Zoot Money – The Book of Life … I’ve Read It (2016)

FrontCover1George Bruno “Zoot” Money (born 17 July 1942 in Bournemouth, Dorset) is an English vocalist, keyboardist and bandleader. He is best known for his playing of the Hammond organ and association with his Big Roll Band. Inspired by Jerry Lee Lewis and Ray Charles, he was drawn to rock and roll music and became a leading light in the vibrant music scene of Bournemouth and Soho during the 1960s. He took his stage name ‘Zoot’ from Zoot Sims after seeing him in concert.

Money has been associated with The Animals, Eric Burdon, Steve Marriott, Kevin Coyne, Kevin Ayers, Humble Pie, Alexis Korner, Snowy White, Mick Taylor, Spencer Davis, Vivian Stanshall, Geno Washington, Brian Friel, the Hard Travelers, Widowmaker and Alan Price. He is also known as a bit part and character actor. (wikipedia)

And here´s  his album from 2016:

The legend lives!
Overproduced but still wonderful. Female backing vocals and a bit too much guitar. But the Hammond organ is still in there. The legendary British club-scene band leader who played with Andy Summers in the Flamingo Club in 1968 … and Klook’s Kleek … and all those other wonderful gigs. I can’t be rational about this album. I just love it. Makes me want to jump on a plane and hear him at the Bull’s Head in Barnes. It would be 5000 miles but, why not. (Charles Platt)


The Bournemouth born veteran and long-time Fulham fellow used to have the best Sixties R&B troup of the Sixties with his Big Roll Band, according to one Georgie Fame – while Zoot insists Georgie’s Blue Flames were first in line. Still touring at age 74, one would have expected a moderately paced album, a swinging, feelgood collection. Instead, the man with a CV from Dantalian’s Chariot to The Animals proceeds to grab the young power trio Danze Macabre and lays down a cooking blues rock melange with a wailing Hammond and funky piano – in front of a Nouveaux Cream backing – never better than in “Liberty” and the “Jack Tat Blues”.


Energy orgies without senior citizen insurance: The lovely Nell Montague-Rendall complements Money’s raspy lead vocals congenially with her heartfelt Gospel touch, and the burning Owers brothers Mark & Steve, both accomplished guitarists, supply the axe work and overdub bass & drums so proficiently that you’d swear you got a sextet here. Some respite from the lively attacks comes via the ballad written by Zoot’s Manfreds-tour buddy Mike d’Abo (from his album PASSION DRIVEN) and Money’s own blues “Wouldn’t You Just Know It”. The encore: The team offers Zoot’s chart zoomer “Mr Operator” as a 21st century remake. Big Roll, relentless & reliable. (Ulrich Twelker)

Listen to the hard rocking Zoot Money … and … he´s still alive ad well !!!


Zoot Money (keyboards, vocals)
Mark Owers (guitar, keyboards, background vocals)
Steve Owers (bass, drums, background vocals)
Nell Montague-Rendall (background vocals)


01. Mr Money (S.Owers/M.Owers/Money) 3.51
02. Still Alive (S.Owers/M.Owers/Money) 3.39
03. Sunny Skies (d´Abo) 3.59
04. Liberty (M.Owers) 3.02
05. Jack Tar Blues (S.Owers/M.Owers/Money) 5.05
06. It Could Be That Way (S.Owers/M.Owers/Money) 3.39
07. Wouldn’t You Just Know It (S.Owers/M.Owers/Money) 5.39
08. If Age Brings Wisdom (S.Owers/M.Owers/Money) 2.30
09. Big Time Operator (Re Visited) (Colton/Smith) 3.00




The Rolling Stones – Blue & Lonesome (2016)

FrontCover1Blue & Lonesome is a cover album by the Rolling Stones—their 23rd British and 25th American studio album—released on 2 December 2016. It is the band’s first album to feature only cover songs, and their first studio release since 2005’s A Bigger Bang, with its eleven-year gap being the longest between two albums from the band. Despite the short time length of just around 43 minutes, the album was released as a double LP. “Just Your Fool”, a Buddy Johnson cover (though the Rolling Stones version is based on Little Walter’s arrangement) was released as the first single from the album on 6 October. The name of the album is from a song which Little Walter wrote, “Blue and Lonesome”.

Though there had been an eleven-year gap between albums, the Rolling Stones kept the same basic production and musician team as A Bigger Bang. Joining vocalist Mick Jagger and guitarist Keith Richards as producers was Don Was, who had been working with the group for most of the prior two decades. In the studio were band members Ronnie Wood (guitar) and Charlie Watts (drums), alongside contract players Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (multi-instrumentalist). Eric Clapton contributed guitar on two tracks and drummer Jim Keltner plays percussion on another.

Rolling Stones01

Recorded over a marathon three-day session in December, 2015 the album was released a year later to robust sales; reaching number one on the album charts in the UK and over a dozen other countries, and number four in the US. It was certified gold or platinum in several countries. The first Stones album of the streaming media age, many of the songs from the album charted on several top-40 digital music charts, and the lead single “Just Your Fool” was a top-40 hit on several airplay and genre-specific charts. The album received high critical praise, receiving four- and five-star ratings from many top music journalism outlets, and accolades from jazz and blues publications. The album was awarded the Grammy Award for Best Traditional Blues Album in 2018, the band’s first Grammy in 23 years.

Blue & Lonesome was recorded in just three days in December 2015. In April 2016, at the launch of the Rolling Stones career retrospective Exhibitionism, the band confirmed that their new album was due to be released “some time in the autumn”. Richards said the album would feature “a lot of Chicago blues”. Eric Clapton plays guitar on two tracks; he was recording his own album in the same studio as the Stones were and was asked to play on a few tracks. The album is entirely blues-based, consisting of covers of artists such as Howlin’ Wolf and Little Walter.


This is the first album since Dirty Work (1986) to not feature any guitar playing from Jagger (who instead concentrates completely on vocals and harmonica), although he is pictured in the album’s booklet playing guitar during the album’s sessions. It is also the first album since It’s Only Rock ‘n Roll (1974) to not feature a lead vocal from Richards. Likewise, it is also the first album since Dirty Work to release a lead single that was not a Jagger/Richards composition with “Just Your Fool”.


On 6 October 2016, the Rolling Stones changed their “tongue and lips” logo, which first appeared on their Sticky Fingers album, from red to blue.

On 8 November 2016, the Rolling Stones released a video for “Hate to See You Go”.

On 25 November 2016, the Stones released a one-track limited edition electric blue 10″ vinyl record of “Ride ‘Em on Down” (on the UMC label) on the occasion of the Record Store Day Black Friday 2016. The track is a cover of Eddie Taylor’s “Ride ‘Em on Down” originally recorded by Taylor in Chicago on 5 December 1955 for the Vee-Jay Label (and released as VJ 185).

On 1 December 2016, they released a video for “Ride ‘Em on Down”. The video features actress Kristen Stewart driving through Los Angeles in a blue 1968 Ford Mustang Fastback.

Ron Wood

During its first week the album moved 106,000 sales to debut at No. 1 on the UK Albums Chart, the second-highest opening sales week for an album in the UK in 2016. On 3 February 2017 it was certified Platinum there, for sales over 300,000 copies. It also debuted at No. 4 on the Billboard 200 with 123,000 album-equivalent units, of which 120,000 were pure album sales. It was also the No. 2 best selling album of the week in the US. Despite strong initial sales, the album remains to this day the only Stones’ studio album without a certification in the USA. By 17 February 2017 the album had reached global sales of 2,000,000.

Blue & Lonesome was met with positive reviews from critics noted at review aggregator Metacritic. This release received a weighted average score of 82 out of 100, based on 21 reviews. Kitty Empire from The Observer called it “a labour of love”, while Alexis Petridis of The Guardian said the Stones here are “more alive than they’ve sounded for years”. Robert Christgau was less impressed in Vice, saying the album is “a sodden thing – many old rockers have recorded sharper, spunkier, wiser music”.

Mick Jagger01

The album won Album of the Year at the 2017 Jazz FM Awards. The Rolling Stones also won the Blues Artist of the Year Award at the event, held in April 2017.

On January 28, 2018, Blue & Lonesome received a Grammy Award for Best Traditional Blues Album of the Year at the 60th Annual Grammy Awards. The award was the Stones’ third Grammy of their career and their first win since the 1995 show. (by wikipedia)

Mick Jagger02

As Keith Richards tells it, the Rolling Stones’ first-ever all-blues album is the result of the band learning how to play in the unfamiliar surroundings of Mark Knopfler’s British Grove Studios. To ease into the new place, the Stones decided to knock out a version of Little Walter’s “Blue and Lonesome” and it sounded good enough that the band decided to cut a few more covers, winding up with a full album of Chicago blues in a few days. The Stones haven’t worked at such swift speed in decades — not since the early ’60s, when they were churning out two albums a year — and much of the appeal of Blue & Lonesome lies in its casualness: by being tossed off, the album highlights how the Stones play together as a band, blending instinct and skill. Blue & Lonesome isn’t a showcase for virtuoso playing — even Eric Clapton’s two smoldering solos are part of the tapestry — but rather a groove record, emphasizing feel and interplay while never losing sight of the song.

Rolling Stones02

Such commitment to song is one of the reasons Blue & Lonesome winds up as an unexpected triumph from Mick Jagger. A blues album from the Stones always seemed like a dream project for Keith Richards, who always championed the band’s blues roots, but it’s Jagger who dominates the album, playing searing harp and singing with nuance and power. Always a guarded performer — back in 1974, he scoffed at the notion of letting his feelings flood on the page — Jagger seems freed, pouring heart into the slow burners and uptempo shuffles alike. The rest of the Stones match his commitment and that’s what makes Blue & Lonesome something remarkable. Conceptually, it’s clever — if this winds up being the last Rolling Stones album, it provides a nice bookend to their 1964 debut — but it’s artistically satisfying because it’s the Rolling Stones allowing themselves to simply lay back and play for sheer enjoyment. It’s a rare thing that will likely seem all the more valuable over the years. (by Stephen Thomas Erlewine)


Mick Jagger (vocals, harmonica)
Keith Richards (guitar)
Charlie Watts (drums)
Ronnie Wood (guitar)
Eric Clapton (slide guitar on 06., guitar on 12.)
Matt Clifford (keyboards)
Darryl Jones (bass)
Jim Keltner (percussion on 09.)
Chuck Leavell (keyboards)


01. Just Your Fool (Walter) 2.16
02. Commit A Crime (Burnett) 3.38
03. Blue And Lonesome (Walter) 3.07
04. All Of Your Love (Sam) 4.46
05. I Gotta Go (Walter) 3.26
06. Everybody Knows About My Good Thing (Grayson/Horton) 4.31
07. Ride ‘Em On Down (Taylor) 2.49
08. Hate To See You Go (Walter) 3.21
09. Hoo Doo Blues (Hicks/West) 2.37
10. Little Rain (Abner Jr./Reed) 3.32
11. Just Like I Treat You (Dixon) 3.24
12. I Can’t Quit You Baby (Dixon) 5.13




More from The Rolling Stones:

Joe Bonamassa – British Blues Explosion Live (2018)

FrontCover1Joe Bonamassa (born May 8, 1977) is an American blues rock guitarist, singer and songwriter. He started his career at age 12, when he opened for B.B. King. In the last 13 years Bonamassa has put out 15 solo albums through his independent record label J&R Adventures, of which 11 have reached number 1 on the Billboard Blues charts. (by wikipedia)

Bonamassa has played alongside many notable blues and rock artists, and earned a Grammy Award nomination in 2013. Among guitarists, he is known for his extensive collection of vintage guitars and amplifiers

Electrifying, on British Blues Explosion Live, Bonamassa and his band made up of Michael Rhodes (bass), Reese Wynans (keyboard), Anton Fig (drums), and Russ Irwin (rhythm guitar) pay tribute to British guitar heroes Jeff Beck, Eric Clapton, and Jimmy Page of Led Zeppelin. Giving accolade to his biggest influences, British Blues Explosion Live was recorded on July 7, 2016 at Greenwich Music Time at The Old Royal Naval College based in Greenwich, London during Bonamassa’s short but memorable tour of Britain.


A guitar legend himself, Bonamassa’s journey began in the Empire State of New York where he was born in 1977. Born to play, at the age of 4 Bonamassa was exposed to iconic music by his father who loved British Blues Rock. Before he was a teenager, Bonamassa was already honing his craft, Rockin’ on guitar, and playing in bands. Bonamassa would go on to release 15 solo albums, 11 of which hit No. 1 on the Billboard Blues Chart, beginning with 2000’s A New Day Yesterday culminating to British Blues Explosion Live. Along the way, Bonamassa has played alongside Blues kings like Derek Trucks, Buddy Guy, and even Clapton himself.

Highly active in music, Bonamassa teamed up with Blues songstress Beth Hart and the duo have collaborated and released several albums including Black Coffee, released on January 26, 2018. Bonamassa is also the guitarist for the Hard Rock supergroup Black Country Communion playing alongside Glenn Hughes (Deep Purple), Jason Bonham (Son of Led Zeppelin’s late drummer John Bonham), and Derek Sherinian (Sons of Apollo, Dream Theater). Giving back, Bonamassa helps young minds to grow through music via his non-profit organization, Keeping The Blues Alive, which provides funds and resources to keep music education in schools.


Over an hour and a half of classic Blues Rock, British Blues Explosion Live is a tantalizing showcase of 14 songs which Bonamassa and company dig into with the unbridled spirit from which these tracks were originally conceived decades ago. Beginning with Jeff Beck, Bonamassa pays homage via a sonically pleasing rendition of “Beck’s Bolero-Rice Pudding” and then a vibrant “Let Me Love You, Baby” in which a subtle breakdown sees Bonamassa going crazy with Blues emotion. “Plynth (Water Down The Drain)” and “Spanish Boots” make for fine high-powered rockers giving Beck a worthy tribute.

The Guitar God Eric Clapton is saluted through covers of his solo works and one song from his most influential band Cream. Starting with the first of two selections off Clapton’s 1974 hit album, 461 Ocean Boulevard, Bonamassa’s version of “MainLine Florida” will make a listener want to put the top down and cruise down the coast. The second cover off Clapton’s aforementioned album, “Motherless Children” sees Bonamassa keeping the feel of the original and the era it represents. Next, Bonamassa takes on Cream’s “SWLABR” where he does the revolutionary band justice on the strings of his guitar. Well done, the Clapton tribute rolls on via “Little Girl,” “Pretending,” and a definitive slow Blues jam on “Double Crossing Time” where Bonamassa takes his time ripping note for note.


Climbing the highest mountain, Bonamassa fearlessly dives into the works of perhaps the greatest Rock band of all-time, Led Zeppelin. On “Tea For One-I Can’t Quit You Baby,” Bonamassa gives a slaying tribute to Jimmy Page and grooves out on “Boogie With Stu.” Magnetic, the 15 minute long “How Many More Times” is a Blues saga complete with extra effects which only add to the musical fireworks by Bonamassa and his band, executing a supreme dedication to Jimmy Page and all the members of Led Zeppelin. Closing the show, Bonamassa’s instrumental “Black Winter-Django” is stunning amongst a setlist of historic Blues tunes.

In supreme fashion, on British Blues Explosion Live, Bonamassa offers up a respectful and honorary tribute to the artists who paved the way for generations of Blues guitarists. Keeping the Blues alive, Bonamassa’s mission is to spread the word of these quintessential artists and their music in order to educate the Blues musicians of today and tomorrow.


Having said all of this, British Blues Explosion Live is the perfect way for Blues fans to rediscover this music and for new listeners to enjoy these classics for the first time with several formats to choose from, CD, DVD, Blu-Ray, and a 3 LP set. A must listen for Blues fans, CrypticRock gives British Blues Explosion Live 5 out of 5 stars. (crypticrock.com)


Joe Bonamassa (guitar, vocals)
Anton Fig (drums)
Russ Irwin (guitar, background vocals)
Michael Rhodes (bass)
Reese Wynans (keyboards)



CD 1:
01. Beck’s Bolero / Rice Pudding (Beck/Page/Hopkins/Wood/Newman) 9.01
02. Mainline Florida (Terry) 7.01
03. Boogie With Stu (Stewart/Page/Bonham/Jones/Valens/Plant) 4.17
04. Let Me Love You Baby (Dixon) 5.36
05. Plynth (Water Down The Drain) (Hopkins/Stewart/Wood) 4.05
06. Spanish Boots (Beck/Stewart/Wood) 4.04
07. Double Crossing Time (Clapton/Mayall) 7.323
08. Motherless Children (Radle/Clapton) 6.27

CD 2:
01. Swlabr (Bruce/Brown) 6.27
02. Tea For One / I Can’t Quit You Baby (Page/Plant/Dixon) 8.40
03. Little Girl (Mayall) 3.51
04. Pretending (Williams) 8.32
05. Black Winter / Django (Bonamassa) 5.59
06. How Many More Times (Page/Bonham/Jones/Plant) 15.25



Coming to me in the morning, leaving me at night.
Coming to me in the morning, leaving me alone.
You’ve got that rainbow feel,
But the rainbow has a beard.

Running to me a-cryin’, when he throws you out.
Running to me a-cryin’, on your own again.
You’ve got that pure feel,
Such good responses,
But the picture has a mustache.

You’re comin’ to me with that soulful look on your face.
Coming lookin’ like you’ve never ever done one wrong thing.

You’re comin’ to me with that soulful look on your face.
You’re comin’ lookin’ like you’ve never ever done one wrong thing.

So many fantastic colours, I feel in a wonderland.
Many fantastic colours, makes me feel so good.
You’ve got that pure feel,
Such good responses,
Got that rainbow feel,
But the rainbow has a beard


Kíla – Alive Beo (2016)

FrontCover1Kíla are an Irish folk music/world music group, originally formed in 1987 in the Irish language secondary school Coláiste Eoin in County Dublin.

The band’s first performance was upstairs in the Baggott Inn, Dublin, and was attended by three people. The original lineup for the band was Eoin Dillon (uilleann pipes), Colm Mac Con Iomaire (fiddle), Rossa Ó Snodaigh (whistle, bones), Rónán Ó Snodaigh (bodhrán), Karl Odlum (bass), and David Odlum (guitar). Colm Ó Snodaigh, the brother of Rónán and Rossa, joined the band before the first recordings were made. Rónán, Rossa, and Colm Ó Snodaigh are sons of publisher Pádraig Ó Snodaigh and artist Cliodna Cussen and are brothers of Irish TD, Aengus Ó Snodaigh. (by wikpedia)

You´ll find informations here.

And hee´s their live-album from 2016:

Recorded at different locations around the world, Irish folk band Kíla brings its exciting, raw and emotionally charged music to disc with this live album. From the explosive driving beats of the concert favourite ‘An Tiománaí’ to the tender love song ‘Babymouse’, this album captures Kíla at its majestic best. (clear-spot.nl)


…The group brings an open mind to entirely their own mix of folk, world music, traditional and classic rock. Their instrumentation with pipes, flutes, bodhrán, djembé and conga’s in addition to the more regular instruments provide a special sound. And of course, also, their own, lyric texts. The eight-legged company, previously loaded with The Frames, currently consists of Rossa, Rónán & Colm Ó Snodaigh, James Mahon, Dee Armstrong, Brian Hogan, Dave Hingerty & Seanán Brennan. Some of them have also played with Dead Can Dance.


In addition to their regular work, they also release soundtracks and live albums. As the title of the new album Alive-Beo suggests, it belongs to the last category. The music is recorded in different locations. Perhaps the music is known, the energy they instantly enter, makes it different. Under the headphones, it’s sometimes rushing out as if you’re there. The songs they bring are a beautiful cross section from their discography. Also beautiful is the guest performance of the Polish singer Kayah, who is heard in an old classic of their’s, Seo Mo Leaba, Kíla knows deeply on and off the stage how to make a good impression … (subjectivism.nl)

In other words: Kila is one of Ireland’s finest, innovative, energetic and creative bands abd here´s another fantastic album.


Dee Armstrong (fiddle, vocals, dulcimer , banjo)
Seanan Brennan (guitar, mandola, banjo)
David Hingerty (drums)
Brian Hogan (bass, lap steel-guitar, guitar, percussion, background vocals)
James Mahon (uilleann pipes, flute, whistle)
Colm O’Snodaigh (flute, percussion, whistle, clarinet, saxophones, vocals)
Ronan O’Snodaigh (bodhran, vocals, glockenspiel, percussion)
Rossa Ó Snodaigh (mandolin, percussion)
Kayah (vocals on 06.)


01. Mutatu (Mahon) 4.42
02. Pota Óir (Traditional) 5.38
03. Electric Landlady (Armstrong) 4.46
04. Babymouse (Armstrong/C.Ó Snodaigh) 4.02
05. Ór Agus Airgead (Traditional) 5.20
06. Seo Mo Leaba / Am Reel (Tradtional) 10.41
07. Skinheads (Rossa Ó Snodaigh/C.Ó Snodaigh/Dillon) 6.54
08. Raise The Road (Rónán Ó Snodaigh) 3.26
09. An Tiománaí (Traditional) 4.53





Beth Hart & Joe Bonamassa – Black Coffee (Limited Edition) (2018)

FrontCover1.jpgBlack Coffee is the third cover album recorded by American singer Beth Hart and blues rock guitarist Joe Bonamassa, released on January 26, 2018 on J&R Adventures and Mascot Label Group. It follows their 2013 cover album together titled Seesaw. (ny wikipedia)

Beth Hart first teamed up with guitarist Joe Bonamassa in 2011 and the partnership proved to be mutually beneficial. Hart gave the rock-edged Bonamassa some blues bona fides while the guitarist brought the vocalist to a wider audience. Plus, it was evident from their two studio albums and live set that the two had an easy chemistry: They shared a similar vernacular in Chicago blues and classic soul. The pair rely on that effortless interplay on Black Coffee, their third studio collaboration. Working with producer Kevin Shirley — a veteran of Black Crowes records who has been in the Bonamassa orbit since 2006 — the pair eschew straight traditionalism for a clean, colorful, retro vibe. Sometimes, the duo make choices that are perhaps a little too obvious — the covers of LaVern Baker’s “Saved” and Howlin’ Wolf’s “Sittin’ on Top of the World” are a bit on the nose — but they also know how to kick up the intensity on these chestnuts while avoiding sounding like they’re on steroids.


Still, the highlights of Black Coffee are the originals and lesser-known songs, as they reveal that there is plenty of common ground between Hart’s testifying and Bonamassa’s shredding. Interestingly, that common ground feels formal in a way their individual solo albums don’t — respectively, Hart will delve into the personal spins on roots music while Bonamassa will indulge in blues myths — but that’s the appeal: They’re working on keeping the flame burning, and Black Coffee may be their most effective testament in that effort to date. (by Stephen Thomas Erlewine)


Beth Hart and Joe Bonamassa’s third studio album of mostly soul and blues sticks to the formula of “if it’s not broken, don’t fix it,” and it serves them well.

Hart, a powerful singer also capable of nuance, is a good fit with Bonamassa, a guitar whiz with a wide range of sounds. They are bonded by their shared intensity, and the well-chosen repertoire, including many lesser-known tunes, gives them 10 opportunities to realize their potential.

Etta James songs are a staple of the duo and here they take on “Damn Your Eyes,” from 1989’s “Seven Year Itch,” one of James’ multiple “comeback” albums across the years. R&B diva Lavern Baker gets two nods, “Soul on Fire” and “Saved,” while “Lullaby of the Leaves,” a ballad with a scorching Bonamassa solo a la Gary Moore, dates back to the early 1930s.

Other songs include “Joy” from Lucinda Williams, Kansas Joe McCoy’s “Why Don’t You Do Right,” and the title track, Ike & Tina Turner via Steve Marriott.


Horn arrangements from Lee Thornburg, tasteful backing vocals and excellent keyboard parts from Reese Wynans, who used to play with Stevie Ray Vaughan, all help “Black Coffee” percolate into a tasty brew.

Album closer “Addicted” is a real gem, originally released in 2007 by Austria’s Waldeck. It has elements of a James Bond theme, shades of the tango and, unsuprisingly, a certain European vibe. Hart imbues it with passion, as do the Bonamassa and Wynans solos.

The world is full of little underappreciated treasures. If Hart & Bonamassa and producer Kevin Shirley can keep finding them, there’s a bright future in the grooves for more albums like this truly fine effort. (vy Pablo Gorondi)


Joe Bonamassa (guitar)
Paulie Cerra (saxophone)
Ron Dzuibla (saxophone)
Anton Fig (drums, percussion)
Beth Hart (vocals)
Rob McNelley (guitar)
Michael Rhodes (bass)
Lee Thornburg (trumpet, trombone)
Reese Wynans (keyboards)
background vocals:
Jade Macreae – Juanita Tippins – Mahalia Barnes


01. Give It Everything You Got (Winter/LaCroix) 4.37
02. Damn Your Eyes (Wyrick/Bogard) 4.33
03. Black Coffee (I.Turner/T.Turner) 4.16
04. Lullaby Of The Leaves (Petkere/Young) 5.43
05. Why Don’t You Do Right (McCoy) 4.35
06. Saved (Leiber/Stoller) 3.50
07. Sitting On Top Of The World (Vinson/Chatmon) 3.58
08. Joy (Williams) 4.23
09. Soul On Fire (Ertegun/Wexler) 5.02
10. Addicted (Engel/Waldeck) 3.40
11. Come Rain Or Come Shine (Arlen/Mercer) 4.35






Kofi Baker’s Cream Experience – Live In Bremen (2016)

FrontCover1CREAM was not only the first, but also THE mega-group of all times. Eric Clapton, Jack Bruce and Ginger Baker produced so much musical material in only two years, which would have taken other bands decades. Songs like “Sunshine of Your Love”, “White Room”, “Dance the Night Away” and of course “I Feel Free” still are timeless classics, that are constantly rediscovered and reinterpreted by various artists. With his band Cream Experience, Ginger Baker’s son Kofi revives this genius blend of Blues, Hard- and Psychedelic-Rock and presents it together with Chris Shutters and Bob Willemstein in a raw, original and powerful way. Of course, the unique personal style of these great artists influences the recorded music and thus, a whole new experience is created also for veteran fans of Cream. This CD was recorded at a concert hosted by the legendary Meisenfrei Blues Club in Bremen. (taken rom the linernotes)

Kofi Baker’s first live performance was with his father on the UK television show “The Old Grey Whistle Test” – at just six years of age he proved he had inherited more than just his fathers name.In the early 80’s, Kofi and his father played drum duets throughout Europe, amazing audiences with complex African polyrhythms. Later, Kofi toured with John Ethridge (Soft Machine), and gigged in London with Steve Waller (Manfred Mann), and with Randy California (Spirit). He also toured Europe with Steve Marriot’s Humble Pie. During the 1990’s Kofi toured with Jack Bruce in Budapest; signed with Scotty Brothers Records when he recorded the album Lost City; recorded Abstract Logic with Jonas Hellborg and Shawn Lane; and toured extensivley – including more drum duets with Ginger Baker.


In 1994, Kofi headed off for the USA and for some time lived with his father Ginger Baker in Colorado. Footage of this can be seen in the Ginger Baker Rockumentary ‘Beware of Mr Baker’ and more stories in the Ginger Baker autobiography ‘Hellraiser’ & GingerBaker.com. More recently Kofi has completed The Extreme Guitar Tour (2015) with Uli Jon Roth (Scorpions), Vinny Appice (DIO, Black Sabbath) Vinnie Moore (UFO). In 2017, Kofi joined forces with Malcom Bruce (Jack’s son) and Will Johns (Eric Clapton’s nephew) to celebrate the 50th Anniversary of Cream with tours in Australia and New Zealand, with eyes set on a US tour in 2018. While on break from touring, Kofi runs his own drum school which spawned many loyal fans and pupils; anyone attending his clinics can testify to his easy friendly manner and the excellent way he communicates his passion to others.

Kofi was first inspired to form his own Cream band after seeing the Cream reunion in 2005. He wanted to continue where Cream, and his father, had left off. Kofi’s band is the ultimate Cream tribute: combining Cream’s innovative and experimental style with virtuoso talent. The dynamic three-piece effectively capture Cream’s mood and energy, adding their own distinctive styles.


Kofi Baker´s Cream ist probably the best Cream cover band … and they did a real good job … bit aftzer listening to this 2 disc album I had the need to listen to the originals of one of the findest bands ever !


Kofi Baker (drums, percussion, vocals)
Chris Shutters (vocals, guitar)
Bob Willemstein (bass, vocals)



CD 1:
01.White Room (Bruce/Brown) 8.47
02. Politician (Bruce Brown) 6.16
03. Outside Woman Blues (Reynolds) 3.23
04. Sleepy Time (‘Bruce/Godfrey) 7.24
05. I’m So Glad (James) 6.37
06. Presence Of The Lord (Clapton) 4.53
07. Pressed Rat And Warthog (Baker/Taylor) 4.56
08. Do What You Like (G.Baker) 3.42
09. Drum Solo (K.Baker) 15.22

CD 2:
10. Sunshine Of Your Love (Bruce/Brown/Clapton) 5.58
11. Little Wing (Hendrix) 7.53
12. Badge (Clapton/Harrison) 3.53
13. Can’t Find My Way Home (Winwood) 4.55
14. Deserted Cities Of The Heart (Bruce/Brown) 7.49
15. Spoonful (Dixon) 10.07
16. She’s So Heavy (Lennon/McCartney) 7.00
17. Crossroads (Johnson) 6.34




Miller Anderson – Through The Mill (2016)

FrontCover1.jpgMiller Anderson (born 12 April 1945, Houston, Renfrewshire, Scotland) is a UK-based blues guitarist and singer. In the formative years of the 1960s, before either of them achieved significant success, he worked extensively with Ian Hunter in bands such as The Scenery and At Last The 1958 Rock ‘n’ Roll Show (later called Charlie Woolfe) and is referenced in the title track of Hunter’s 1976 album All American Alien Boy (“well I remember all the good times me and Miller enjoyed, up and down the M1 in some luminous yo-yo toy”). Anderson would later guest on two Hunter solo albums.

Apart from pursuing his own solo career, he was a member of the Keef Hartley Band (this band played with Miller in Woodstock). Other groups Anderson has been associated with are; the Spencer Davis Group, Broken Glass, The Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack. In early 2006, he joined The British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen.

In the Spring of 2016 Anderson returned to the studio and in July 2016 released a new album, Through The Mill. (by wikipedia)


In 2018 and 2019 he toured with Pete York´Rock & Blues Circus (featuring, Zoot Money, Roger Glover and Albie Donnelly) and played many gigs with his own Miller Anderson Band.

This album from 2016, recorded with established media composer Jeremy Sherman, is a varied collection of 12 original compositions ( one co-written with Sherman ) taking in Blues, Rock, Folk , Americana & Latin.

His partner on this album was Jeremy Sherman:

Jeremy Sherman has spent over 30 years playing in a wide variety of bands in the UK and abroad, taking in such styles as Ska, Folk, Jazz, Cajun, Country, Rock, and Blues. Over the past 10 years, he has pursued and developed his love of writing and recording his own material for a variety of Film, TV, and Commercial projects.

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Jeremy also produces CDs for local musicians and his own Celtic/Americana/World outfit. A completely self-taught musician, he is proficient on electric and acoustic guitars, dobro, bass, and keyboards. (by radiosparx.com)

Top notch Miller Anderson effort. I have most of his work and this one is right up there with the best of them. Better with age just like fine wine. A must have for fans and a good place to start if you are new to Miller Anderson. (Bill)

On other word: Another superb album by one of the most criminally underrated musician … hew´s a realo unknown hero …

His mixture of Folk, Jazz, Cajun, Country, Rock, and Blues is unbelieveable good !

And the song “Broken Glas” was recorded in 1975 for a rare Stan Webb project called “Broken Glass” (s real fantastic album) featuring Miller Anderson.


Miller Anderson (vocals, guitar, harmonica)
Jeremy Sherman (keyboards, synthesizer, guitar, pedal steel-guitar, banjo, dobro, drums, percussion)


01. Strange Days (Anderson) 4.35
02. John Sugrue (Anderson)4.23
03. Where Is Your Heart (Anderson/Sherman) 4.59
04. Through The Mill (Anderson) 4.11
05. Life Is All We Have (Anderson) 4.29
06. Broken Glass (Anderson) 3.33
07. Old Friends (Anderson) 4.07
08. The Island (Let Yourself Go) (Anderson) 3.52
09. Here Come The Tears (Anderson) 4.17
10. Nobody Knows (Anderson) 4.14
11. A Hard Road Down (Anderson) 4.08
12. Wintertime Blues (Anderson) 2.29




Joanna Connor – Six String Stories (2016)

FrontCover1.jpg“Six String Stories” was Joanna Connor’s first studio album release in 14 years !

In the language of social media, the video clip of Joanna Connor at the 2014 North Atlantic Blues Festival went viral. She gives the rapt audience a three minute display of her astounding slide guitar playing, a performance that has been viewed over 870,000 times on-line. For many people, that may have been their first exposure to Connor – but Chicago-area fans have reveling in her club performances for several decades, reaching back to her first release, Believe It, in 1989 on Blind Pig Records.

After a fourteen year recording hiatus that had Connor focusing on raising her daughter, she is back with her second release for M.C. Records. Exploring that vast territory where blues and rock converge, she offers plenty of fiery playing that mirrors what viewers saw in the video. Take “Halsted Street,” a brooding instrumental with some gentle acoustic guitar wrapped around eerie, effects-laden electric tones. Suddenly, her guitar erupts with a solo sequence that would make Eddie Van Halen proud. The slow blues, “We Stayed Together,” centers on her impassioned vocal bracketed by two penetrating guitar interludes.

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Her slide guitar dominates the first two tracks. On “It’s A Woman’s Way,” Connor encourages her daughter to take advantage of the expanding opportunities available to women, then illustrates the message with taut slide licks over the hard-charging rhythm laid down by Marion Lance Lewis on drums, bass, and percussion. Personal relationships are explored on “By Your Side,” but it quickly becomes apparent that any man would struggle to match the attachment Connor has to her guitar. The ballad “Golden,” penned by Jill Scott, shifts to a softer approach centered on the acoustic guitar and Jeff Lewis on an electronic keyboard A spoken passage finds the singer asserting, “I am not second-rate or an after-thought for anybody. Come direct or don’t come at all. No silver or bronze for me!”

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“Love Coming On Strong” is a primal stomp about love swirling out of control, following the instrumental “Swamp Swim,” with guest Omar Coleman’s harp intertwining with unearthly slide tones to form a haunting sonic landscape. Connor shifts to a more positive frame of mind on “Heaven,” the arrangement bolstered by Charlie Kimble on tenor sax, Gary Solomon on alto & soprano sax, and Charles Pryor on trumpet/flugelhorn. Lewis is moved by the spirit, preaching with the fervor of true believer. A staple of her shows, Connor shows her interpretive skills on a live recording of the Elmore James classic, “The Sky Is Crying,” her nimble six-string phrasing mirroring the agony in her voice. “Young Women Blues” is a dreamy stroll that mixes jazz elements through a tremolo-induced haze.

Appropriately titled, Six String Stories should build on the world-wide interest generated by that short video. Once people hear Joanna’s new disc, no one is going to classifying her as as anything other than first-rate. (Mark Thompson)

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Omar Coleman (harmonica)
Joanna Connor (guitar, vocals)
Charlie Kimble (saxophone)
Jeff Lewis (keyboards)
Marion Lance Lewis (bass, drums, percussion, synthesizer, vocals)
Charles “Richard” Pryor (flugelhorn, trumpet)
Gary Solomon (saxophone)
background vocals:
Hope Lewis – Steve Lewis


01. It’s A Woman’s Way (Connor/M.Lewis) 4.11
02. Your Side (Connor/M.Lewis) 5.05
03. We Stayed Together (Connor/M.Lewis) 5.32
04. Golden (Bell/Robinson/Robinson/Scott) 4.32
05. Swamp Swim (Connor/M.Lewis) 4.09
06. Love Coming On Strong (Connor/M.Lewis) 4.00
07.  Heaven (Connor/M.Lewis) 5.58
08. Halsted Street (Connor/M.Lewis) 4.39
09. The Sky Is Crying (Robinson/Lewis/James) 5.47
10. Young Women Blues (Connor/M.Lewis) 4.30



Batalion d’Amour – Fenix (2016)

FrontCover1.jpgEleven long years after their last full-lenght, Niya, the Polish female fronted combo Batalion d’Amour returns among the living with their sixth album. If the band went through some major line-up changes in the past, current members are surprisingly the same as in 2005, but from the original line-up (note that this band was founded in 1989), remains only the bassist Piotr Grzesik and drummer Mariusz “Pajdo” Pająk. Batalion d’Amour released their debut album, Labirynt Zdarzeń, almost ten years after the formation, and at that time their style was typical dark wave/gothic rock, but soon after their sound got new dimensions, especially when the current singer Karolina Andrzejewska replaced Anna Blomberg-Gahan in 2001. Songs of the band got more depth, even more heaviness with addition of heavy riffs, but most of all everything became more subtle, catchy, romantic and with a high dose of sensibility.

As the band stated, the name of the album symbolizes rebirth, magic and creativity. Fenix consists of eleven original tracks plus four bonuses, and like in the past almost all of them, except one, have Polish lyrics, but believe me that this is just a plus to their already magical soundscapes. Karolina’s captivating, dynamic, rich, yet romantic and highly emotive voice combined with Polish lyrics is so very flowing and soothing, for some listeners it might be also a bit exotic. Also the instrumental side, with many addictive parts, leaning now more than ever towards synth rock, gothic and even progressive rock/metal, with a huge dose of atmosphere and catchy pop melodies offers sometimes an otherworldy sonic experience. There’s still present some dark wave and absolutely the band doesn’t forget their roots in gothic rock, just listen to those typical sparkly gothy guitars and strong reverberate bass lines in almost every song, not to mention those gloomy synths and electronics that so smoothly deepens the whole ambiance.

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The first two tracks, “Bez Nas” and “Charlotte”, are nothing but mesmerizing hits that are so very addictive, catchy, with great melodies and rich ambiance that it’ll be nothing strange if you’ll start subconsciously to sing those choruses. Great vocals, intriguing guitar job, almost danceable rhythms, but still very emotional and melancholic. I was also moved by rather dark and climatic piece “Moje Remedium”, where Karolina gets company by Tomasz Grochola from their country mates, industrial act Agressiva 69. Tomasz deep and dark voice perfectly suits Karolina’s sensitive voice and together they offer such a fantastic vocal duet. As well the most experimental, yet very progressive with some driving heavy guitars and in its essence still dark song, “Mechaniczny”, nicely shows that Batalion d’Amour are capable of crossing genre borders with style just to make their sonic output even more dramatic and intriguing. Oh, and how tender, vulnerable and almost erotic is the voice of Karolina, but as well how very haunting is the instrumentation in “Za Granica Marzen”, absolutely beautiful. All of these elements are then perfectly blended together in the epic “Zawróceni” which is more than nine minutes long composition. As well the groovier tracks like “Miedzy Slowami” and “Ktos Calkiem Obcy” are quite elegant and add a lot to the dynamics of this album. There are some mellow tracks, one of them is a try with English lyrics in the sensual, with a celtic scent, acoustic ballad “The Lost Diary”, which features John Porter as Karolina’s duet partner, and also typical gothic/pop rock in “Dwie Prawdy” could be more elaborated. But ok, I’m fine even with this, it’s not that those songs are bad in any way, but the band set the standards so very high with previously mentioned highlights.

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The album ends with four bonus songs that are all alternate versions of the hit single “Charlotte”. One is a nice acoustic version, the next one is an English version of the song, where the band finally shows that they can make great songs also with English texts, plus there is an interesting dancefloor mix of the song done by Pawel Penarski, who’s the author of remixes of such famous artists like Ellie Goulding, and in the end the shortened radio edit of it. If the band put a lot of effort in those compositions, unfortunately I must give some critics to the front cover artwork, it’s just too simple and it doesn’t reflects the music as it should, but on the other side the inlay, the twenty page booklet is done just fine, where beside nice artwork the band inserted English translations of all lyrics. All in all, Fenix is a great return for Batalion d’Amour and I hope that we’ll not have to wait another ten or more years for the next release. Fenix is an addictive and captivating storm of beautiful yet refreshing dark rock music! Believe me that it’ll be a huge mistake if you’ll miss this album. (terrarelicta.com)


Karolina Andrzejewska (vocals)
Piotr Grzesik (bass, vocals)
Robert Kolud (guitar)
Mariusz “Pajdo” Pająk (drums, vocals)
Mirosław Zając (keyboards)

Batalion d'Amour03.jpgTracklist:
01. Bez nas 5.56
02. Charlotte 5.08
03. Między słowami 4.28
04. Zawróceni 9.33
05. Za granicą marzeń 4.51
06. Moje remedium (featuring Tomasz Grochola) 4.42
07. Ktoś całkiem obcy 4.17
08. Dwie prawdy 5.44
09. Zaklęty 5.55
10. The Lost Diary (featuring John Porter) 4.08
11. Mechaniczny 4.33



Soul Asylum – Change Of Fortune (2016)

FrontCover1.jpgChange of Fortune is Soul Asylum’s 11th full-length studio album and the long-awaited follow-up to their 2012 studio release Delayed Reaction. It was released on March 18, 2016. It is their first album released on Entertainment One. (by wikipedia)

Minneapolis, Minnesota-based Alternative Rock band Soul Asylum has been a force to be reckoned with for thirty-five years. Influenced by local area Punk legends such as Suicide Commandos, the band led by Vocalist/Guitarist Dave Pirner forged their own sound and quickly hit the tour circuit in their home state. Then, in 1984, their dreams came true when signing on with Minnesota’s own Twin/Tone Records to release their debut album Say What You Will…Everything Can Happen. Sleeping on floors and not eating the best food, the band continued on for many years, releasing four more studio albums before really breaking into the mainstream with their 1992 Columbia Records debut, Grave Dancers Union. Anchored by hit singles such as “Somebody to Shove,” “Black Gold,” and of course, “Runaway Train,” Grave Dancers Union has since gone triple platinum.

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Following up their commercial success strong in 1995 with Let Your Dim Light Shine, 1998’s Candy from a Stranger would be their final record of the millennium and with an uncertain future. Taking time to reassess what they wanted, tragedy struck in 2005 when long-time Bassist and friend Karl Mueller passed from cancer. Extremely emotional from the loss, Pirner carried on and returned with Soul Asylum in 2006 with The Silver Lining. A record well-received by fans, Soul Asylum would continue on touring with a few different lineups and has been settled with Drummer Michael Bland, Bassist Winston Roye, as well as Guitarist Justin Sharbono since around 2012. Now following up four years after the impressive Delayed Reaction record, the band is back with Change of Fortune. Released via new label Entertainment One, Change of Fortune is the band’s eleventh overall album and was released as of March 18th.


A record a few years in the making, Change of Fortune is twelve tracks of high energy beginning with “Supersonic” as sound effects bring in an upbeat melody as the group seems to sing about addiction. Next, “Can’t Help It” has a Funk vibe driven by a sharp guitar riff with the banding singing about temptation. Moving on, “Doomsday” has a hair band flavor, but with Soul Asylum sensibilities with Pirner’s unique vocal inflections while he sings of the inevitability of the end of the world coming, but not now, so live it up. Cellos lead into “Ladies Man.” This track has a Pop-like feel as the melody progresses, then, listening to the lyrics, the tongue-in-cheekiness comes through by the end, “He’s a ladies man/and she’s a lady…man.”

“When I See You” takes some light, retro Electronica and mashes some Pop to come up with a catchy tune that has a confessional feel as the message of being the person you really are. A high-tempo anthemic beat is “Moonshine.” This track has a fun melody, but there seems a bit of uncertainty as Pirner wonders if the good time is genuine, or helped with drink. Going harder, “Make It Real” has a drum-driven melody with the guitars shredding in the accompaniment. The group seems to sing of someone who spins a web of stories that there is no possible way they can make true. Returning to the Funk flavor, “Dealing” has an “I told you so” vibe to the beat with the head-bobbing drumline as the guitar slides in as the group seems to continue the last track’s theme, but taking it further with the person being out.

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“Don’t Bother Me” has a mid-tempo, “take it in stride” melody, literally. This song has an Alternative Folk/Pop beat that accompanies the lyrics that talk about rolling with the punches of life. Pirner’s voice gives “Morgan’s Dog” the Black Comedy, story-esque delivery it needs with the mid-tempo, Folksy melody. This track just needs to be experienced. The album’s title track, “Change of Fortune,” is a Ska-esque intro followed by an Alternative/Psychedelic melody with a hip, laid back vibe where the band sings of life not always being one-note. Change of Fortune draws to a close with “Cool,” a funky finale with tasty riffs as the band wants to know if they are cool enough for their ladies.

Soul Asylum’s long career has had extreme highs and lows to channel those feelings into a fun, sometimes confessional set of songs that are relatable without being preachy. This latest effort sees the band expand their horizons and push the envelope in a variety of different directions. In all, it is successful and Soul Asylum should finally get the attention they deserve as one of the best Alternative Rock bands of the last three decades. (by Jason Rhode)


Michael Bland (drums)
Dave Pirner (vocals, guitar)
Winston Roye (bass)
Justin Sharbono (guitar, background vocals)

Soul Asylum02
01. Supersonic 3.01
02. Can’t Help It 3.01
03. Doomsday 2.59
04. Ladies Man 3.23
05. Moonshine 4.03
06. Make It Real 2.19
07. When I See You 3.47
08. Dealing 4.05
09. Don’t Bother Me 3.28
10. Morgan’s Dog 3.36
11. Change Of Fortune 2.56
12. Cool 2.55

All songs written by Dave Pirner