Keith Jarrett – Concerts (2013)

FrontCover1.jpgConcerts is a live solo album by American pianist Keith Jarrett recorded in concert on May 28, 1981 at the Festspielhaus in Bregenz, Austria and on June 2, 1981 at the Herkulessaal in Munich, West Germany and originally released as a 3-LP set on the ECM label.[1] It was also released as a single LP including only the Bregenz performance.

Initially the CD pressings included only the Bregenz performance; it was not until 2013 that ECM put out a full three-disc reissue containing both concerts on CD for the first time.

The opening of the Bregenz performance was included in the soundtrack of the film Mostly Martha. (by wikipedia)

By the early ’80s, Keith Jarrett was definitely under siege, accused of arrogance, singing along too loudly, rambling eclecticism, and other “heinous” jazz crimes, especially in the wake of the massive success of the Köln Concert seven years before, and the issue of the massive, unprecedented Sun Bear Concerts box set in 1978. Indeed, around this time, Jarrett would verbally attack music critics at his solo concerts, and the reflected paranoia is obvious in Peter Ruedi’s defensive booklet essay included here, “The Magician and the Jugglers.”


This multi-disc set was recorded during two concerts over four days in the spring of 1981 in Bregenz, Austria, and Munich, Germany. This recording is not to be confused with the earlier, more consistently inspired Solo Concerts: Bremen/Lusanne from 1973, which made Jarrett a star, yet the pianist was far from tapped out in these performances. He is often in his best lyrically funky form, where he makes the most out of a single ostinato idea — particularly at the beginning of the Bregenz concert and in the middle of the Munich concert — and his touch and exploitation of the dynamics and timbres of a grand piano are always a pleasure to hear.


Even the passages of stasis or seemingly aimless rippling do not cancel out the treasurable moments and have real worth — though for some, the string plucking near the end of the Munich show may be somewhat gratuitous. In any case, this is far more interesting and elevated music-making than that of the New Age navel-gazing imitators who were cropping up in Jarrett’s wake in the early ’80s en masse, and adds immeasurably to the historically unique portrait of the artist. (by Richard S. Ginell)

Recorded in concert in Bregenz, Austria on May 28, 1981 (tracks 1-4) and
Munich, West Germany on June 2, 1981 (tracks 5-10)


Keith Jarrett (piano)


CD 1: Bregenz:
01. Festspielhaus Part I / 22.00
02. Festspielhaus Part II / 12.07
03. Untitled 9.30
04. Heartland 6.02

CD 2: München I:
05. Herkulesaal Part I 23.23
06. Herkulesaal Part II 24.23

CD 3: München II:
07. Herkulesaal Part III 26.30
08. Herkulesaal Part IV – 11.45
09. Mon Coeur Est Rouge 8.30
10. Heartland 6.11

All compositions by Keith Jarrett




Deep Purple – From The Setting Sun… (In Wacken) (2015)

FrontCover1.jpgAs a band gets older and has been together longer, and tours become more prevalent than releases of studio albums – mainly, one assumes, because the audience still wants to hear the same old songs rather than newer material at the concerts they go to – then there has to be something that fills the gap created by less albums. The solution is release live albums of archival concerts (something Deep Purple has been very good at over the past two decades) and live albums of recent gigs. Which is where we are here, with From the Setting Sun… In Wacken.

Recorded at Deep Purple’s appearance at the ever increasing popular music festival held at Wacken Open Air in 2013, this double album covers the band’s entire set list, one that mixes the old and the new almost seamlessly. And one should never under estimate how difficult it is for a band like Deep Purple, with 19 studio albums over almost 50 years, to find the right mix in the set list to ensure that they satisfy their fan base, young and old. To have the hits, but also to showcase their newer material so that it is not just a forgotten moment. I think they’ve done an excellent job here on this release.


The newer material from the band all sounds terrific here in the live environment, and really brings to life these songs that may not be as well known by most fans as their classic hits. “Vincent Price” from Now What?! sounds awesome, with Airey’s keys combining beautifully with Glover’s bass line and Morse’s guitar riff. I love the studio version, but the live version really brings this song to life. “Contact Lost” from Bananas is an instrumental focusing on Steve Morse’s wonderful guitar playing, and showcases his talent perfectly, as does the following “The Well Dressed Guitar” from special versions of Rapture of the Deep, where guitar and keyboards dominate in a brilliant flurry of musicianship. “Hell to Pay” and “Above and Beyond” from NOW WHAT?! both come across excellently live, and more than hold their own in this brilliant setlist.
Of the older classic material, it was a real pleasure to hear “Into the Fire” and “Hard Lovin’ Man” from Deep Purple in Rock starting off the album after the typifying brilliance of “Highway Star” opens the show.


Both of those songs are from the great Mark II era, and aren’t necessarily the songs you’d expect the band to play, so hearing them again was just terrific. Ditto with “No One Came” from Fireball. It’s still great to hear songs from these albums. “Strange Kind of Woman” and “Lazy” are always great staples, especially when the band tends to freeform through “Lazy” in whatever mood they happen to be in. “Perfect Strangers” is always a welcome addition, especially with that Hammond organ at the start. Don Airey does a great job staying true and trusted to Jon Lord’s original keys, both here and throughout the album and performance. “Space Truckin'” still sounds great after all these years, and “Smoke on the Water” features a guest appearance by Uli Jon Roth to help add to the most played song of all time. The encore is kicked off by covers of Booker T and the M.G.’s “Green Onions” and then “Hush”, which is still a great song after all these years, and completed by “Black Night”, that old staple that still has people jumping 40-odd years later.


As always the performance of the band is faultless. They could probably do this in their sleep, but they sound as brilliant as ever. The great mix of songs, and the ability of the band to still play around with the tracks without changing them so much that people won’t enjoy them is fantastic. You may have heard similar on other recent live releases, but they still never fail to amaze you with their performance. It may not be an essential purchase, but you certainly won’t be disappointed if you do. (by almanack)

There’s gonna be hell… hell to pay!


Don Airey (keyboards)
Ian Gillan (vocals)
Roger Glover (bass)
Steve Morse (guitar)
Ian Paice (drums)
Uli Jon Roth (guitar on CD 2/06.)



CD 1:

01. Highway Star (Gillan/Paice/Lord/Blackmore/Glover) 6.48
02. Into The Fire (Gillan/Paice/Lord/Blackmore/Glover) 3.26
03. Hard Lovin’ Man (Gillan/Paice/Lord/Blackmore/Glover) 6.34
04. Vincent Price (Ezrin/Airey/Gillan/Paice/Glover/Morse) 4.25
05. Strange Kind Of Woman (Gillan/Paice/Lord/Blackmore/Glover) 5.48
06. Contact Lost (Morse) 2.57
07. The Well-Dressed Guitar (Airey/Gillan/Paice/Morse) 2.38
08. Hell To Pay (Ezrin/Airey/Gillan/Paice/Glover/Morse) 5.02
09. Lazy (Gillan/Paice/Lord/Blackmore/Glover) 7.55

CD 2:
01. Above And Beyond (Ezrin/Airey/Gillan/Paice/Glover/Morse) 5.10
02. No One Came (Gillan/Paice/Lord/Blackmore/Glover) 5.16
03. Don Airey’s Solo (Airey) 3.00
04. Perfect Strangers (Gillan/Blackmore/Glover) 6.03
05. Space Truckin’ (Gillan/Paice/Lord/Blackmore/Glover) 4.54
06. Smoke On The Water (Gillan/Paice/Lord/Blackmore/Glover) 7.58
07.1.Green Onions (Jackson/Jones/Steinberg/Cropper)
07.2. Hush (South) 7.20
08. Black Night (Gillan/Paice/Lord/Blackmore/Glover) 6.14




Trombone Shorty – Say That To Say This (2013)

FrontCover1.jpgTroy Andrews (born January 2, 1986), also known by the stage name Trombone Shorty, is an American musician, producer, actor and philanthropist from New Orleans, Louisiana. He is best known as a trombone and trumpet player but also plays drums, organ, and tuba. He has worked with some of the biggest names in rock, pop, jazz, funk, and hip hop. Andrews is the younger brother of trumpeter and bandleader James Andrews and the grandson of singer and songwriter Jessie Hill. Other musical family members are cousins Glen David Andrews and the late Travis “Trumpet Black” Hill. Andrews began playing trombone at age four, and since 2009 has toured with his own band, Trombone Shorty & Orleans Avenue.

Say That to Say This is the ninth album by American jazz musician Troy ‘Trombone Shorty’ Andrews. (by wikipedia)

This is the album that fans probably expected Trombone Shorty to make three years ago—a straight-ahead R&B disc. At the time, Shorty instead hooked up with Galactic’s Ben Ellman, whose inventive techniques transformed his studio sound on Backatown and For True, much as Daniel Lanois did with the Neville Brothers on Yellow Moon. And just as the Nevilles followed two experimental discs with the straight-ahead Family Groove, Shorty gets down to basics on Say That to Say This: No loops, very little hip-hop influence (and thankfully, no Kid Rock either)—just a soulful, band-centric album heavy on New Orleans funk.

Trombone Shorty

And you can’t get more New Orleans funk than a Meters reunion—the late ’70s lineup, with fifth member Cyril Neville—joining Shorty on “Be My Lady,” their first studio track together since 1978. Only trouble is that it’s practically a clone of the ’78 version on New Directions, which already had horns and an uncharacteristic smooth groove. You can hear why Shorty wanted to recut it—it’s a seductive ballad that deserved to be a hit first time around—but as a Meters reunion it’s a classic missed opportunity.

Another local classic gets echoed on “Fire & Brimstone,” whose opening bass groove brings Aaron Neville’s Toussaint-authored “Hercules” to mind. Both songs are full of street wisdom but while Neville’s song was tense, Shorty’s is triumphant, singing that music delivered him from the street life and vowing that fire and brimstone will always be in his horn. Co-producer Raphael Saadiq makes his presence felt with some of the most polished vocals Shorty’s done; this track is where his persona—tough, but warm and charismatic—really gels.

Saadiq’s hitmaking touch is a plus throughout; even the four instrumentals are concise and catchy (“Sunrise” is a lyrical moment, mostly with only horns and tambourine), while “You and I” and “Dream On” (no, not a cover) both energize with their rise-above sentiments. If a bit less progressive than the Ellman discs, this one can carry him to an even larger audience without losing the New Orleans essence. (by Brett Milano)


Troy ‘Trombone Shorty’ Andrews (trombone, vocals)
Michael Ballard (bass)
BK Jackson (saxophone)
Pete Murano (guitar)
Dan Oestreicher (saxophone)
Joey Peebles (drums, percussion)
Raphael Saadiq (keyboards, clavinet, guitar, background vocals)
Lemar Carter (drums on 06.)
Charles Jones (organ on 06.)
Taura Stinson (background vocals on 06.)
Calvin Turner (bass on 06.)


01. Say That To Say This (Ballard/Murano/Andrews) 2.56
2. You and I (Outta This Place) (Ballard/Murano/Andrews) 3.51
03. Get the Picture (Osborne/Murano/Saadiq/Andrews) 2.44
04. Vieux Carre (Peebles/Andrews) 2.46
05. Be My Lady (A.Neville/C.Neville/Porter, Jr./Modeliste/Nocentelli 3.32
06. Long Weekend (Saadiq/Stinson) 4.08
07. Fire And Brimstone (Ballard/Stevenson/Murano/Stinson/Andrews) 3.27
08. Sunrise (Andrews) 3.16
09. Dream On (Ottestad/Peebles/Ballard/Murano/Hollander/Andrews)  4.21
10. Shortyville (Saadiq/Andrews) 4.23




Trombone Shorty2

Joe Cocker – Fire It Up – Live (2013)

FrontCover1.jpgThis 2013 release from the veteran British vocalist, was his first live recording in over 20 years: Fire It Up: Live documents his celebrated European Fire it Up tour, witnessed by millions of delighted fans since its kick off in March 2013. Fire it Up: Live presents the show at the Lanxess Arena in Cologne in April 2013. “I’m very flattered”, Joe Cocker confessed at the show, “because there’s so many young artists on the scene now – it’s amazing that we can still pull them in”. This success is due to an exceptionally gifted artist, who thrills his audience merely with the immense power of his voice, as well as the timeless magic of hits like “With a Little Help of my Friends”, “You Can Leave Your Hat On”, “Unchain My Heart”, “Up Where We Belong” and “You Are So Beautiful”.

Simply stated, Joe Cocker is like a fine wine. He seems to get better with age. This is Cocker at the pinnacle of his craft. An amazing song line up and a voice that belts out every tune with a passion that is fired up like no other time in his career. The tightest live band of all time. Rolling Stone Magazine, you should put this one in your Top 100 Albums of all time. A must have CD for your collection. You’ll listen to this one over and over and over again! Thank you Mr. Cocker for your finest work yet. (by Philip T)


What a great concert! Cocker was in great form and the band was tight. Since it was a live album they move from song to song with efficient dispatch. This was the first live concert album for the Englishman in decades. Rumors were this was to be his retirement album and as fate would have it, that is exactly how it played out with the passing of Cocker just a short time later. (by Avid One)


The last and very best Joe Cocker concert. The German audience, just like the Brits and us Americans were in a loving, exuberant, appreciative mood and Joe gave his all. If you had to write your own epitaph or history, Mr. Cocker gave it the very best anyone could.
My only regret: Not being there. (by JayDub)

This was the last album by Joe Cocker … what a great legacy …. !!!


Gene Black (guitar)
Jack Bruno (drums)
Joe Cocker (vocals)
Norberto Fimpel (saxophone, percussion, accordion on 14.)
Herman Jackson (organ)
Nick Milo (keyboards)
Oneida James-Rebeccu (bass)
background vocals:
Laura Jane Jones – Nichelle Tillman



CD 1:
01. I Come In Peace (Brewster/Wilson) 4.42
02. Feelin’ Alright (Mason) 4.42
03. The Letter (Thompson) 5.49
04. When The Night Comes (Adams/Warren/Vallance) 5.10
05. You Love Me Back (Matkosky/Bently/Diamond) 4.07
06. I’ll Be Your Doctor (Trott/McMorran/Horn) 3.40
07. Up Where We Belong (Sainte-Marie/Nitzsche/Jennings) 6.03
08. Come Together (Lennon/McCartney) 5.44
09. Eye On The Prize (Turner/Gilmore/Clement/Johnson/Kenney/Broussard) 5.01
10. You Don’t Need A Million Dollars (Giles) 4.28
11. You Are So Beautiful  (Preston/Fisher) 4.10
12. Younger (Burr) 4.22

CD 2:
13. Fire It Up (Frew/Reid/Dodson) 4.32
14. N’oubliez Jamais (Cregan/Kunkel) 6.37
15. You Can Leave Your Hat On (Newman) 4.42
16. Unchain My Heart (Sharp/Powell) 6.10
17. With A Little Help From My Friends (Lennon/McCartney) 11.30
18. Summer In The City (j.Sebastian/M.Sebastian/Boone) 4.24
19. Hard Knocks (Broussard/Ramsey/Sanders) 3.58
20. Cry Me A River (Hamilton) 5.32
21. You Don’t Know What You’re Doing To Me (Hilton/Kirkpatrick) 4.34





Joe Cocker (20 May 1944 – 22 December 2014)

Brian Auger’s Oblivion Express (feat. Alex Ligertwood) – Live in Los Angeles (2015)

FrontCover1.jpg2015 live Oblivion Express album – featuring the dream team of Brian’s utterly unique, exuberant and uplifting playing alongside Alex Ligertwood’s stratospheric singing. Many years have passed since their first collaborations – both their respective talents remain utterly undiminished. The highlights of this new collection are almost too numerous to list, but the opener Freedom Jazz Dance still has that edgy, dark feel that has thrilled Brian Auger fans since the early 1970’s, when they took the Eddie Harris original instrumental version and injecting it with a vital and progressive new groove, adding incisive lyrics and Brian’s astounding organ solo that still stands today as a goose bump inducing ride, and the high standard many keyboard players still aim to achieve. In contrast, Happiness Is Just Round The Bend continues to be the joyous, life affirming funky, soul jazz outing that cannot but help lift ones spirit. Of course, The Main Ingredient had a bigger commercial success with their cover version, but to quote Dobie Gray ‘the originals are still the greatest!’

Absolutely amazing that Auger (74 when this was recorded in 2013) and Ligertwood (67 at the time) still have such undiminished chops at this stage of life. They nail the groove with every tune on this two CD set. Auger is still one of the few the reigning champions of the Hammond B-3 and I defy anyone to show me a vocalist that sounds as good as Ligertwood does now as he did in 1972. His range and phrasing is still phenomenal and while considered an acquired taste by some, there is no denying his energy and passion.


I’ve seen them both several times over the last 40 years and this set sounds as good as any of the times I’ve seen either of them play. I got to see and speak at length with Ligertwood a few times when he was performing at a small supper club on Ventura Blvd in the L.A. area in the early 2000’s and he was gracious and charmingly candid as we discussed his career beginning with Troc (a French band with drummer André Ceccarelli from the early 70’s), Oblivion Express, David Sancious (True Stories, released in 1978 – sadly out of print on CD but hire Pinkerton’s to find a copy for you, it’s an amazing recording as well) and Santana. Auger was equally charming the one time I got to converse with him about his career as well. They’re both class acts and I can’t imagine a fan of either of these two underappreciated giants being disappointed with this purchase. Highly recommended. (by Dave Hoeltje)


Brian Auger (keyboards)
Karma Auger (drums, background vocals)
Les King (bass)
Yarone Levy (guitar)
Alex Ligertwood (vocals, guitar, percussion)



CD 1:
01. Freedom Jazz Dance (Harris/Auger/Ligertwood) 7.38
02. Happiness Is Just Around The Bend (Auger) 6.53
03. Straight Ahead (Dean) 6.26
04. Bumpin’ On Sunset (Montgomery)  11.25
05. Inner City Blues (Gaye(Nyx) 6.08
06. Whenever You’re Ready (Dean) 7.47

CD 2:
01. Truth (Ligertwood) 7.53
02. Don’t Look Away, Look Around (Ligertwood/Dean/Mullen) 8.21
03. Second Wind (Auger) 5.07
04. I Love You More Than You’ll Ever Know (Kooper) 7.30
05. Future Pilot (Auger) 7.26
06. Compared To What (McDaniels) 11.54
07. Brain Damage (Ligertwood/Mills) 8.02



I love to lie and lie to love
A-Hangin’ on, we push and shove
Possession is the motivation
that is hangin’ up the God-damn nation
Looks like we always end up in a rut (everybody now!)
Tryin’ to make it real — compared to what? C’mon baby!

Slaughterhouse is killin’ hogs
Twisted children killin’ frogs
Poor dumb rednecks rollin’ logs
Tired old lady kissin’ dogs
I hate the human love of that stinking mutt (I can’t use it!)
Try to make it real — compared to what? C’mon baby now!

The President, he’s got his war
Folks don’t know just what it’s for
Nobody gives us rhyme or reason
Have one doubt, they call it treason
We’re chicken-feathers, all without one gut. God damn it!
Tryin’ to make it real — compared to what? (Sock it to me)

Church on Sunday, sleep and nod
Tryin’ to duck the wrath of God
Preacher’s fillin’ us with fright
They all tryin’ to teach us what they think is right
They really got to be some kind of nut (I can’t use it!)
Tryin’ to make it real — compared to what?

Where’s that bee and where’s that honey?
Where’s my God and where’s my money?
Unreal values, crass distortion
Unwed mothers need abortion
Kind of brings to mind ol’ young King Tut (He did it now)
Tried to make it real — compared to what?!

Tryin’ to make it real — compared to what?


Kristoffer And The Harbour Heads – Hands (2013)

FrontCover1.jpgAnd here´s a very interesting Indie-Pop band from Sweden:

Kristoffer and the Harbour Heads are back after the 2012 debut Little Goes a Long Way with a chemistry that can only come from spending the better part of a decade touring Europe, Japan and USA.

To keep the vibe of a million mutual miles, the group chose to bring their hearts, beats and sounds straight to tape. They chose to eschew the standard modern techniques of overdubs, clicktrack and the average studio paranoia. The decision resulted in minor mistakes, flaky timing and a couple of blue notes designed to reintroduce the humanity so commonly absent from so many of today’s recordings.

Kristoffer02.jpgThe whole recording took just about a week. But the result has never been more honest, dark or direct.

Hands is a concept album.

That we’re all in this together.
Hands is a note to self about lending a hand to others – and accepting the favours we are given.
Where would any of us be without help?

In a world where even a minor handicap can mean closed doors, Hands is also about building a community where everybody is included. Therefore, the band made certain that ALL venues on tours for this record offer full disability access.

As usual, it’s impossible to pin down the genre, which might be the missing link between The Walkmen, The Hollies, Woods and The Electric Prunes. One can expect all sorts of surprises, from catchy hooks to kraut monotony, three part vocal harmonies and a twisted urban back-beat.

The psychedelic voodoo of German Maracas meets the sticky first single One Two Minutes, the dreamy soundscapes of Salute The Mute and the gloomy childhood depiction of My Mothers House (featuring Ed Harcourt) provide a well-rounded and entirely unique listening experience.


Other guests include: Paul Doucette and the young hometown vocalettes Garellik-Sisters.

All the trio’s members have been part of the music writing, while the lyrics came to Kris during solitary walks through desolate shipyards on Hisingen Island, Göteborg. (Promotion text)


Emil Karlsson-Rinstad (keyboards drums, vocals)
Joel Lundberg (bass, guitar, vocals)
Kristoffer Ragnstam (vocals, drums, guitar)
Paul Doucette – Klas Hendrik Hörngren – Ed Harcourt
Garellik-Sisters (background vocals)


01. Hand And Fingers 4.12
02. Face To The Voice 4.22
03. One, Two Minutes 3.00
04. Good Night 3.20
05. My Mothers House 3.56
06. Forever And A Day 3.54
07. Salute The Mute 2.06
08. You Owe Me Twenty Something 3.56
09. German Maracas 3.28
10. Miss You 4.40

Music: Emil Karlsson-Rinstad – Joel Lundberg – Kristoffer Ragnstam
Lyrics: Kristoffer Ragnstam



Jo Harman And Company – Live At The Royal Albert Hall (2014)

FrontCover1.jpgJo Harman (born 21 September 1987) is a British singer and songwriter.

Born in Luton, England, Harman grew up in the Devon village of Lustleigh, before moving to London to study for a BA Performing Arts. After travelling to India, following the death of her father, she attended Brighton Institute of Modern Music in Brighton. In 2011, she self-released Live at Hideaway, whilst she developed her songcraft toward making a debut studio album.

This got the attention of Live Nation in the region and Harman’s first gig in Europe was to 7,000 people opening for The Cranberries both in Europe and in the UK. While opening for them, she played a number of multi-genre festivals, including the Cheltenham Jazz Festival and the Isle of Wight Festival. Her second album, Dirt on My Tongue, was released in 2013. Harman’s song to her father, “Sweet Man Moses”, was JoHarman01nominated as best composition at the 2012 British Blues Awards and this was followed by “Worthy of Love” being nominated in the same category the following year, together with a “Best Female Singer” nomination.

In 2014, she and her bandmates in “Jo Harman and Company” were nominated for seven British Blues Awards. She appeared at BluesFest where her performance was recorded by the BBC and released as a live Album. Harman has worked with members of Average White Band.

In February 2017, she released her second studio album, People We Become. The first single from the album, “When We Were Young”, featuring backup vocals from Michael McDonald, achieved BBC Radio 2 playlist Status. (by Wikipedia)

Jo Harman is the female shining light of the British Blues scene. That is beyond doubt, the critical feedback on her debut album has been universally positive. The album Jo Harman and Company Live at The Royal Albert Hall was recorded at Bluesfest by the BBC in 2013 and it is fitting that it gets it’s UK release two days before Jo returns to perform with her amazing band this year. -(by


In 2012, this reviewer and e-zine discovered a blues chanteuse ‘across the pond’ in the UK named Jo Harman. Back then, she and her ensemble performed Live At Hideaway; now they’re Live at the Royal Albert Hall. This year Jo was selected from six finalists to be “Female Vocalist of the Year” at the British Blues Awards. According to her promotional materials, she revealed, “I’m not entirely sure music should be a competition in quite this way, which is why I never particularly mentioned the nomination or campaigned for votes.” This attitude is refreshing in an era of ‘winner-take-all’, no matter what the endeavor or the cost. Jo is never afraid to be herself above all, giving everything to her sultry take on blues rock and ballads. On this album, it’s typically low-key, despite a few fast and gritty numbers. Six out of eight are compositions either written or co-written by Harman herself. The three mentioned below showcase her voice best.


Says Harman of their finished product, in the liner notes: “This is a caught-in-the-moment, as-it-happened, honest recording made by the BBC. There are no edits, no fixes, no processing, no colouring…What you hear is what we played, raw and untampered.”

Track 02: “Cold Heart” – Slightly reminiscent of Sheryl Crow’s “I Shall Believe”, this original song is almost eerie. It’s a slow burner, but as hot as a certain infernal place. Harman tells her partner what absolutely no one wants to hear: “You’ve got one thing: a cold heart.” It’s an ultimatum as much as a description, the final word in a broken relationship. Steve Watts is understated yet brilliant on piano keyboards, which complement Jo’s lilting voice perfectly.

Track 03: “Ain’t No Love in the Heart of the City” – This cover of an R&B hit by Michael Price and Dan Walsh, popularized by Bobby “Blue” Bland, is absolutely super. “Ain’t no love in the heart of the city; ain’t no love in the heart of town. Ain’t no love, and it’s sure ‘nuff a pity. Ain’t no love, ‘cause you ain’t around.” A timeless sentiment such as this is best backed up by Dave Ital’s rollicking electric guitar solo.


Track 05: “Underneath the River” – With an irresistible rock ‘hook’ and thumping backbeat by Martin “Magic” Johnson, track five just might drive blues rock fans insane with excitement. It’s a surefire party anthem with just the right touch of sweetness amid the spice. “Girls,” Jo explains beforehand, “I think you’ll understand there are times when we feel a little bit crazy, and you know what? The men, too.”

Jo Harman and Co. will delight fans in Britain and worldwide with Live at the Royal Albert Hall! (by Rainey Wetnight)


Jo Harman (vocals)
Dave Ital (guitar, vocals)
Martin “Magic” Johnson (drums)
Andy Tolman (bass)

Steve Watts (keyboards, vocals)


01. Through The Night (Harman/Mayfield) 5.43
02. Cold Heart (Harman) 6.31
03. Ain’t No Love In The Heart Of The City (Price/Walsh)
04. (This Is My) Amnesty (Davies/Harman) 6.40
05. Underneath The River (Davies/Harman) 5.21
06. Sweet Man Moses (Harman) 6.08
07. Sideways (Greenwood) 8.59
08. Better Woman (Haman/McKenzie) 6.00