Rock bands, we ever had … Colosseum !
He was an extraordinary solo Artist and session Player, too. Here we can hear him with the Wentus Blues Band from Finland !

What can I say about Dick Heckstall-Smith? Brilliant jazz and blues sax player, composer and owner of the largest tea cups in history, and most importantly for me, my friend.

In 1998, I first met Dick Heckstall-Smith, at a recording session for his “Blues And Beyond” album. Soon afterwards I started running his official website, and soon after that, Dick asked me to be his manager. Dick lived to play on stage. He had semi regular gigs with The Hamburg Blues Band, then there were Colosseum tours, a jazz gig here and there, but that still left a lot of time to fill, gig wise.
In 2002, Dick wanted to put a blues based live band together. His ideal line-up would have included Clem Clempson on guitar and Gary Husband on drums. There hadn’t been much movement on this when we were contacted by Robban Hagnas of The Wentus Blues Band. They hailed from Kokkola in Finland. An accomplished blues act, they had found a unique way round the limited touring opportunities in Scandanavia by touring with classic blues artists such as Mick Taylor, centering their sets around each special guest. That way, they could tour several times a year, rather than just once.


It was agreed that Dick would go out on a Scandanavian tour with them, and and he was as excited by the prospect as I had ever seen him. I remember him dragging me around pretty much every army surplus store in North London one Saturday afternoon in order to find enough cold weather clothing to combat whatever conditions might be faced on the road. I was very aware that my main role with Dick was to maintain a level of hope in the future for him, and this tour constituted the most hopeful he had been for some time.
Once Dick had travelled to Finland for rehearsals and the tour itself, I got daily updates from him by phone. He was particularly impressed by The Wentus Blues Band guitar attack which reminded him of Peter Green era Fleetwood Mac. They had tailored their set to him, with numbers associated with Blues Incorporated, Graham Bond ORGANization and The Bluesbreakers, as well as numbers from Dick’s jazz orientated solo work, such as the song that had become something of a signature for him, “Woza Nasu.” Dick enjoyed the tour immensely, and felt, (as I did when hearing the live recording) that his playing was near his best. I recall one particularly “up” call from Dick. He was staying in an isolated hotel not a million miles from the Arctic Circle, and raved about His ride there, via Reindeer and Sleigh. Dick came back from the tour as invigorated and enthused as I ever saw him in those later years, and I will always thank Robban Hagnas and his band for that.


A few months later, I got to see Dick in action with the Wentus boys in action at a one off gig in Oxford. Dick drove myself and Pete Brown there, via Canada it seemed. Dick could be directionally challenged now and then. However, we did get there in time for the show, and it was wonderful how the band interacted with a true master of his instrument. This live album is testament to that wonderful interaction. (by Pete Grant; taken from the original liner-notes)
Such a great concert … including one of Dick Heckstall-Smith´s masterpieces … his own composition “Woza Nasu ” … Listen !

Recorded live in Helsinki at Cantina West April, 5th, 2002.


Mikael Axelqvist (drums)
Robert Hagnäs (bass)
Nike Riippa (guitar)
Anders Sjöberg (vocals)
Kim Vikamn (guitar)
Dick Heckstall-Smith (saxophone)
01. Key To Love (Mayall) 3.46
02. Missing You (Everton/Edward) 3.53
03. You Got Me (Where You Want Me) (Robey) 5.23
04. Suspicions – Part 2 (Mayall) 6.34
05. Woza Nasu (Heckstall-Smith) 17.04
06. Man Of Stone (Kirkland) 8.16
07. Have You Heard (Mayall) 8.41
08. Pretty Things (McDaniels) 3.06
09. Before You Accuse Me (McDaniels) 5.02
10. Looking Back (Watson) 4.25

Tuna Universitaria – Toledo (2002)

frontcover1A tuna is a group of university students in traditional university dress who play traditional instruments and sing serenades. The tradition originated in Spain and Portugal in the 13th century as a means of students to earn money or food. Nowadays students don’t belong to a “tuna” for money nor food, but seeking to keep a tradition alive, for fun, to travel a lot and to meet new people from other universities. A member of a tuna is a “tunante”, but is usually known simply as a “tuno”. “Sopista” was the name given in the earlier times of the “tunas” but is still accepted as well.

The name TUNA may come from French roi de Thunes, “king of Tunis”, a title used by leaders of vagabonds. But there is also a legend of a real King of Tunis, known for his love to music and party that usually liked to walk around the streets at night playing and singing. That explains why the term roi de Thunes was applied.

In the old times (medieval days) the Sopistas would use their musical talents to entertain people in exchange for a coin and a bowl of soup (sopa, in Portuguese and Spanish, hence the name sopistas). They would also play their music under the windows of the ladies they wished to court.

From its origins to the present day, from and through of the Tunas have continued the cultivation of popular instruments such as the bandurria, lute, guitar and tambourine, instruments which are named in the Spanish book Libro del Buen Amor by Juan Ruiz (c. 1283 – c. 1350).

For these occupations, they took their guitars and bandurrias and sang popular songs. The tunos or sopistas also showed abilities for music, and in courting ladies that they had been wooing to.[3] The sopistas were poor students that with their music, friendly personality and craftiness scoured for cheap eats for a few coins in the eating-houses, convents, streets and squares. (by wikipedia)

And this is an album, recored in the tradition of the old traditions by students of the University of Castilla-La Mancha in Tuna/Spain:

The University of Castilla-La Mancha was created by law on June 30th, 1982 through the union of different university centres into a single institution. The UCLM began its first academic year in 1985. Its introduction represented the Autonomous Community’s calling to provide its own university system, at the service of over two million citizens residing in the 79,000 square kilometers of its territory.

The first universities in the region can be traced back to Toledo (1485) –although the historic “School of Translators” dates back to 1172- later on Siguenza (1489), and finally Almagro (1550). However, the political measures adopted with the liberal revolution left the region without any university centres for over a century until Toledo University College was opened in 1969. (by

Enjoy all these traditional sounds from decades, that were forgotten .. but here we can hear them again …


Student Choir of The University of Castilla-La Mancha – Tuna/Spain


01. Son de Tuna (Torres) 3.58
02. Ay, ay, ay (Freire) 3.22
03. Popurri Navarro (Traditional) 4.14
04. Lágrimas Negras (Matamoros) 3.04
05. Granada (Lara) 4.22
06. Isa Parrandera (Traditional) 4.39
07. Vagabundo (Simón/Gil) 2.42
08. Suspiros de España (Alonso) 3.55
09. La Salamantina (Alonso) 5.39
10. La Golondrina (Infante) 3.44
11. María ‘La Portuguesa’ (Cano) 4.18
12. Toledo (Lara) 5.15




Screamin´ Stukas – A Lotta Rhythm (2002)

FrontCover1Tehosekoitin was a Finnish rock band formed in 1991. The band made music with traditional rock ‘n roll attitude. Besides pure rock ‘n roll, they also made some songs which were more like jazz, blues or tender ballads than actual rock. Tehosekoitin was really popular in Finland. The band toured after a successful decade in Suomi later under the new name Screamin’ Stukas in Britain and Europe. They translated all their lyrics into English. The tour wasn’t very successful.

Tehosekoitin made their first three recordings “Greatest Hits II”, “…ja valtakunnassa kaikki hyvin!!!?” (….and everything’s well in the kingdom!!!?) and “T.S. ❤ A.L” (a split with Apulanta in vinyl playing Finnish-style punk.

After those recordings Tehosekoitin changed their style into more traditional rock and made their first CD “Rock’n’roll”(1994) as they were starting to have some success in the Lahti region.

Tehosekoitin became known in whole Finland in 1997 with their single “C’mon baby yeah”. After that they released “Köyhät syntiset” and the success was guaranteed.

Tehosekoitin released also “Varoittava esimerkki”(1998), “Freak Out”(1999), Rock ‘n’ Roll Monster Movie Show”(2000), “Rakkauden Gangsterit”(2001) and “Golden Greats”(2002).

In 2002 they published a CD “A lotta rhythm” in English with the name “Screamin’ Stukas”. CD-single “Lupaan”(2004) became the last Tehosekoitin recording ever been published and they played their last gig in August 2004. A reunion tour has been announced for 2009.

Nowadays their singer Otto Grundström has also become known as a poet. He also featured as lead vocalist on the single “Rakkaus repii meidät kappaleiksi” By the Finnish punk rock group Pää Kii in 2012. (by wikipedia)

The bandname, the cover artwork and the label make you think that the Screamin’ Stukas are another Scandinavian band sounding like The Hellacopters or the Flaming Sideburns. Without doubting the talents of these bands, the Screamin’ Stukas play their rock’n’roll in a much more diverse way. Classic rock’n’roll tracks with screams are rare on this CD. The Screamin’ Stukas feel much more inspired by the late Sixties glam rock à la Slade, Sweet and especially T-Rex.


With their debut album A Lotta Rhythm, they spread fun-charged, explosive rock’n’roll which convinced me already after only a few chords. Although retro rock often irritates me, the Screamin’ Stukas are musically very flexible which makes listening to this debut a fascinating experience. There is 50s orientated rock’n’roll (Action, A Lotta Rhythm) as well as beautiful pop pearls where they sound as nice as The Beatles (My My Girl) or even as sweet as The Cardigans (On The Wing). Soul (D’Yer Understand) and Pink Floyd-like monumental stuff (Incomplete & Out Of Time) make also part of their big repertoire. Furthermore I can’t name you many albums having sweeter choruses than this one. The Screamin’ Stukas rule!!!(by

I never was a fan of Tehosekoitin, but I had paid attention for the high musical quality of some of their songs. When I heard they were going to release some of their songs re-recorded in English (as The Screamin’ Stukas), I was immediately interested. You know, their English lyrics couldn’t been worse than their Finnish lyrics, and Otto couldn’t pronounce English worse than Finnish.


The result was, and is, thrilling. If the whole album was like “Some Fun Tonight”, “My My Girl (Just Fell in Love)” and “On the Wing”, it would be a SENSATION. “Some Fun Tonight” is a full blooded rock classic (need ‘lost classics’?) and was actually a small Scandinavian hit, even though its video seen on MTV was terribly boring. “My My Girl” is the best imitation of the ’63–’65 Beatles I have ever heard. It is great fun. “On the Wing”, then, equals the psychedelic numbers of The Byrds (on Fifth Dimension and Younger Than Yesterday, excluding my personal favourite “Thoughts and Words”). These aren’t plastic copies, they have the real vibe instead.

Well, the whole album is not like that. “Action” is fun while it is such an old school rock & roll number. “Work It Out Sheila” and “C’mon Baby Yeah” aren’t quite like “Some Fun Tonight” but still sound like moderate rock standards. The lengthy “Incomplete & Out of Time” is slightly conservative melancholic rock but still it has that something. Unfortunately most of the rest consists of the boring rock & roll worshipping ritual that always was an annoying part of Tehosekoitin. (by fairyeee)

This record was made to be played loud !!!


Otto Grundström (vocals)
Hannu Kilkki (bass, background vocals)
Matti Mikkola (guitar, background vocals)
Tero Sundell (drums, background vocals)
Eba (piano on 03.)
Jukka Hakoköngäs (keyboards on 01., 04., 07., 09. + 11.)
Atte Härkönen (guitar on 09., 11. +12.)
Sami Ihajoki (trumpet on 11.)
Mihail Kapustin (trombone on 03.)
Poke Porala (saxophone on 01., 04., 08. + 11.,flute on 06.)
Teemu Salmi (trombone on 11.)
Jan Schaper (saxophone on 03. + 11.)
Mitja Tuurala (bass on 10.)
Juha Untala (trumpet on 03.)
Devil Virtanen (slide-guitar on 03.)
background vocals:
Ben Aaron – Knipi
Anniina Ahlström – Juha Ahvenainen – Mauri Saarikoski – Niina Jäntti – Petri Päivärinta – Päivi Rissanen – Virpi Taskila – Virva Järvinen

01. Ain’t Walking On Water 3.18
02. Work It Out Sheila 4.40
03. Some Fun Tonight 4.42
04. Action 1.45
05. My My Girl (Just Fell In Love)     3:01
06     On The Wing     4:13
07     C’mon Baby Yeah     3:11
08     Never Been This High     2:47
09     A Lotta Rhythm     4:18
10     Hellbound Train     3:08
11     D’yer Understand     2:46
12. Incomplete & Out Of Time 6.19

All songs written by Otto Grundström – Hannu Kilkki – Matti Mikkola – Tero Sundell




Various Artists – From Clarksdale To Heaven – Remembering John Lee Hooker (2002)

FrontCover1For the first of two tribute albums to John Lee Hooker, executive producer Arnie Goodman of Blue Storm Music has assembled an impressive list of British musicians from the 1960s who helped spark the ’60s blues revival that was responsible for the ascension of Hooker (among others) into legendary status. The biggest name on his own is Jeff Beck, who plays guitar on “Will the Circle Be Unbroken” and “Hobo Blues,” but other notable figures include Cream’s Jack Bruce, Leo Lyons and Ric Lee from Ten Years After, Procol Harum’s Gary Brooker, ex-Rolling Stone Mick Taylor, former Fleetwood Mac leader Peter Green, and Gary Moore. The performers are reverent toward Hooker’s music, maintaining its relentless rhythmic power and even at times re-creating the master’s haunting mumble of a voice. The set is not entirely given over to the Brits, however, as it opens with Inlet1A“I Want to Hug You,” sung by Hooker’s daughter, Zakiya, and ends with Hooker himself, accompanied by Booker T. Jones and Randy California, among others, performing a previously unreleased “Red House” that was cut for a Jimi Hendrix tribute album. There is also a newly written song (“The Business”) penned by Grateful Dead lyricist Robert Hunter and Bay Area musician Greg Anton that was earmarked for a Hooker project never recorded due to his death. Such tracks provide some variety, but the strength of the album is still in the devoted performances of people like Beck and Green. (by William Ruhlmann )

From a child of his body and the children of his music, this is a chance to pay respects to the man who made his guitar a blacksmith’s anvil and pounded out rhythms of sorrow. Look for Jack Bruce’s Ozzy Osbourne-like sneer on “I’m in the Mood,” along with Gary Moore’s Godzilla footsteps on guitar. That’s Jeff Beck playing robot-metallic notes on “Will the Circle Be Unbroken” and “Hobo Blues,” and Peter Green’s vocal sounds like a decaying zombie obeying his master on “Crawling King Snake.” John Lee himself paints a “Red House” with something other than crimson pigment, and I’ve got to credit Robert Hunter’s composition, “The Business,” by Greggs Eggs vocalist Suzanne Sterling for giving the old man that special smile with a posthumous kiss. (by Mitchell Lopate)


Jeff Allen (drums)
Michael Bailey (bass, background vocals)
Richard Bailey (drums)
Jeff Beck (guitar)
Gary Brooker (piano, vocals)
Jack Bruce (bass, vocals)
Randy California (guitar)
Dave “Clem” Clempson (guitar)
Vince Converse (guitar, vocals)
Tony Cook (guitar)
David Daniel (bass)
Bruce Gary (drums)
Earl Green (vocals)
Peter Green (guitar, harmonica)
Kenny Greene (drums)
Dave Hadley (bass)
Dick Heckstall-Smith (saxophone)
John Lee Hooker (guitar, vocals)
Zakiya Hooker (vocals)
Gary Husband (drums)
Johnnie Johnson (piano)
Booker T. Jones (organ)
Ric Lee (drums)
Andy Fairweather Low (guitar)
Leo Lyons (bass)
Godfrey McLean (drums)
T.S. McPhee (guitar, vocals)
Max Middleton (piano)
Dave Moore (piano)
Gary Moore (guitar)
Bobby Murray (guitar)
Matt Pegg (bass)
Henry Spinetti (drums)
Peter Stroud (bass)
Mick Taylor (guitar, vocals)
Nigel Watson (guitar)
Chris Wilson (bass)


01. Zakiya Hooker, Johnnie Johnson, Bobby Murray: I Want To Hug You (Hooker) 4.04
02. Jack Bruce + Gary Moore: I’m In The Mood (Besman/Hooker) 6.19
03. LLC-Vince Converse, Leo Lyons, Ric Lee: Bad Like Jesse James (Hooker) 7.07
04. Jeff Beck: Will The Circle Be Unbroken (Traditional) 6.08
05. Gary Brooker + Andy Fairweather-Low: Baby Lee (Bracken/Hooker) 4.48
06. T.S. McPhee, Dick Heckstall-Smith: Ground Hog Blues (Hooker) 5.44
07. Mick Taylor + Max Middleton: This Is Hip () 3.50
08. Peter Green Splinter Group: Crawlin’ King Snake () 5.41
09. T.S. McPhee, Dick Heckstall-Smith, Clem Clempson: I’m Leaving () 5.25
10. Gary Brooker + Andy Fairweather-Low: Little Wheel () 5.34
11. Greggs Eggs: The Business () 4.36
12. Jeff Beck: Hobo Blues () 5.52
13. Gary Moore + Jack Bruce: Serve Me Right To Suffer () 6.24
14. John Lee Hooker, Booker T, Randy California: Red House (Hendrix) 4.57
(Prevously unreleased song with J.L. Hooker)






ZZ Top – Where’s Frank (2002)


ZZ Top’s 1973 album, Tres Hombres, might have gotten them known throughout the United States (it went No. 8 on Billboard) and singles such as Tush, I Thank You and Cheap Sunglasses continued to keep their name in circulation, but it is Eliminator (1983) and Afterburner (1985) that really made the bearded rockers superstars. Like many acts who made it big in the ’80s, ZZ Top also had MTV to thank – it’s hard to imagine the MTV generation forgetting the clips for Legs and Sharp Dressed Men. By then, guitar fans had also realised that Billy Gibbons is an extraordinary guitarist and the group’s crunching boogie rock is as distinctive as Mark Knopfler’s licks.

But for this show, John Douglas (who is better known as a drum tech and artist) sat in for Frank Beard (hence the title of the disc) who had to have emergency appendix surgery. This is how Douglas explains the gig:

John DouglasI was playing with X O X, a fairly popular band here in Houston when Frank Beard of ZZ Top came to see the band. He liked my drums and asked if I could paint a kit for him. That chance meeting has turned into a 17+ year friendship over which I have created 13 custom drumkits and traveled the world with ZZ Top as Frank’s drum tech.

In October of 2002, while on tour in Europe, Frank had an emergency appendectomy and I was asked to fill the drum spot. So with very little sleep and no rehearsal I played three sold out shows starting in Paris. In a career spanning 30+ years, Rock and Roll Hall of Fame Inductees ZZ Top have never performed without those three original guys, until then. Mucho thanks to Billy, Dusty and Frank for trusting me up there behind the kit. It was an honor and I had a blast!

A reviewer at commented: “This drummer did a super fine job, just perfect in fact. In an odd way, the drums almost seem to be too perfect. Without knowing it, I think most fans, even diehards would not know that this was not Frank Beard playing.”

This disc has just surfaced and thanks to Joe Blotz Records & Lawn Care for sharing the tracks.

Recorded live at Le Zenith, Paris, France; October 14, 2002.
Very good soundboard.

John Douglas (drums)
Billy Gibbons (guitar, vocals)
Dusty Hill (bass, vocals)

01. Introduction 0.21
02. Tube Steak Snake Boogie (Gibbons/Hill/Beard) 4.26
03. I Thank You (Porter/Hayes) 3.25
04. Pincushion (Gibbons/Hill/Beard) 4.23
05. Got Me Under Pressure (Gibbons/Hill/Beard) 4.13
06. Waitin’ For The Bus (Gibbons/Hill) 3.00
07. Jesus Just Left Chicago (Gibbons/Hill/Beard) 4.53
08. Future Blues (Brown) 3.53
09. I’m Bad, I’m Nationwide (Gibbons/Hill/Beard) 4.52
10. Beer Drinkers & Hell Raisers (Gibbons/Hill/Beard) 3.39
11. Rough Boy (Gibbons/Hill/Beard) 5.21
12. Mexican Blackbird (Gibbons/Hill/Beard) 4.11
13. Cheap Sunglasses (Gibbons/Hill/Beard)
14, Just Got Paid (Gibbons/Ham)
15. I Love The Woman (Myles/Nath)
16. Bang Bang (unknown) 5.30
17. Gimme All Your Lovin’ (Gibbons/Hill/Beard) 4.31
18. Sharp Dressed Man (Gibbons/Hill/Beard) 4.48
19. Legs (Gibbons/Hill/Beard) 4.59
20. La Grange (Gibbons/Hill/Beard) 4.58
21. Tush (Gibbons/Hill/Beard) 3.31

ZZ Top with John Douglas on drums

ZZ Top with John Douglas on drums