J.Geils – Band – Full House Live (2009)

FrontCover1.jpgThanks to hits such as Centrefold and Freeze Frame and music videos and MTV, younger listeners will remember the J Geils Band as a ’80s pop-rock group. But back in the ’70s, they were a tight R&B outfit whom the Allman Brothers Band considered their favourite local band.

In 1972, the J Geils Band released Live Full House, recorded at the Cinderella Ballroom in Detroit on April 21-22, 1972. One fan noted: “When I was growing up the original Full House was a huge album in Detroit. This was when J Geils were a great R&B band before the MTV hits.”

Thirty-seven years later, the J Geils Band have lost none of their power and excitement and here is a recreated 2009 version of Full House from uncirculated soundboards. And a boogie good time to be had by all.

Thanks To Evil Dr. Louie for sharing the tracks.

Recorded live at The Fillmore, Detroit, MI, April 24-25, 2009
Very good soundboard.


John H. Geils (guitar)
Seth Justman (keyboards, vocals)
Danny Klein (bass)
Marty Richards (drums)
Richard “Magic Dick” Salwitz (harmonica)
Peter Wolf (vocals)
Mitch Chakour (background vocals)


01. First I Look At The Purse (Rogers/Robinson) 4.18
02. Homework (Perkins/Clark/Rush) 4.24
03. Pack Fair & Square (Price) 2.38
04. Whammer Jammer (Juke Joint Jimmy) (*) 4.22
05. Hard Drivin’ Man (Geils/Wolf) 6.31
06. Serves You Right To Suffer (Hooker) 11.28
07. Cruisin’ For A Love (Juke Joint Jimmy) (*) 3.39
08. Looking For A Love (Alexander/Samuels) 6.28

(*) Pseudonym used by The J. Geils Band for group compositions




Quarterhorse – The Weight Of The World (2009)

FrontCover1.jpgUnfortunatley I have no informations about this great Group from Göteborg/Sweden and this is a shame, because Quarterhorse is a real great band.

This is their second and so far I know their last ablum.

The first album was released in 2004 an was called “It’s Nothing “.

They played a very relexed form of Westcound Rock, full of a magic and beguiling sound. Very soft and gentle … this Album should have been a number one album all of the world !

They had a great female singer … and believe me, this not ony a real rare item, … this is an unbelieveable pretty good album.

I found in google some entries about “Quarterhorse” but they are all in Swedish … sorry, I cant read Swedish !

So give this band a chance …. listen … you will not regret it ! Believe me !


Thomas Andrén (guitar)
Sofia Assarson (vocals, flute)
Michael Hansson (vocals guitar)
Mattias Nordström (drums)
Martin Livian (bass)
Henrik Palmqvist (piano)
Maria Andrén (violin on 01)
Damon Collum (vocals on 05.)
Erik Dahl (trombone on 03.)
Mack Johansson (vocals on 04.)
Mats Larson (drums on 07. – left channel)
Max Lindahl (trumpet on 04. + 06.)
Klas Nilson (trumpet on 03., 04.)
Bo Savik (pedal steel-guitar on 05.)
Frida Thurefjell (Saxophone on 03. + 06.)
background vocals
Niels Nankkr – Niklas von Arnold – Alexandra Wennerson


01. Carry On (Hanson) 4.56
02. All Trails End (Hansson) 4.33
03. To Give And To Get In Return (Hansson/Arnold)
04. Black Light (Hansson/Assarson/Andrén) 5.41
05. Smile (Assarson/Andrén)
06. 500 Nights (Hansson) 4.55
07. Easy To Love (Assarson/Andrén) 4.09
08. Between The Lines (Hansson) 3.53
09. Sorry Sir (Assarson/Andrén/Hansson/Livian) 5.23
10. Daylight Savings Time (Hansson) 4.08
11. Hope (Assarson/Hansson) 6.38





Wynton Marsalis – Christmas Jazz Jam (2009)

FrontCover1Christmas Jazz Jam is a Christmas album by Wynton Marsalis that was released in 2009 by Compass Productions. Musicians on the album include Wessell Anderson on alto saxophone, Vincent Gardner and Wycliffe Gordon on trombone, Victor Goines on saxophone and clarinet, and Herlin Riley on drums.

In 2009 the album reached peak positions of number six on Billboard’s Jazz Albums chart, number nine on the Top Holiday Albums chart, and number nineteen on the Top Independent Albums chart. In 2010 the album reached number 125 on the Billboard 200.

Christmas Jazz Jam marked Marsalis’ first holiday album in twenty years. For the album, Marsalis assembled a group of ten musicians to perform uncredited arrangements of twelve holiday standards. Following “Mary Had a Baby” are traditional New Orleans jazz-style renditions of “Jingle Bells” (James Pierpont) and “Blue Christmas” (Billy Hayes, Jay W. Johnson)

In 2009 Christmas Jazz Jam reached peak positions of number six on Billboard’s Jazz Albums chart, number nine on the Top Holiday Albums chart, and number nineteen on the Top Independent Albums chart. In 2010 the album reached number 125 on the Billboard 200. (by wikipedia)


The trumpeter for all seasons fields a capable 10-piece group, which essays a program of the usual fare with a few surprises. Musical styles deftly rendered include New Orleans trad (“Jingle Bells,” “Blue Christmas”), calypso (“Rudolph”), Duke Ellington(“Santa Claus Is Coming to Town,” “Little Town of Bethlehem”), bracing renditions of spirituals (“Mary Had a Baby,” “Go Tell It on the Mountain”) and a bluesy “Have Yourself a Merry Little Christmas.” The uncredited arrangements are smart yet not ostentatious; they don’t overshadow the soloists. Marsalis is certainly a trumpeter for this season. (Kirk Silsbee, Los Angeles Times: awarded the album three of four stars


Wessell Anderson (saxophone)
Walter Blanding (saxophone)
Vincent Gardner (trombone)
Victor Goines (saxophone, clarinet)
Wycliffe Gordon (trombone, tuba)
Roberta Gumbel (vocals)
Wynton Marsalis (trumpet)
Paul Nedzela (saxophone, clarinet)
Dan Nimmer (piano)
Herlin Riley (drums)
Don Vappie (banjo, guitar, vocals)
Reginald Veal (bass)


01. Santa Claus Is Coming To Town (Coots/Gillespie) 4.50
02. Mary Had A Baby (Traditional) 4.03
03. Jingle Bells (Pierpont) 4.43
04.  Blue Christmas (Hayes/Johnson) 5.24
05. Go Tell It On The Mountain (Work, Jr.) 7.08
06. O Christmas Tree (Anschütz) 7.25
07. O Little Town Of Bethlehem (Brooks) 7.21
08. Rudolph The Red-Nosed Reindeer (Marks) 6.05
09. The Christmas Song (Tormé/Wells) 5.30
10. Good King Wenceslas (Helmore(Neale) 6.49
11. Have Yourself A Merry Little Christmas (Martin/Blane) 7.08
12. Greensleeves (Traditional) 2.05




Bob Dylan – Christmas In The Heart (2009)

FrontCover1Christmas in the Heart is the thirty-fourth studio album and first Christmas album by American singer-songwriter Bob Dylan, released on October 13, 2009 by Columbia Records. The album comprises a collection of hymns, carols, and popular Christmas songs. All Dylan’s royalties from the sale of this album benefited the charities Feeding America in the USA, Crisis in the UK, and the World Food Programme.

Dylan said that, although he was born and raised Jewish (he converted to Christianity in the late 1970s before returning to observing Judaism), he never felt left out of Christmas during his childhood in Minnesota. Regarding the popularity of Christmas music, he said, “… it’s so worldwide and everybody can relate to it in their own way.”

The album opened at #1 on Billboard’s Holiday and Billboard’s Folk Album Chart, #10 on Rock Album charts and #23 on overall album charts.

The album was recorded in a Santa Monica studio owned by Jackson Browne.

In an interview published by Street News Service, journalist Bill Flanagan asked Dylan why he had performed the songs in a straightforward style, and Dylan responded:

There wasn’t any other way to play it. These songs are part of my life, just like folk songs. You have to play them straight too.

When Flanagan reported that some critics thought the album was an ironic treatment of Christmas songs, Dylan responded:

Critics like that are on the outside looking in. They are definitely not fans or the audience that I play to. They would have no gut level understanding of me and my work, what I can and can’t do—the scope of it all. Even at this point in time they still don’t know what to make of me.


Dylan released a music video for the song “Must Be Santa” directed by Nash Edgerton. In the video, Dylan and some other people are having a Christmas house party, until two of the guests start fighting and smashing things around and one of them running away. In the closing scene, we see Dylan and Santa Claus.

A music video was also released for the song “Little Drummer Boy” directed by Jeff Scher.

At Metacritic, the album currently holds a score of 62 out of 100 based on 17 reviews, indicating generally favorable reviews.

While the unexpected move by Dylan to record a Christmas album was received with skepticism at first, the outcome of the project was lauded by critics for bringing a fresh breath of air into these classics.

Slant Magazine’s critic Jesse Cataldo awarded the album 4 stars out of 5 and said:

This enjoyable sense of exploration, which prizes levity in a genre that usually amounts to an artistic wasteland, is invaluable. It also proves how much life is left in the songs, and how much other artists have succeeded at butchering them.


Se7en magazine’s critic agreed, writing:

The arrangement of his band mixes up the style of the songs, resulting in a repertoire of Christmas songs that genuinely sound like modern material, while avoiding ever being cliché.

The critic for Tiny Mix Tapes rated the album 4 stars out of 5, writing:

On Christmas in the Heart…it’s not the heat, but the bitter cold, the kind you feel in northern Minnesnowta[sic]. These are traditional numbers, aged but not antiquated. In keeping with releases like Good as I Been to You and World Gone Wrong, the album features Dylan exorcising the musical spirits of the land. Some will rank it among other gimcrack releases, like Dylan & the Dead. Still others will categorize it as an oddity, like Self Portrait. It’s all and none of these. These songs are Dylan’s latest exploits, but they’re deathly sincere (and jolly), as serious and kitschy as Theme Time Radio Hour. It’s the music that introduces old Disney films, an album as dense and allusive as his other recent outings.

It’s a tragedy that more than 35 million people in this country alone—12 million of those children—often go to bed hungry and wake up each morning unsure of where their next meal is coming from. I join the good people of Feeding America in the hope that our efforts can bring some food security to people in need during this holiday season.

Bob Dylan´s christmas single from 2009

Feeding America received Dylan’s royalties from sales in the USA, while two further charities, the United Nations’ World Food Programme and Crisis in the UK, received royalties from overseas sales.

Dylan said:

“That the problem of hunger is ultimately solvable means we must each do what we can to help feed those who are suffering and support efforts to find long-term solutions. I’m honoured to partner with the World Food Programme and Crisis in their fight against hunger and homelessness.”


Bob Dylan (vocals, guitar, piano, harmonica)
Tony Garnier (bass)
Donnie Herron (steel guitar, mandolin, trumpet, violin)
David Hidalgo (accordion, guitar, mandolin, violin)
George Recile (drums, percussion)
Phil Upchurch (guitar)
Patrick Warren (keyboards, celeste)
background vocals:
Amanda Barrett – Bill Cantos – Randy Crenshaw – Abby DeWald – Nicole Eva Emery – Walt Harrah – Robert Joyce


01. Here Comes Santa Claus (Autry/Haldeman) 2.35
02. Do You Hear What I Hear? (Regney/Baker) 3.02
03. Winter Wonderland” Felix Bernard, Richard B. Smith 1:52
04. Hark The Herald Angels Sin (Mendelssohn/Wesley) 2.30
05. I’ll Be Home For Christmas (Ram/Gannon/Kent 2.54
06. The Little Drummer Boy (Davis/Onorati/Simeone) 2.52
07. The Christmas Blues (Cahn/Holt) 2.54
08. O’ Come All Ye Faithful (Adeste Fideles) (Traditional) 2.48
00. Have Yourself A Merry Little Christmas (Martin/Blane) 4.06
10. Must Be Santa (Fredericks/Moore) 2.48
11. Silver Bells (Livingston/Evans) 2.35
12. The First Noel (Traditional) 2.30
13. Christmas Island (Moraine) 2.27
14. The Christmas Song (Tormé/Wells) 3.56
15. O Little Town Of Bethlehem (Traditional) 2.17




Levon Helm – Electric Dirt (2009)

FrontCover1Electric Dirt is the final studio album from American musician Levon Helm, released in 2009. It is the follow-up to his Grammy-winning 2007 album Dirt Farmer. In Uncut’s list of the 150 best albums between 2000 through 2009, Electric Dirt was listed 80th. It won the first ever Grammy Award for Best Americana Album, an inaugural category in 2010. (by wikipedia)

In a musical career that has spanned six decades, Levon Helm has made more than a few excellent albums working with other folks — most notably as drummer and vocalist with the Band, as well as backing Bob Dylan, Neil Young, Muddy Waters, John Martyn, Rufus Wainwright, and literally dozens of others. But as a solo artist, Helm’s record has been considerably spottier, with well-intended disappointments outnumbering genuine successes, so it’s good to report that at the age of 69, Helm has found his second wind as a recording artist, cutting two of his most satisfying solo sets in a row. Following 2007’s excellent Dirt Farmer, Electric Dirt is every bit as impressive and finds him sounding even stronger than he did on that comeback set. Dirt Farmer was Helm’s first album after a bout with throat cancer nearly silenced him, and his vocals sounded firmly committed but just a bit strained; two years on, Helm’s voice is nearly as supple as it was during his days with the Band, and even when it shows signs of wear and tear, his sense of phrasing and his ability to bring the characters in these songs to life are as good as they’ve ever been.

While Dirt Farmer leaned toward acoustic music in the Appalachian tradition, Electric Dirt aims for a broader and more eclectic sound; “Golden Bird” sounds as if it could have been gleaned from the Harry Smith anthology, but the opening cover of the Grateful Dead’s “Tennessee Jed” swings with a solid New Orleans groove like an outtake from the Rock of Ages concerts, a pair of Muddy Waters numbers are subtle but passionate acoustic blues, “I Wish I Knew How It Would Feel to Be Free” is joyous gospel-infused R&B, and “White Dove” is fervent and heartfelt traditional country. Larry Campbell, who co-produced Dirt Farmer, returned for these sessions, as did most of the same band, bringing a similarly organic touch to the music, and the bigger sound of this album seems to suit everyone involved, with Helm’s drumming sounding especially lively and well-grounded. And though Helm only wrote two songs for this album, they’re two good ones, especially “Growin’ Trade,” a tale of an aging farmer who has taken to raising marijuana, and what could easily have been played as a joke is a moving account of one man’s conscience as it wrestles with his heritage and love of the land. Not unlike his old buddy Bob Dylan from Time Out of Mind onward, Levon Helm seems to have rediscovered his knack for making great records in what some might have imagined would be the latter days of his career; Electric Dirt sounds fresh, emphatic, and as effective as anything Levon has cut since the mid-’70s, and one can only hope he has a few more discs in him just this good. (by Mark Deming)

But … this was his last album … what a great album ! What a great good bye …


Larry Campbell (guitar, vocals, fiddle, mandolin, dulcimer)
Levon Helm vocals, drums, mandolin)
Byron Isaacs (bass, background vocals)
Brian Mitchell (keyoards, harmonium, accordion)
Steven Bernstein (horn, cornet, trumpet on 01., 07. 10. + 11.)
Jay Collins (saxophone, vocals on 01., 06., 07., 09. + 11.)
Clark Gayton (trombone, tuba on 01., 07. 10. + 11.)
Amy Helm (bass, drum, vocals on 02. – 04., 06., 07., 09. – 11.)
Howard Johnson (tuba on 01., 07. + 11.)
Erik Lawrence (saxophone, trombone, tuba on 01., 07., 10. + 11.)
George Receli (background vocals on 04.)
Catherine Russell (vocals on 11.)
Jimmy Vivino (organ, guitar on 01. + 02.)
Teresa Williams (autoharp, guitar, vocals on 01 – 04., 06., 07.  + 09. – 11.)

01. Tennesse Jed (Garcia/Hunter)
02. Move Along Train (R.Staples)
03. Growin’ Trade (Campbell/L.Helm)
04. Golden Bird (Traum)
05. Stuff You Watch (Morganfield)
06. White Dove (Stanley)
07. Kingfish (Newman)
08. You Can’t Lose What You Ain’t Ever Had (Morganfield)
09. When I Go Away (Campbell)
10. Heaven’s Pearls (A.Helm/Leone/Isaacs/McBain/Patscha)
11. I Wish I Knew How It Would Feel To Be Free (Taylor/Lamb)


Levon Helm (May 26, 1940 – April 19, 2012)

Pete York And The Susie Who Swing Revue – Same (2009)

FrontCover1Munich, the metropolis with a heart, is putting fresh swing into, well, swing. With her exceptional voice and charisma, the young singer Susie Who (born May 9, 1978) is captivating a fast growing group of fans among swing and jazz aficionados. Composer and producer Dietmar Kawohl and drummer legend Pete York, one of the world’s best drummers, have already discovered her great talent. Still, the singer remains authentic and keeps dazzling her audience with her natural charm. It’s no wonder that swing fans and event organizers are listening up whenever her name is mentioned: Susie Who!

In December 2004, the singer from Munich had the idea to sing a song, put it on a CD and give it to her grandmother. At the time, she did not even remotely expect to be able to hold her first swing album in her hands only two years later. The debut album featured SusieWho01top-class musicians and was produced by Dietmar Kawohl, who created compositions for Boney M. Milli Vanilli, No Mercy, David Hasselhoff, Joana Zimmer and others, and Johan Daansen (Meat Loaf, Scorpions, Peter Maffay, Kelly Family). Even back then, the young singer from Munich was an insider’s tip among swing experts. Today, her natural charm and exceptional voice have captivated a fast growing audience.

Pete York is one of the world’s most renowned and versatile drummers. He made a name for himself as drummer of the Spencer Davis Group. Since 1964, the native Brit has performed on stage with some of the greats of rock, blues and jazz, such as Eric Clapton, Stevie Winwood and Eddie Hardin (Hardin & York). He has also been very successful as a solo artist. For several years now, he has been a member of Helge Schneider’s live band.

December of 2008 brought a great moment for an extraordinary combination, when Susie Who crossed paths with Pete York. After several jam sessions at the studio, they decided to create the project “Pete York and the Susie Who Swing Revue”. The debut album of the same title was released in the spring of 2009. “Pete York and the Susie Who Swing Revue” perform songs from the current CD and popular swing classics in clubs and at exclusive functions.

This is a perfect old fashioned jazz-album … dedicated to all the great musicians … from that period !

And it´s of course another rare Pete York recording.


Susie Who (vocals)
Pete York (drums, percussion, vocals)
a bunch of unknown studiomusicians
Barbara Dennerlein (organ on 02.)
Torsten Goods (guitar on 06.)


01. Let’s Make A Baby Tonight (Raab) 3.51
02. Angels Only Live In Heaven (Kawohl) 3:18
03. I Only Want To Say That I Love You (Kawohl) 2:45
04. The Best I.n Life (Kawohl) 4.36
05. It’s A Disaster (Kawohl) 3.07
06. Loop De Loop (Kawohl) 3.23
07. One Night With Marilyn (Kawohl) 3.03
08. Someone To Watch Over Me (G.Gershwin(I.Gershwin) 2.44
09. My Heart Cries Mayday 3:28
10. You Belong To Me (Price/King/Stewart) 3.28
11. I Fall In Love Too Easily (Styne/Cahn) 3.06
12. The Ballad Of A Real Poor Boy 3:05
13. Misty (Garner/Burke) 3.04
14. Ring A Ding Ding (Van Heusen/Cahn) 3.29
15. Age Is Just A Number 2:34
16. Susie Is My Name 2:27
17. Drum Solo (York) 4.16


Various Artists – The Twilight Saga – New Moon (OST) (2009)

FrontCover1The Twilight Saga: New Moon (Original Motion Picture Soundtrack) is the official soundtrack for the 2009 film The Twilight Saga: New Moon. The score for New Moon was composed by Alexandre Desplat while the rest of the soundtrack was chosen by music supervisor Alexandra Patsavas, who also produced the Twilight soundtrack. The New Moon – Original Motion Picture Soundtrack album was released on October 16, 2009[3] by Patsavas’ Chop Shop label, in conjunction with Atlantic Records.

New Moon’s soundtrack comprises songs that are all original and exclusive to the soundtrack and are performed by various indie rock and alternative rock artists. New Moon director Chris Weitz stated that the soundtrack would feature songs from Radiohead, Muse, and Band of Skulls. Death Cab for Cutie contributed the soundtrack’s lead single, a song written specifically for the film called “Meet Me on the Equinox”, which debuted September 13 during the MTV Video Music Awards Bassist Nick Harmer says, “We wrote ‘Meet Me On the Equinox’ to reflect the celestial themes and motifs that run throughout the Twilight series and we wanted to capture that desperate feeling of endings and beginnings that so strongly affect the main characters.”[6] The music video for “Meet Me on the Equinox” premiered on October 7, 2009 and includes clips from the movie.[7] The English rock band Muse contributed a remix of their song “I Belong to You”, which appears in its original form on their 2009 album The Resistance. St. Vincent collaborated with Bon Iver’s Justin Vernon to create a song called “Rosyln”. When describing the song, she said, “[Justin] sings in his beautiful falsetto and I’m actually singing very, very low… I think there’s something vampirey and creepy about the two of us singing together. It’s a simple, stripped-down kind of song.” The soundtrack originally had a release date of October 20, 2009, but the date was moved up four days to October 16 due to “overwhelming and unprecedented demand”. (by wikipedia)


After Twilight became a world-wide hit, the film series based on Stephenie Meyer’s series of vampire romance books got a major upgrade. More time, effort, and money were poured into the second film, New Moon, and nowhere is this clearer than the film’s soundtrack. New Moon’s music is darker, more sophisticated, and much more indie-friendly than its predecessor’s soundtrack, and features more of the artists Meyer credits for inspiring her writing. One is Muse, whose “I Belong to You (New Moon Remix)” is so dramatic that it’s easy to hear how the band inspired Meyer’s angst-filled love triangle between the clumsy yet somehow irresistible Bella Swan, her vampire boyfriend Edward Cullen and her best friend (and werewolf) Jacob Black. Meyer also cites Radiohead as a big influence, and Thom Yorke’s previously unreleased “Hearing Damage” is New Moon’s main attraction.


Drifting in on buzzing synth bass, the song builds to luminous, ghostly heights that make it one of the album’s highlights. However, it’s not the only one: Death Cab for Cutie’s “Meet Me on the Equinox” is more brooding and rock-tinged than the band’s usual approach, but it fits in beautifully with New Moon’s sullen mood, while the close harmonies and piano on the Killers’ “White Demon Love Song” inject some much-needed drama. Indeed, despite the fact that this soundtrack is more musically satisfying, and certainly more star-studded than the first film’s, Twilight felt more like the world Meyer created in her books — melodramatic, earnest, definitely not reeking of indie rock cool. Even if nothing here nails that vibe the way that Paramore’s “Decode” did, Lykke Li’s “Possibility” and Anya Marina’s “Satellite Heart” still offer winsome indie folk backgrounds for Bella’s moping. Despite a few upbeat moments that stick out like a thumb that isn’t sore, songs like Grizzly Bear and Victoria Legrand’s “Slow Life,” Editors’ “No Sound But the Wind,” and Bon Iver and St. Vincent’s lovely, truly odd “Roslyn” are morose enough for die-hard Twilight fans and stylish enough to please the most discerning music snobs. (by Heather Phares)


01. Death Cab for Cutie: Meet Me on the Equinox  3.41
02. Band of Skulls: Friends 3.03
03. Thom Yorke: Hearing Damage  5.04
04. Lykke Li: Possibility 5:06
05. The Killers: A White Demon Love Song 3:34
06. Anya Marina: Satellite Heart 3:33
07. Muse: I Belong to You [New Moon Remix] 3:12
08. Bon Iver and St. Vincent Bella: Roslyn 4:49
09. Black Rebel Motorcycle Club: Done All Wrong 2:49
10. Hurricane Bells: Monsters 3:16
11. Sea Wolf: The Violet Hour 3:32
12. OK Go: Shooting the Moon 3:18
13. Grizzly Bear featuring Victoria Legrand: Slow Life 4:21
14. Editors: No Sound But the Wind 3:48
15. Alexandre Desplat: New Moon (The Meadow) 4:09