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”.


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)


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 !


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


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



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)


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)


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



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



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.


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. (


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.


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


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




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.


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”.


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.


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)


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.


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.


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)


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)


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)
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
background vocals:
Jerry Barnes – Stephanie McKay


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



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…


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.


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!).


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)


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


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



Pete Haycock01
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


Alternate frontcovers

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


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




Corinne Bailey Rae – Same (2006)

FrontCover1.jpgCorinne Jacqueline Bailey (born 26 February 1979) is a British singer and songwriter from Leeds, West Yorkshire. Bailey Rae was named the number-one predicted breakthrough act of 2006 in an annual BBC poll of music critics, Sound of 2006. She released her debut album, Corinne Bailey Rae, in February 2006, and became the fourth female British act in history to have her first album debut at number one. In 2007, Bailey Rae was nominated for three Grammy Awards and three Brit Awards, and won two MOBO Awards. In 2008, she won a Grammy Award for Album of the Year (for her work as a featured artist in Herbie Hancock’s River: The Joni Letters).

Bailey Rae released her second album, The Sea, on 26 January 2010, after a hiatus of almost three years. It was produced by Steve Brown and Steve Chrisanthou (who produced her debut album in 2006). She was nominated for the 2010 Mercury Prize for Album of the Year. In 2012, she won a Grammy Award for Best R&B Performance for “Is This Love” (a cover of the Bob Marley and the Wailers song of the same name). Bailey Rae was married to fellow musician Jason Rae from 2001 until his death in 2008, and as part of the grieving process, she channelled her emotions into her music. Her first two albums have together sold over five million copies worldwide.

On 26 February 2016, Bailey Rae announced her third album, The Heart Speaks in Whispers, which was released on 13 May 2016. The Heart Speaks in Whispers debuted at No. 2 on Billboard’s R&B chart.


Corinne Bailey Rae is the debut studio album by English singer-songwriter Corinne Bailey Rae. It was released on 24 February 2006 by EMI. The album debuted at number one on the UK Albums Chart and was certified triple platinum by the British Phonographic Industry (BPI). Four singles were released from the album: “Like a Star”, “Put Your Records On”, “Trouble Sleeping” and “I’d Like To”. Corinne Bailey Rae has sold over four million copies worldwide.

“Like a Star” was released as the album’s lead single in a limited-edition format in 2005, peaking at number 34 on the UK Singles Chart. When re-released in October 2006, “Like a Star” reached a new peak position of number 32 on the UK chart. The second single, “Put Your Records On”, peaked at number two in February 2006. “Trouble Sleeping” was released as the album’s third single in May 2006, peaking at number 40 in the UK.


“I’d Like To” was released on 12 February 2007 as the fourth and final single. On the same day, the album was re-released with a bonus disc containing some of the B-sides and remixes included on previous singles, as well as three new tracks—one of which, a cover of Björk’s 1993 song “Venus as a Boy”, only previously appeared on a covermount for Q magazine. Several songs from the album appear in the 2006 comedy-drama film Venus starring Peter O’Toole. In the United States, “Breathless” was released as a promotional single in 2007.

Corinne Bailey Rae debuted at number one on the UK Albums Chart, selling 108,181 copies in its first week. The album had sold 968,341 copies in the United Kingdom by May 2016, earning a triple platinum certification from the British Phonographic Industry (BPI) on 22 July 2013.

The album was certified platinum by the Recording Industry Association of America (RIAA) on 5 December 2006, and had sold 1.9 million copies in the US by January 2010. As of October 2009, Corinne Bailey Rae had sold over four million copies worldwide. (by wikipedia)


After selling four million copies of her debut album, an effort filled with her precious brand of neo-soul and the uplifting hit “Put Your Records On,” singer/songwriter Corinne Bailey Rae lost her husband Jason Rae suddenly and took two years off to grieve and recover before returning with her second effort, The Sea. On the album’s opener “Are You Here,” lyrics like “Wait till you see those eyes” and “He’ll kiss you make you feel sixteen” suggest she’s just fallen in love, but the fascinating idea behind The Sea is that it never explains itself, even if there’s a new richness in Rae’s soft and oh-so-tender voice that suggests something has changed deep inside. As such, the song’s “What’s it even mean?” question could be the beginning of a love affair or a tragedy, but the following “I’d Do It All Again” is even trickier, as post-argument lyrics written before her husband’s tragic loss (“You’re searching for something I know/Won’t make you happy”) take on new meaning . Further confusing the matter, throughout the album the singer speaks of her love in the present tense.


Then there are the numbers that come from left field, like the slithering, funky “The Blackest Lilly,” which struts like a sexy Rolling Stones song while pulling inspiration from Philadelphia’s neo-soul party, the Black Lily. It comes to a moving end with the title track, a masterful piece that looks back through generations of loss and the majestic ocean of time that “Breaks everything/Crushes everything/Cleans everything.” If it all seems incongruous, so is the recovery process Rae must face, and the album’s cycle of mourning, returning to work, aching, fondly reminiscing, yearning, and then back again won’t be unfamiliar to anyone who has lost someone close. It doesn’t offer any answers, but The Sea is a testament to Rae’s artistic growth as it provides comfort to those left on the wistful side of eternal love, and insight to those who are not.(by David Jeffries)


Corinne Bailey Rae (vocals, guitar, bass, piano, synthesizer)
Jess Bailey (organ, piano on 04.)
John Beck (keyboards on 03, + 05.)
Rod Bowkett (guitar, bass on 02.)
Justin Broad (drum programming on 04. + 09.)
Livingston Brown (bass on 09.)
Steve Brown (organ on 06., synthesizer, piano background  vocals on 11.)
Steve Bush (bass, guitar on 06.)
Steve Chrisanthou (organ on 01. + 05.); guitar on 02,, 03., 05., 08. + 10., piano on 10.)
Jim Corry (saxophone on 03., 05., 08. –10.)
Tommy D (drum programming, keyboards on 09.)
Sam Dixon (bass on 03.)
John Ellis (background vocals, glockenspiel on 11.)
Andrew Hale (piano, programming on 07.)
Paul Herman (drum programming, guitar on 04., guitar on 09.)
Kenny Higgins (bass on 05., 08., 10. + 11.)
Kenji Jammer (guitar)
Mikey Lawrence (drums, percussion on 11.)
Pete Lewinson (drums on 07.)
Paul McKendrick (background vocals on 08.)
Audrey Nunn (bass on 04.)
Andy Platts (guitar, piano on 06.)
Jason Rae (saxophone, flute)
Cara Robinson (background vocals on 03.)
Paul Siddal (keyboards on 01., 02., 08. + 10.)
Malcolm Strachan (trumpet)
Joe Tatton (organ on 03.)
Colin Waterman (drums on 08.)
The London Session Orchestra conducted by Wil Malone (strings on 01., 02., 06. + 10)


01. Like A Star (Rae) 4.03
02. Enchantment (Rae/Bowkett) 3.58
03. Put Your Records On (Rae/Beck/Chrisanthou) 3.35
04. Till It Happens To You (Rae/Sheyne/Herman) 4.38
05. Trouble Sleeping (Rae/Beck/Chrisanthou) 3.29
06. Call Me When You Get This (Rae/Bush) 5.05
07. Choux Pastry Heart (Rae/Lassen) 3.57
08. Breathless (Rae/Nelkin) 4.15
09. I’d Like To (Rae/Danvers/Herman) 4.08
10. Butterfly (Rae/Bowkett) 3.53
11. Seasons Change (Rae/Brown) 4.55