Moneen – The Red Tree (2006)

FrontCover1Moneen (sometimes stylised as .moneen.) is a Canadian indie rock band from Brampton, Ontario.

Moneen formed in 1999 after the dissolution of another band, called Perfectly Normal. The founding members were singer/guitarist Kenny Bridges, bassist Mark Bowser, drummer Peter Krpan and singer/guitarist Chris Hughes.

The band recorded their first EP Smaller Chairs for the Early 1900s in Kenny’s basement. They then re-released it on Smallman Records with their second album “The Theory of Harmonial Value”, the band’s next release was Are We Really Happy with Who We Are Right Now in 2003. The album appeared on the !earshot National Top 50 chart in August, 2003.

Bowser was replaced by Chris Slorach (Nu Chris), who left the band after the release of The Theory of Harmonial Value. Erik Hughes (who played bass for the band on their first Canadian tour) later became the permanent bass player for the band.

In 2003 the band’s lineup was Bridges, Krpan, and Chris and Erick Hughes. That year they performed in Austin.

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Moneen later signed to Vagrant Records. Smallman Records still distributes their albums in Canada. In 2005 they released a split EP with friends Alexisonfire on Dine Alone Records, on which each band covered two of the other’s songs, plus one original song.

In 2005, director Alex Liu followed the band through the recording process for The Red Tree, filming a documentary entitled The Start to This May Be the End to Another. The Red Tree was released on April 11, 2006 on CD and vinyl. The vinyl release of The Red Tree was limited to 300 copies. The band joined the 2006 Warped Tour to promote the album.[6] The documentary was released as part of The Moneen DVD: It All Started with a Red Stripe on May 13, 2008. The DVD had been nominated for a Juno Award for Music DVD of The Year.

In March 2008, Moneen parted ways with their drummer Peter Krpan, who decided to start a solo project named One Grand Canyon; the band recruited drummer Steve Nunnaro as a permanent replacement.

Moneen began recording their fourth studio album The World I Want to Leave Behind in December 2008,; it was released September 15, 2009 with Dine Alone Records. They released it on CD and vinyl. The vinyl release had a bonus track called “Dark & Ugly”. The band went on tour in the United States to support the album, including a stop in Los Angeles at the Troubadour.

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In 2010, Peter Krpan re-joined Moneen as the permanent drummer. The band opened for several dates on Alexisonfire’s farewell tour in December 2012, however the band had performed very little throughout 2012 and after 2013 were in hiatus. Krpan, along with Chris and Eric Hughes, formed a new band in 2013 named Seas, signed a deal with Black Box Music, and went out on tour. Bridges joined a band called Cunter, worked as the guitar tech for The Sheepdogs, toured with Say Anything on guitar, and released an EP in August 2015 “Love and Hate”.

In 2016, Moneen performed in Toronto at Cuchulainn’s Irish Pub.

In 2017 the band played a four-date tour leading up to the 10th anniversary of The Red Tree, held at Lee’s Palace in Toronto.

In January 2019, the band played three shows at the Phoenix Concert Theatre in Toronto to celebrate the 15th anniversary of Are We Really Happy with Who We Are Right Now. In April 2019, Alexisonfire announced that Moneen would be supporting then for one date in July 2019, describing Moneen as the “Siegfried to Alexisonfire’s Roy”.

The Red Tree is the third full-length album by the rock band Moneen. There was also a documentary that chronicled the writing and recording of this album. A music video was released for If Tragedy’s Appealing, Then Disaster’s An Addiction, and it has had some play-time on MuchMusic and FUSE. (wikipedia)

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For Moneen’s third full-length, the guys start with a bang and end with a whisper. Quietly perfecting an invigorating mix of emo (à la the Get Up Kids) and math rock since their 1999 debut EP, The Red Tree brings more textured backdrops of up-and-down dynamics complete with crashing guitars, ringing vocals, and mid-song drop-offs into piano bits or soft lyrics that fans have come to love. The six-minute “The Day No One Needed to Know” shows this recipe perfectly, as it fades near the halfway point, leaving vocalist Kenny Bridges singing alone, until the song — yup — kicks back in for an exuberant ending. The album starts in high gear with the opening track’s hyperactive drums rolls and layered vocal harmonies, which eventually spill over into a supporting backbone of frenzied guitar. Without pausing for breath, the second and third songs follow suit. However, this brisk opening trifecta isn’t especially distinctive, with each track mostly relying on the same animated formula of pent-up energy bursting around upfront vocal harmonies. Further into the album, songs become more of the up-and-down, fast-slow-fast variety, as Moneen play tight and harmonize with ease.

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The gentleness of “This Is All Bigger Than Me” is a definite standout (and not just for its concise title), while the surging “The Frightening Reality…” benefits from engaging riffs. The final two tracks are more fully developed ballads that escape the usual build-up of the rest of the album, but “There Are a Million Reasons…” somewhat has the feeling of being the requisite slow song for a band like the Used that the delicate “The Song I Swore to Never Sing” thankfully evades. It’s always nice to see a band attempt to step outside the boundaries constraining so many other groups of the emo new school, and Moneen seem to consistently separate themselves from the pack in this way. The Red Tree is another capable release to add to their others, but the time might be appropriate for an expansion on their own formula to occur. (by Corey Apar)

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Personnel:
Kenny Bridges (vocals, guitar)
Chris “Hippy” Hughes (guitar, vocals)
Erik Hughes (bass guitar, vocals)
Peter Krpan (drums, percussion)

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Tracklist:
01. Don’t Ever Tell Locke What He Can’t Do 2.58
02. If Tragedy’s Appealing, Then Disaster’s An Addiction 3.20
03. Bleed And Blister (Version 3) 3.27
04. The Day No One Needed To Know 6.05
05. This Is All Bigger Than Me 3.05
06. The Frightening Reality of the Fact That We Will All Have to Grow Up and Settle Down One Day 3.56
07. The Politics Of Living And The Shame In Dying 3.37
08. The East Has Stolen What The West May Want 3.35
09. Seasons Fade… Fevers Rage… It’s A Slow Decay 3.46
10. There Are A Million Reasons For Why This May Not Work… And Just One Good One For Why It Will 5.38
11. The Song I Swore To Never Sing 3.22

All songs written by Kenny Bridges – Chris Hughes – Erik Hughes – Peter Krpan

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Wishbone Ash – Clan Destiny (2006)

FrontCover1Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There’s the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted “Two of the Ten Most Important Guitarists in Rock History” (Traffic magazine 1989), and to appear in the “Top 20 Guitarists of All Time” (Rolling Stone). Melody Maker (1972) described Powell and Turner as “the most interesting two guitar team since the days when Beck and Page graced The Yardbirds”. Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth.

Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash’s founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield.

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The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future.

Clan Destiny is the nineteenth album (!!!) from Wishbone Ash. It is the first album to feature guitarist Muddy Manninen, who replaced his student, Ben Granfelt, in 2004. ((by wikipedia)

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Wishbone Ash was mistakenly lumped in with the boogie bands of the late ’60s and early ’70s when it first started out, but the group soon developed its own voice—a majestic sound of intertwining guitars and regal vocals, matched by a certain propensity to improvise upon lyrical imagery of knights and warriors that made the group sound like refugees from King Arthur’s court with guitars instead of swords.

Not surprisingly, the band’s been through more than its share of personnel changes since then, but it soldiers on under the aegis of guitarist Andy Powell these days, constantly touring and regularly recording. Clan Destiny is a play on words that carries more than a little significance when you listen to the current Ash lineup (though some more action photos would have been preferable to the lyrics printed in the CD book liner).

It’s one thing to deliberately try to recreate a distinctive sound and style, quite another to actually do it. Listening to the opening track, it’s absolutely uncanny to hear the tenor vocals mesh with the dual guitars that harmonize to create hooks. The effect is the same on the next track, “Dreams Outta Dust, but the little things make it sound different, including how the second vocal enters on the second line of the verse while a mandolin murmurs in the background. The largely original material on this disc, recorded in just over three weeks in Massachusetts, takes a variety of forms. “Healing Ground, for instance, alternates a dirty guitar figure that acts as a refrain, the dynamics of which are highlighted by way the instruments drop out on the bridge to reveal a sole falsetto vocal.

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Clearly Powell has assembled a band with a palpable chemistry, including some not untalented, though perhaps overachieving, musicians. Yet you can’t really deny the savvy of bassist Bob Skeat, second guitarist Muddy Manninen and drummer Bob Weston, nor their versatility: Skeat plays various keyboards, while Manninen handles lap steel and slide (the way he decorates “Your Dog demonstrates how he serves the song, instead of flashing pure technique). And for his part, Powell, still brandishing a Gibson flying-V guitar, does an admirable job on vocals—and like his three compatriots, he knows that less is definitely more when it comes to soloing.

In fact, Clan Destiny keeps improvisation in tight rein. Wishbone Ash uses the studio as a means to craft smart arrangements, rather than confine jamming. Nevertheless, the quartet generates some momentum on “Steam Town, while the instrumental “Surfing a Slow Wave sounds at once everything like vintage Wishbone Ash and something more, its delicate tandem lines echoed in the melancholy of “loose change. (by Doug Collette)

And I´m surprised how good this album was … listen to “Surfing A Slow Wave”, “Capture The Moment”, “Healing Ground” … or, or,or …

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Personnel:
Muddy Manninen (guitar, vocals)
Andy Powell (vocals, guitar, mandolin)
Bob Skeat (bass, piano, clavinet, vocals)
Ray Weston (drums)

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Tracklist:
01. Eyes Wide Open (Andy Powell/Aynsley Powell/Manninen) 5.15
02. Dreams Outta Dust (Andy Powell) 4.27
03. Healing Ground (Cromwell/Nicholson/Greenberg/Rhodes/Wynans) 4.25
04. Steam Town (Andy Powell/Skeat/Manninen/Weston) 4.03
05. Loose Change (Andy Powell/Skeat/Manninen/Weston/Harris) 4.47
06. Surfing A Slow Wave (Kicklighter) 3.48
07. Slime Time (Powell/Manninen) 4.54
08. Capture The Moment (Andy Powell/Skeat/Manninen/Weston) 3.30
09. Your Dog (Andy Powell) 3.33
10. The Raven (Manninen) 4.46
11. Motherless Child (Traditional) 4.07

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And here … Wishbone Ash, live in 2006:

More from Wishbone Ash:
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A Triggering Myth – The Remedy Of Abstraction (2006)

FrontCover1The band was formed in 1989 by Rick Eddy and Tim Drumheller, an American duo of multi-instrumentalists who handle keyboards, guitars, percussions, flute and trumpet, although they regularly enlist the contribution of talented guest musicians on drums and percussion. Heavily keyboard based (especially the piano), their style is a curious mixture of jazz, rock and classical (symphonic) music with dark, mysterious overtones without being sinister – more like suspenseful. Even when the guys kick into high gear the atmosphere remains tension-filled. As far as comparisons go, names such as GENTLE GIANT, VDGG or ELP have surfaced but none truly convey the originality of this twosome, whose sublime interplay and strong emphasis on counterpoint cleverly blends all of these bands’ styles and more, resulting in a unique contemporary sound of its own.

Their music seems to become more unusual and complex with every new output. Their second album, ‘Twice Bitten”, already shows much maturity over their self-titled debut, both in playing and in composition. Their second and third releases, “Between Cages” and “The Sins of our Saviours”, continue somewhat in the same vein whereas their fifth, “Forgiving Eden”, is a single 43:32-minute suite divided into several movements. A superb work of art where the addition of guitarist Scott McGill and drummer Vic Stevens infuse the music with still more fusion elements.

If you like music that is particularly unconventional, even unpredictable, you’ll be in Canterbury heaven with this band’s material: a rich production of music that boldly dares to diverge from the conventional rock formulas. (progarchives.com)

A Triggering Myth01With a solid back-up such as the one provided by the threesome McGill, Stevens and Manning (usual partners in ceaseless jazz-rock album and projects), plus violinist extraordinaire Akihisa Tsuboy (KBB leader), the duo of Tim Drunheller and Rick Eddy could only have in mind a powerful A Triggering Myth album for this year 2006. And so they did: “The Remedy of Abstraction” is perhaps their most robust-sounding album to date. And that doesn’t not mean at all that they left behind their ideology of jazz- oriented prog full of finesse and exquisite craftsmanship: what it means is that this same exquisiteness portrays now an invigorated feel, a more energetic approach. That being said, the two keyboardists’ input stands as the ensemble’s main core, with the enthusiastic guests elaborating a continuing solid complementation for the basic harmonics and melodic lines. As always, the references to Happy the Man, Gilgamesh and National Health are there, with added touches of mid-70s Return to Forever and Gentle Giant’s academic side. ‘Now that My House Has burned Down, I Have a Beautiful view of the Moon’ (a long title that inspired the artwork) kicks off the album with an air of sophistication and strength. With a little more of sophistication and just a little less of strength, the title track emerges as a flow of evocative melodies. The leads played by guitarist McGill and violinist Tsubay help to bring some extra energy into the RickEddywarm colors provided by the synthesizers’ main lines. Still more warmth, this time seasoned with gentle melancholy, is in the aptly titled ‘Her Softening Sorrow’, which is typical ATM exploring their gentler side. The legacy of Canterbury’s legend Gowen comes to mind whenever the ATM guys display their melodic sense with this sort of depth. ‘Not Even Wrong’ feels more related to Jean-Luc Ponty’s 70s albums with a touch of Mahavishnu Orchestra: this is the perfect excuse to let Tsubay, once again, provide excellent violin flourishes to the front, at times. Tracks 2-4 are, IMHO, the apex of the album, although it is fair to say, indeed, that the repertoire keeps a high musical standard all the way through. The excitement found in this piece will soon be reprised in ‘Shakespeare’s Strippers’, where McGill takes the leading role somewhere in the middle, doing a well-accomplished Holdsworth impersonation in an amazing solo. McGill is appropriately replicated by the synth during the last part, making it one of the most explosive passages in the album. Between these two tracks, ‘Rudyard’s Raging Natural’ offers a recapitulation of the first two numbers’ Tim Drumhellerarticulated sophistication, while ‘The Eisenhour Slumber’ retakes sonic ventures into melancholic moods. ‘When Emily Dickinson Learned to Lounge’ sort of prolongs this melancholic vibe, but it also includes some disturbing dissonant keyboard input that creates an interestingly uneasy atmosphere, like some sort of delicate prelude to a mysterious nightmare. The last 2 ½ minutes are filled by the closing number, ‘The Last Resort’, which serves as a playful epilogue (something that Kerry Minnear would have written after listening to Canterbury for three hours in a row. so to speak). General balance: “The Remedy of Abstraction” is one of the most accomplished recordings of 2006, and it sure will keep the good fame of ATM among prog-connoisseurs and jazz-rock fans worldwide intact, or even enhanced. A masterpiece, indeed! (Cesar Inca)

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Personnel:
Tim Drumheller (keyboards)
Rick Eddy (keyboards, guitar, poetry
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Michael Manring (bass)
Scott McGill (guitar)
Vic Stevens (drums, percussion)
Akihisa Tsuboy (violin)

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Tracklist:
01. Now That My House Has Burned Down, I Have a Beautiful
View of the Moon 5.17
02. The Remedy of Abstraction 8.00
03. Her Softening Sorrow 8.19
04. Not Even Wrong 8.07
05. Rudyard’s Raging Natural 2.37
06. Shakespeare’s Strippers 5.01
07. The Eisenhour Slumber 4.42
08. When Emily Dickinson Learned To Lunge 8.16
09. The Last Resort 2.40

Music: Tim Drumheller & Rick Eddy
Poetry: Rick Eddy

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Melody Gardot – Worrisome Heart (2006)

FrontCover1Melody Gardot /ɡɑːrˈdoʊ/ (born February 2, 1985) is an American jazz singer who has been influenced by such blues and jazz artists as Judy Garland, Janis Joplin, Miles Davis, Duke Ellington, Stan Getz and George Gershwin as well as Latin music artists such as Caetano Veloso. She has been nominated for a Grammy Award.

At the age of 19, Gardot was involved in a bicycle accident and sustained a head injury. Music played a critical role in her recovery. She became an advocate of music therapy, visiting hospitals and universities to discuss its benefits. In 2012, she gave her name to a music therapy program in New Jersey.

and was brought up by her grandparents. Her grandmother was a Polish immigrant. Her mother, a photographer, traveled often, so they had few possessions and lived out of suitcases. Gardot studied fashion at the Community College of Philadelphia.

While riding her bicycle in Philadelphia in November 2003, Gardot was struck by the driver of an SUV and sustained head, spinal, and pelvic injuries. Confined to a hospital bed for a year, she needed to relearn simple tasks and was left oversensitive to light and sound. Suffering from short- and long-term memory loss, she struggled with her sense of time.

Encouraged by a physician who believed music would help heal her brain, Gardot learned to hum, then to sing into a tape recorder, and eventually to write songs.

For several years, she traveled with a physiotherapist and carried a transcutaneous electrical nerve stimulator to reduce pain.

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Given her oversensitivity to sound, she chose quieter music. On the treadmill, she listened to bossa nova by Stan Getz. Unable to sit comfortably at the piano, she learned to play guitar on her back. During her recovery, she wrote songs that became part of the self-produced EP Some Lessons: The Bedroom Sessions.[11] Gardot was reluctant to record her songs at first, stating that they were too private for the public to hear, but relented and allowed her songs to be played on a Philadelphia radio station.

Gardot is a Buddhist, macrobiotic cook, and humanitarian. She speaks fluent French in addition to her native English and considers herself a “citizen of the world”.

Since 2017, Melody Gardot lives in Paris, even though she is often on tour.

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Gardot started music lessons at the age of nine and began playing piano in Philadelphia bars at the age of 16 on Fridays and Saturdays for four hours a night. She insisted on playing only music she liked, such as The Mamas & the Papas, Duke Ellington, and Radiohead.

During her time in the hospital she learned how to play the guitar and began writing songs, which were made available as downloads on iTunes and released on Some Lessons: The Bedroom Sessions in 2005. She began to play these songs at venues in Philadelphia and was noticed by employees of the radio station WXPN, operated by the University of Pennsylvania in Philadelphia, which helped to start the career of Norah Jones. She was encouraged to send a demo tape to the radio station, and the tape found its way to the Universal Music Group. She released her first album, Worrisome Heart (Verve, 2006), then My One and Only Thrill (Verve 2009), produced by Larry Klein

MelodyGardot01Worrisome Heart is the debut album of jazz singer-songwriter Melody Gardot. It was released independently in 2006 and later re-released on Verve Records in 2007 and 2008. The album contains new recordings of songs previously released on Gardot’s first extended play release, Some Lessons: The Bedroom Sessions as well as unreleased tracks.

Speaking of how the album first came to be made, in November 2008 Gardot told noted British jazz/soul writer Pete Lewis of Blues & Soul that: “It was created independently of a record company. It was made privately. So my only intention, or my only goal, was to make a record that at the end of the day I was happy with. And the way that the instrumentation was decided on was based on what I heard in my head, and what I thought would feel the best. So I guess having it released is kinda like having somebody publish your diary in a way!”[10]

The tracks “Wicked Ride”, “Some Lessons” and “Goodnite” were re-recorded for this album and are not the versions that appear on the Some Lessons EP. The 2006 independent release has a longer running time of 41:40 as it included the new version of “Wicked Ride”, as well as the hidden track “Sorry State”, which were omitted when released by Verve Records. The album cover and track listing were changed for a promotional release in 2007 and again for its eventual official release under the label in 2008. (by wikipedia)

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Melody Gardot’s debut recording, released in 2006, came two years after she suffered a near fatal automobile accident, the differently able Gardot triumphing in accomplishing what many others, including her, could only dream of. This project has her singing and playing guitar and a little piano, but more so presenting this project of all original material. Gardot has an interesting personal story, but even more intriguing music that straddles the line between lounge jazz, folk, and cowgirl songs. She’s part sophisticated chanteuse, college sophomore, and down-home girl next door. Her innocence, sweetness, and light are very alluring, much like the persona of tragic songbirds Eva Cassidy and Nancy LaMott. Feel empathy for Gardot, but don’t patronize her — she’s the real deal much more that many of her over-hyped peers. “Quiet Fire” is definitely her signature MelodyGardot07tune, as it speaks volumes of where her soul is at, in a jazz/blues mode, yearning for true love. The title track follows a similar tack, a slow, sweet, sentimental slinky blues that will melt your heart. A finger-snapping “Goodnite” leaves you wanting that night to continue, but also exudes a hope that permeates the entire recording. She might be a bit down on men during the nonplussed “All That I Need Is Love,” but her subdued optimism glows cool. “Sweet Memory” might possibly parallel Feist or perhaps KT Tunstall in a rural country mode, while “Gone” is clearly folkish, and the slow “Some Lessons” expresses a contemporary Nashville precept. The laid-back music behind Gardot is basically acoustic, incorporating hip jazz instrumentation, especially the trumpet of Patrick Hughes and occasional organ, Wurlitzer, or Fender Rhodes from Joel Bryant, but with twists including violin, lap steel, and Dobro. The concise nature of this recording and these tunes perfectly reflects the realization that life is precious, every moment counts, and satisfaction is fleeting. Likely to be placed in the Norah Jones/Nellie McKay/Madeleine Peyroux pseudo jazz/pop sweepstakes, Gardot offers something decidedly more authentic and genuine. She’s one-upped them all out of the gate. (by Michael G. Nastos)

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Personnel:
Mike Brenner (lap steel guitar)
Joel Bryant (keyboards, wurlitzer)
Matt Cappy (trumpet)
Melody Gardot (vocals, guitar, keyboards)
Patrick Hughes (trumpet)
Jef Lee Johnson (guitar)
Kurt Johnston (dobro)
Ron Kerber (clarinet, saxophone)
Paul Klinefelter (bass)
Barney McKenna (guitar)
Diane Monroe (violin)
David Mowry (dobro)
Charlie Patierno (drums, percussion)
Ken Pendergast (bass)
Stan Slotter (trumpet)

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Tracklist:
01. Worrisome Heart 4.23
02. All That I Need Is Love 2.38
03. Gone 2.53
04. Sweet Memory 3.23
05. Some Lessons 5.24
06. Quiet Fire 4.14
07. One Day 2.04
08. Love Me Like A River Does 4.07
09. Goodnite 3.05
10. Twilight 1.01

All songs written by Melody Gardot

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Thunder – Islington Academy London (2006)

FrontCover1.jpgThunder are an English hard rock band from London. Formed in 1989, the group was founded by former Terraplane members Danny Bowes (lead vocals), Luke Morley (guitar, backing vocals) and Gary “Harry” James (drums), along with second guitarist and keyboardist Ben Matthews and bassist Mark “Snake” Luckhurst. Originally signed to EMI Records in the UK, the band released their debut album Backstreet Symphony in 1990, which reached number 21 on the UK Albums Chart and number 114 on the US Billboard 200. The 1992 follow-up Laughing on Judgement Day reached number 2, while both albums were certified gold by the British Phonographic Industry (BPI). All nine singles released from the two albums reached the UK Singles Chart top 40.

Luckhurst left the band in late 1992, and was replaced the following February by former Great King Rat bassist Mikael Höglund. The new lineup recorded only one studio album, Behind Closed Doors, which peaked at number 5 in the UK and spawned three UK top 40 singles. The 1995 compilation Their Finest Hour (And a Bit) reached number 22 in the UK and was certified silver by the BPI. Höglund left in 1996 and was replaced by Chris Childs, after Morley performed bass on fourth album The Thrill of It All, which reached the UK top 20. Thunder’s 1998 live album Live reached number 35 on the UK Albums Chart, while the following year’s fifth studio album Giving the Game Away reached number 49. The band broke up in early 2000 due to “outside business forces”.

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After a brief hiatus, Thunder returned in 2002 and formed their own record label, STC Recordings. The band’s sixth studio album Shooting at the Sun was released the following year, supported by the UK top 50 single “Loser”. After three more new studio albums – 2005’s The Magnificent Seventh, 2006’s Robert Johnson’s Tombstone and 2008’s Bang! – Thunder decided to break up in 2009. Two years later, however, the group returned for a third active spell, scheduling a number of sporadic live shows over the following years. A tenth studio album, Wonder Days, was released on the earMusic label in 2015, giving the band their first UK top ten since 1995 when it peaked at number 9. Rip It Up followed in 2017, reaching a peak UK Albums Chart position of number 3. (by wikipedia)

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And here´s a very rare bootleg from 2006 … a superb soundboard recording… a Christmas party concert … (December 19, 2006) … enjoy the power of one of the finest Hard-Rock bands from the Eighties !

Sometimes it sounds like the heavy metal version of Free !

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Personnel:
Danny Bowes (vocals)
Chris Childs (bass)
Harry James (drums)
Ben Matthews (guitar, keyboards, background vocals)
Luke Morley (guitar, background vocals)

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Tracklist:
01. Intro 0.18
02. Loser 6.47
03. River Of Pain 3.48
04. The Devil Made Me Do It 5.11
05. Love Walked In 7.18
06. Back Street Symphony 4.19
07. I Love You More Than Rock N Roll 5.57
08. Dirty Love 12.26

All songs written by Luke Morley

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Alison Balsom – Bach Works For Trumpet (2006)

FrontCover1.jpgAlison Louise Balsom, Lady Mendes OBE (born 7 October 1978) is an English trumpet soloist, arranger, producer, music educator and spokesperson for the importance of music education. Balsom was awarded Artist of the Year at the 2013 Gramophone Awards and has won three Classic BRIT Awards and three German Echo Awards, and was soloist at the BBC Last Night of the Proms in 2009. She was the artistic director of the 2019 Cheltenham Music Festival. (by wikipedia)

None of the music on this disc was originally intended for trumpet. All of it in Bach’s days went first to singers, keyboardists and string players. But this point shrinks to a minor historical technicality when British trumpeter Alison Balsom plays. Her case for this music on trumpet is largely irresistible, enough to make one wonder whether Bach shouldn’t have written it her way instead. Incredible sensitivity is Balsom’s secret. In her hands, the trumpet rivals the human voice for expressivity and tonal coloring. Nary a note comes off as harsh or blaring, qualities typically associated with the instrument, and tenderness abounds. It’s hard to split musical hairs at this level of artistry. What’s more, Balsom retains at least part of the music’s original format, collaborating with soloists every bit her equal: organist Colm Carey, violinist Alina Ibragimova and harpsichordist Alistair Ross. Ross is a spry partner in the lengthy but fascinating Italian Variations while Carey more than compensates for the missing ensemble in the Bach-Vivaldi concerto transcriptions and other would-be orchestral works.

Balsom falls short only in the selections from a Violin Partita and a Cello Suite. Even a player as marvelous as she is cannot match the chordal richness of those instruments on the trumpet; much original depth is lost in translation. These two missteps aside, Balsom and Bach are an ideal combination. -(by Zachary Lewis)

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I love baroque music for trumpet, and Alison Balsom captures the playfulness of it beautifully. All the pieces on this CD are adaptations for trumpet from Bach’s chamber music (as well as arrangements that Bach had adapted himself from pieces by Vivaldi and Marcello), accompanied very effectively by Colm Carey on the organ, Alina Ibragimova on violin, Alistair Ross on harpsichord and chamber organ, and Mark Caudle on viola da gamba. By combining modern trumpet with organ, these pieces open up another dimension in one’s listening experience and enjoyment of music; purists might be sceptical about it, but it is definitely worth listening to. Showing consummate skill, Alison Balsom plays each note crisply and clearly with perfect control, and as someone who used to play the trumpet myself, I know that this is by no means an easy task. My particular favourites are the allegro of the concerto in D, the largo of the concerto in C minor, and the badinerie from the orchestral suite no. 2.

All too often we make the mistake of having music on in the background, whilst doing the housework for example, but this CD deserves to be listened to without distractions. Wonderfully uplifting, it will improve any rainy day. Recommended. (by Petra Bryce)

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Personnel:
Alison Balsom (trumpet),
Colm Carey (organ)
Mark Caudle (viola de gamba)
Alina Ibragimova (violin)
Alistair Ross (harpsichord, chamber organ)

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Tracklist:

Concerto in D Major BWV. 972 (after Vivaldi):
01. Allegro 2.05
02. Adagio 3.51
03. Allegro Assai 2.10

Suite No. 2 in D Minor, BWV. 1008:
04. Sarabande 2.41
05. Gigue 2.38

06. Aria Variata In A Minor (Italian Variations) BWV 989 / 9.24
07. Partita No. 3 in E, BWV 1006: Gigue 2.07

Trio Sonata In C Major BWV 529:
08. Allegro 4.55
09. Largo 5.16
10. Allegro 3.31

Concerto In C Minor (After Marcello) BWV 974:
11. Allegro 3.13
12. Largo 3.41
13. Presto 3.12

14. Klavierbüchlein für Anna Magdalena Bach, II: Aria: Bist du bei mir, BWV 508 / 2.42

Concerto In A Major BWV 1055 (Transposed To C Major):
15. Allegro 4.08
16. Larghetto 5.02
17. Allegro Ma Non Tanto 4.24

18. Suite No. 2 in B Minor, BWV. 1067: VII. Badinerie 1.31
19. Mass in B Minor, BWV 232: Agnus Dei 5.02

Music composed by Johann Sebastian Bach

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Jan James – Drive Me Home (2006)

FrontCover1.jpgborn 22 August 1967, Portland, Michigan, USA. Singing in church and listening to blues and rock on record, by her teenage years James had become a confident and accomplished performer. While at Michigan State University she met guitarist Craig Calvert and they began to play and compose together. Their band, the Flying Tigers, built a solid following in and around Detroit and soon they were eager to expand their base. Moving to Chicago, Illinois, and with a new band named Jewel Fetish, James and Calvert played in many locally noted blues clubs, including Buddy Guy’s, Blues Legends, Taste Of Chicago and The House of Blues. As James’ prestige grew she began performing under her own name, with Calvert continuing to provide powerful and fiery support for her singing. James sings an engaging and exhilarating mixture of traditional country blues and classic rock, with strong undercurrents of gospel and even hints of country music.

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In the mid-90s, James added to her dedicated local following through the release of an album on the Netherlands-based Provogue Records. Her European audience has continued to grow and although recorded in Chicago, her next few albums were also released by Provogue and received rave reviews in Europe and the UK as well as back home in the USA. In Chicago James appeared in a stage presentation of Love, Janis, based upon letters written by Janis Joplin, a singer to whom she has been favourably compared, and built around her life and music. The recorded work of James and Calvert shows them to be decidedly superior to many better-known artists. (.allmusic.com)

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Sultry, blues with a rock edge, this is the 7th CD release from this Chicago artist showcasing her powerful, soulful voice with the best of the blues from the front porch to the backwoods and back downtown, featuring the awesome guitar of Craig Calvert.

Super…front-porch acoustic, cocktail-lounge swing, stop-time shuffle, or sultry pop.
James delivery is powerful, clear, unmannered and witty. (Blues Revue)

With her sandpapered voice and tough-blossom ethos, Jan has clasped the enthusiasm and acclaim of US and European audiences to her blues-rocking heart. infectious mix of flat-out rock-and-roll, blues, and heady gospel music received spirited praise from the world press.

And The Detroit Metro Times voted her “Best Female Vocalist” just in time to
send her off to her new hometown, Chicago, where she soon became a favorite.

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Personnel:
Craig Calvert (bass, dobro, guitar)
Steve Gerlach (guitar)
Jan James -(vocals)
Bob Long (keyboards)
Kyle Woodring (drums)

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Tracklist:
01. Drive Me Home 1.15
02. Good Times Rolling In 5.13
03. Little Bit Of Lovin’ 3.54
04. Man On A Train 6.19
05. Hush 4.40
06. Living For The City 4.31
07. Rock Your Woman 5.09
08. Slow Burner 3.39
09. Someone Like You 4.02
10. Your Turn To Cry 4.11
11. Ramblin Rider 4.39
12. My Man 3.34
13. Soldier 5.19

All songs was written by Craig Calvert & Jan James
except “Living For The City” which was written by Stevie Wonder

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Henri Salvador – Reverence (2006)

FrontCover1.jpgHenri Salvador (18 July 1917 – 13 February 2008) was a French Caribbean comedian and singer.

Salvador was born in Cayenne, French Guiana. His father, Clovis, and his mother, Antonine Paterne, daughter of a native Carib Indian, were both from Guadeloupe, French West Indies. Salvador had a brother, André, and a sister, Alice.

He began his musical career as a guitarist accompanying other singers. He had learned the guitar by imitating Django Reinhardt’s recordings, and was to work alongside him in the 1940s. Salvador recorded several songs written by Boris Vian with Quincy Jones as arranger. He played many years with Ray Ventura and His Collegians where he used to sing, dance and even play comedy on stage.

He also appeared in movies including Nous irons à Monte-Carlo (1950), Nous irons à Paris (Jean Boyer’s film of 1949 with the Peters Sisters) and Mademoiselle s’amuse (1948).

He is known to have recorded the first French rock and roll songs in 1957 written by Boris Vian and Michel Legrand — “Rock’n Roll Mops”, “Rock hoquet, Va t’faire cuire un oeuf, man” and “Dis-moi qu’tu m’aimes rock” — under the artist name of Henry Cording (a play on the word “Recording”). Despite this historical aspect, he never ceased to claim that he disliked rock and roll and even refused to talk about this subject later on.

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In the 1960s, Salvador was the host of several popular television variety shows on French TV. In 1964, he scored a hit with “Zorro est arrivé”, which was inspired by The Coasters’ U.S. hit “Along Came Jones”. He is also famous for his rich, catchy laugh, which is a theme in many of his humorous songs. In 1969, Henri Salvador recorded a variation of “Mah Nà Mah Nà” entitled “Mais non, mais non” (“But No, But No” or “Of Course Not, Of Course Not”), with lyrics he had written in French to Piero Umiliani’s music.

Henri Salvador and his song “Dans mon île” (1957) were thought to be an influence on Antônio Carlos Jobim in formulating the Brazilian bossa nova style.

Caetano Veloso, a famous Brazilian composer and singer, made Henri Salvador famous to Brazilian audiences with the song “Reconvexo”, in which he says “quem não sentiu o swing de Henri Salvador?” (“who hasn’t felt the swing of Henri Salvador?”). Veloso also recorded a version of Salvador’s song “Dans mon île”.

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At the age of 70, Salvador was the voice-over of the crab Sebastian in the 1989 French dubbing of Disney’s The Little Mermaid. Recordings of “Embrasse-la” (“Kiss the Girl”) can be found on YouTube.

Salvador discovered singers Keren Ann and Art Mengo.

He died of a ruptured aneurysm at his home in the early hours of 13 February 2008. He was 90 years of age. He was buried next to his wife Jacqueline in Père-Lachaise Cemetery.

He was known as a supporter of Paris Saint-Germain F.C. He obtained four seats for life in the Parc des Princes.

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Henri Salvador continues to be popular today among French communities in Canada. In 2000, Virgin Records released a CD featuring popular hits such as “Jazz Mediterrannée”, which continues to receive regular air play. In 2002, his album Chambre avec vue sold over two million copies. In 2005, Salvador was awarded the Brazilian Order of Cultural Merit, which he received from the acclaimed singer and Minister of Culture, Gilberto Gil, in the presence of President Luiz Inácio Lula da Silva for his influence on Brazilian culture, particularly on bossa nova, to whose invention he contributed. That same year he took 52nd place in the election of Le Plus Grand Français (The Greatest Frenchman).

He was also a commander of the French Légion d’honneur and of the French National Order of Merit. In 2007, he released Révérence on V2 Records, featuring Gilberto Gil and Caetano Veloso. He then went on to perform the track “La vie c’est la vie” from that album on an episode of the BBC programme Later… with Jools Holland aired on 4 May 2007. (by wikipedia)

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At 88 years old, Henri Salvador has been a popular figure in the French music world for quite a while (he started there in 1945). In 2000, he reinvigorated his career and reintroduced himself to the public with Chambre Avec Vue (re-released as Room with a View two years later) and since then has been going quite strong, coming out with Ma Chère et Tendre in 2003, and now Révérence in 2006. Recorded mostly in Brazil under the direction of Caetano Veloso’s — who makes an appearance here on a new version of “Dans Mon Île” — longtime producer and arranger Jaques Morelenbaum, Salvador continues his legacy as singer of the sweet melancholy. The quiet, breathy strings and soft bossa nova rhythms that are incorporated into many of the pieces on the album add to the overall poignancy of Salvador’s voice, which shows no sign of aging, still smooth and clean, reflecting the warmth of his native French Guyana.

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It works especially well on the francophone version of the classic Vinicius de Moraes/Antonio Carlos Jobim song “Eu Sei Que Voi Te Amar,” retitled “Tu Sais Je Vais T’Aimer” here (it appears twice on Révérence actually, once as a solo track and once as a duet with Gilberto Gil), where the longing and suffering of love come through in the timbre of his voice, the hesitation in his phrasing. In “Italie (Un Tableau de Maître),” he riffs on a familiar Italian melody as he reminisces about the country, talking about it like a woman he loves, even slipping into its own language for a line or so, and in “Cherche la Rose,” one of three older tracks on the album, and done with Caetano Veloso, there’s a bittersweet hesitancy to the way he sings the song 40 years after its initial release that comes only from the experience and understanding he’s gained as he’s gotten older.

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This is where he’s best, and most comfortable, and it’s what sounds the best, too, so it makes sense that most of Révérence stays in the adagio, in the reflection. In fact, it even seems a little out of place when Salvador moves into faster, jazzier pieces like the gospel-inspired “Alléluia! Je l’Ai dans la Peau” or the Frank Sinatra-esque “L’Amour Se Trouve au Coin de la Rue,” adding saxophones and bright drums and coming across slightly forced, albeit exuberant. Salvador has aged nicely, and settled down into his years, and the best bits of Révérence convey this perfectly, the life of an artist who has truly been inspired, and inspired countless others. (by Marisa Brown)

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Henri Salvador is an 89-year-old with an extraordinary history. Born in French Guyana, he moved to France as a child, joined a dance orchestra as guitarist, and ended up working in Brazil, where his songs would later influence the work of the great Tom Jobim – the greatest composer of the bossa nova era of the late 1950s. Salvador also became a celebrity, and a TV personality back in France, and he now seems poised for unlikely international success. This new set was recorded in Paris, New York and (of course) Rio, where his producer was the great Jacques Morelenbaum, who has worked with everyone from Jobim to Mariza; they were joined by Brazilian stars Caetano Veloso and Gilberto Gil. It’s remarkable for Salvador’s effortlessly clear, perfect vocals and equally unexpected range. Many of the songs are gently charming laid-back ballads, but there’s also a swinging French-language treatment of Ray Charles, with Alleluia! Je l’Ai Dans la Peau. Alleluia, indeed. (by Robin Denselow)

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Personnel:
Patrick Artero (saxophone, trumpet)
Marcelo Bernades (flute)
Bernardo Bessler (violone)
Paulinho Braga (drums, percussion)
Denner Campolina (bass)
Mino Cinelu (drums, percussion)
Michel Coeuriot (clarinet, keyboards, oboe, synthesizer)
Thomas Coeuriot (guitar, mandoline)
Marcelo Costa (percussion)
Guy Delacroix (bass)
João Donato (piano)
Phillip Doyle (tuba)
Claude Egéa (trumpet)
Laurent Faucheux (drums)
Michel Feugère (saxophone, trumpet)
Frederic Gaillardet (piano)
Luis Galvão (guitar)
Gilberto Gil (vocals)
Alain Hatot (flute, saxophone)
Didier Havet (rombone)
Jorge Helder (bass)
Denis Leloup (trombone)
Eduardo Morelenbaum (clarinet)
Jaques Morelenbaum (cello)
Katia Pierre (flute)
Hugo Vargas Pilger (cello)
Iura Ranevsky (cello)
Rob Reddy (saxophone)
Saul Rubin (guitar)
Marcello Isdebski Salles (cello)
Henri Salvador (vocals, percussion)
Paulo Sérgio Santos (clarinet)
Eric Seva (saxophone)
Billy Jay Stein (organ)
Caetano Veloso (vocals)
Jean-Christophe Vilain (trombone)
André Villéger (flute, saxophone)
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violone(violin:
Ricardo Amado – Rick Amado – Paul Prates Barbato – Michel Bessler – José Alves Da Silva – Daniel Guedes – Antonella Pareschi – Eduardo Pereira – Paschoal Perrota – Felipe Prazeres – Rogério Rosa – Maria Christine Springuel – Ricardo Taboada
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background vocals:
Jerry Barnes – Stephanie McKay

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Tracklist:
01. La Vie C’est La Vie (Salvador) 2.24
02. Mourir à Honfleur (Salvador) 3.48
03. Dans Mon Île (Pon/Salvador) 4.56
04. Cherche La Rose (feat. Caetano Veloso) (Salvador) 4.57
05. L’ ‘Amour Se Trouve au Coin de la Rue (Salvador) 3.27
06. Tu Sais Je Vais T’Aimer (Jobim/de Moraes) 4.04
07. J’Aurais Aimé (Salvador) 2.37
08. Italie (Un Tableau de Maître) (Martinico/Salvador) 3.11
09. D’Abord (Salvador) 2.57
10. Les Amours Qu’on Delaisse (Salvador) 5.17
11. Alleluia! Je l’Ai Dans La Peau (Salvador) 2.50
12. Les Dernières Hirondelles (Salvador) 3.21
13. Tu Sais Je Vais T’Aimer (feat: Gilberto Gil) (Jobim/de Moraes) 4.05

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Henri Salvador (18 July 1917 – 13 February 2008)

Pete Haycock – Bikers’ Dozen (2006)

FrontCover1.jpgPete Haycock blazed trails for many years as lead guitarist, vocalist and founding member of the Climax Blues Band, from 1969 to the mid-1980s. After achieving great success with CBB, Pete embarked on a successful solo career in the late 80s, recording a couple of solo albums (including the instrumental IRS release, ‘Guitar & Son’), composing several stellar motion picture soundtracks (i.e, ‘Thelma & Louise’, ‘Drop Zone’, and many others with Han Zimmer), and recorded/toured with the newly-formed ELO Part II. From there, he toured with the ‘Night of the Guitars’ line-up, then joined Steve Hunter and CBB bassist Derek Holt in a venture they called ‘H Factor’.

Pete composed and recorded in the studio for several years and, in 2005, he was approached by the producer of the Hollister Independence Rally DVD, and was asked if he’d be interested in providing music for the video commemorating the Hollister, California, motorcycle rally that year. Pete enthusiastically contributed song samples to the project, which was well-received. As the video project was nearly complete, the producer suggested that Pete consider lengthening and reworking some of the cuts, and release it as a 13-track CD called ‘Bikers’ Dozen’. Pete agreed, and the resulting album was released in early 2006, and entitled ‘Bikers’ Dozen’.

BIKERS’ DOZEN is a rich tapestry of compositions, each uniquely stamped with the Pete Haycock trademark sound. It’s truly amazing to think that these 13 songs were composed and performed by the same person; they are that wide-ranging. Some bluesy shuffles, some in-your-face adrenaline rock chops, and some melodic instrumentals with such exquisite tone that George Benson would blush…

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If you’re a Climax Blues Band fan, a Pete Haycock fan, or just a lover of outstanding guitar and musicianship, I can’t emphasize how much you’ll enjoy this album — IF you can find it… My suggestion would be to visit the Pete Haycock Appreciation Society page on Facebook, then DEMAND that this great CD become available for purchase and/or download. Though Pete isn’t administrator of that site, messages are passed along to him, and perhaps if there is enough interest, he may honor us with its release!

Before I go, here’s what another reviewer had this to say about the Bikers’ Dozen album:

“Pete Haycock is one of my earliest and strongest influences on the guitar – a “mentor”, if you like. All through the Climax Blues Band days I scrutinized his every note.. And then later I almost wore a hole in the “Guitar And Son” LP. One of the tastiest guitar players and tunesmiths on the planet, he returns with “Biker’s Dozen”… OK then – guess it’s time for me to sit down with my guitar and do some studying again! A smashingly well done CD which should appeal to a broad range of both musicians and non-musicians alike. Already a few seconds into the strong opening riff on the first track, `Cry To Me’, you know you’re in for a real treat. Delicious slide guitar floats elegantly in and suddenly you find yourself riding away on an endless, smooth musical highway.

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Pete’s strong slide guitar makes its mark again on `The Heat’, a bluesy rocker. `Klone Shuffle’ has an infectious groove – once again a proof of how Pete can make even a simple riff sound interesting. `Miracle’ is a strong vocal tune sung by John Fiddler – the opening lines sound much like Mark Knopfler. `Prattlin’ ` really caught my ear – what a cool tune! A fresh-sounding groove – oh how I want to grab my guitar and play along to that stuff! – and those little fiddle fills in the background really made the tune sound really original !

`Dominator’ oozes MUSCLE. Horsepower! Acceleration! And `Talkin’ Mutton Jeff Here’ – hi ho, we’re in spacey Jeff Beck-land here! Dreamy and powerful at the same time. One for the road indeed!

`Collossus’ is a little symphonic rocker that sounds so majestic. Some of it sounds a bit like a mix between William Orbit and Mike Oldfield. But on top of it all is Pete’s signature guitar lines – it binds it all together and nothing sounds dull at any point.

`Driver’ makes you want to go out and ride a motorbike (or pick up a guitar, plug in, and wail away!).

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Sure, this CD has loads of high energy rock guitar playing on it – but I also really dig `Waiting For Rain’ and `Blue Breakers’; both are absolutely delicious pop guitar works of art. `Waiting For Rain’ would make George Benson envious – what a tone! What a feel! Imagine you’ve just parked your motorbike by a small beautiful beach to watch the setting sun…ahhh..!

And `Stolen Wings’ is a wonderful ballad in the key of F# minor, a bit reminiscent of The Allman Brothers. A strong and wonderful main melody. Duane would love this one…

This is the kind of CD that sounds great at the first listen – and then it just gets better and better the more you play it… (by Jeffers)

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Personnel:
Pete Heycock (guitar)
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a bunch of unknown studi musicians
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John Fiddler (vocals, harmonica)

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Tracklist:
01. Cry To Me (Haycock) 4.30
02. Miracle (Haycock/Fiddler) 4.31
03. The Heat (Haycock) 3.38
04. Waiting For Rain (Haycock) 4.32
05. Klone Shuffle (Haycock) 1.55
06. Prattlin’ (Haycock) 2.50
07. Collossus (Haycock) 4.40
08. Talkin’ Mutton Jeff Here (Haycock) 4.12
09. Stolen Wings (Haycock) 4.52
10. Dominator (Haycock) 2.21
11. Blue Breakers (Haycock) 3.16
12. Driver (Haycock) 4.49
13. Biker’s Dozen (Haycock) 3.24

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Pete Haycock (4 March 1951 – 30 October 2013)

Ginger Baker’s African Force – Palanquin’s Pole (2006)

FrontCover1.jpgThose thunderous drums we hear in the beginning of this set could only come from one drummer — Ginger Baker — and despite the name of the band, it is Baker who is its backbone. Recorded live in 1987 in Bremen, Germany, Baker, Thomas Akuru Dyani, Kwaku A. Mensa, Ansoumana Bangoura, and Ampofo Acquah used their percussive stature to completely bowl over a throng at the Schaumburg Festival. All five men play percussion or drums, two sing, and one occasionally plays guitar. For over 47 minutes they travel into the hypnotic heart of the drum. The drum exists here not only as a means to make music, but also as a means to impart history, mystery, magic, and communication. Whether the polyrhythms begin as simple 4/4 patterns and wind out immeasurably, snaking their way through subsets of counter balanced time, or set out from the beginning to suspend all notions of time and its place in the space is of no consequence; this quintet plays only to hear, and hears only to speak in that intimate language that utters itself as culture. This is a drum record like none other in existence. It is a mystical record that is rooted in the bone buried in the earth, and Baker’s assemblage understands all too well, that the drum is the heartbeat of the universe. Awesome. (by Thom Jurek)

Recorded live by Radio Bremen/Germany at the Schauburg, May 4, 1987

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Personnel:
Ampofo Acquah (percussion, guitar, vocals)
Ginger Baker (drums)
Ansoumana Bangoura (percussion)
Thomas Akuru Dyani (percussion)
Francis Kwaku A. Mensah (percussion, vocals)

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Tracklist:
01. Go Do (Mensah) 5.05
02. Brain Damage (Baker) 5.20
03. Ansumania (Bangoura) 4-53
04. The Palanquin’s Pole (Traditional/Acquah) 9.46
05. Abyssinia / 1.2.7. (Acquah) 6.00
06. Ginger’s Solo (Baker) 9.30
07. Want Come? Go! (Dyani) 6.17

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