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.

Batalion d'Amour01.jpg

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.

Batalion d'Amour02.jpg

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. (


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.

Soul Asylum01.jpg

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.

Soul Asylum03

“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



Yoshiko Ieki – Toccatas Vol. 1. (J.S.Bach) (2016)

FrontCover1.jpgThe Japanese harpsichordist, Yoshiki Ieki, studied harpsichord with Gustav Leonhardt at the Amsterdam Sweelinck Conservatory, where she graduated wirh a soloist diploma in 1981.

And on this album she played on a very old instrument from Johannes Ruckers, part of the legendary Ruckers family:

The Ruckers family (variants: Ruckaert, Ruckaerts, Rucqueer, Rueckers, Ruekaerts, Ruijkers, Rukkers, Rycardt) were harpsichord and virginal makers from the Southern Netherlands based in Antwerp in the 16th and 17th century. Their influence stretched well into the 18th century, and to the harpsichord revival of the 20th.

The Ruckers family contributed immeasurably to the harpsichord’s technical development, pioneering the addition of a second manual; the quality of their instruments is such that the name of Ruckers is as important to early keyboard instruments as that of Stradivarius is to the violin family. In the 18th century, Ruckers instruments were often modified by French makers in a process known as ravalement, to allow for an extended range and other additions.


The Colmar harpsichord from 1624

Joannes Ruckers (variants: Ioannes, Hans, Jan) (15 January 1578 – 29 September 1642) was the first son of Hans Ruckers, and also became a harpsichord and organ maker. He lived his life in Antwerp. He and brother Andreas became partners in their father’s business upon his death, Joannes becoming sole owner in 1608. He joined the Guild of St Luke in 1611; his entry reads ‘Hans Rukers, sone, claversigmaker’; following this he engraved ‘IR’ into the rose of his instruments, rather than his father’s ‘HR’. He worked for the archdukes of the Netherlands in Brussels from 1616. His nephew Joannes Couchet joined his workshop around 1627, taking it over after his death. Around 35 of his instruments are in existence today. (by wikipedia)

And here´s a short biography of Yoshiko Ieki:


This album was recorded at the Under Linden Museeum in Colmar/France … on an original harpsichord from 1624 !

And … the music is just brilliant … listen to this fascinating melodies and sounds of an old harpsichord ! Enjoy this trip … !


Yoshiko Ieki (harpsichord)


01. Fantasia & Fugue in A Minor, BWV 904 / 8.45
02. Toccata in E Minor, BWV 914 / 8.21
03. Toccata in D Minor, BWV 913 / 13.21
04. Toccata in F-Sharp Minor, BWV 910 / 11-36
05. The Well-Tempered Clavier, Book 2:  Prelude & Fugue No. 14 in F-Sharp Minor, BWV 883 / 6.59
06. Toccata in G Major, BWV 916 / 9.12

Music composed by Johann Sebastian Bach



Yoshiko Ieki

Márcio Tubino And Artet – Community – Live At The Bird’s Eye (2016)

FrontCover1Márcio Tubino was born on 27th of March 1963 in Santa Maria, wich is in the brazilian state Rio Grande do Sul. His parents also come from this state. His father is from the castal area, while his mother was born in the uruguayan border area.

In the year 1969 the family moved to the capiltal Porto Alegre where Márcio Tubino grew up. The Land was going trough a military dictatorship since 1964 and experienced the euphoria caused by the victories of the brazilian soccer team. Behind this fade there seemed to be calmness and order but also a lot of repression and violence. Performers and artists had to be careful and develop a lot of creativity. The protest against the regime had to be well hidden behind allusions. Demanding texts combined with elegant and spirited harmonies in the tradition of Bossa Nova together with varios rhythms gave the brazilian Popmusic a very interesting touch.

Márcio experienced this musical impulses by various “rodas de samba”, by making music with his family and frends. Then Márcio sang together with his brothers and sisters. The elder ones discussed the lyrics and for fun they invented new vocal arrangements for the period songs, Sambas and traditional Bossa Nova.

In the year 1978 he started to study with his transverse flute. Tubino attendes the music academy of the Symphonic Orchestra Porto Alegre. At the same time he took part in various seminars, where he was taught the harmonies of e-and u-music, arrangements, history of classic and modern and also brazilian music.


Since 1980 M.Tubino is a professional musician. ” Raiz de Pedra” was the first group he played with. Here he developed his ability for saxophone and flute as well as composer. Highly acclaimed by critics and audience the group started their first tour to Germany in 1990, where Tubino lives now since 1995.

The brazilian performer has worked together with artists like Egberto Gismonti, Djalma Corrêa, Joe Zawinul, Dusko Goykowich, Alegre Corrêa, Renato Borghetti, Rosanna&Zélia. Next to an amount of recordings with others artists from Brazil and Europe Tubino has publisched 4 CD’s with “Raiz de Pedra”, wich contain various of his own compositions. His tours took him trough South America, Europe, to China, Japan and Egypt.

As arranger he wrote for many artists like Rosanna&Zélia, Dusko Goykowich and Jenny Evans. His writes for diferents formations like Jazz Combo, Strings and Jazz Big Bands. (


ARTet is the band and project of Brazilian saxophone player Márcio Tubino. This ensemble is neither quartet nor quintet but an “ARTet” capable of transforming any kind of influences into musical ideas – that’s the leitmotif of the band.
With his LIVE concerts Márcio Tubino sticks to his roots. To perform on stage he assembled famous Brazilian musicians who live in Germany.

After four years of numerous gigs together, the 2nd CD of ARTet was recorded live within two days at the Bird’s Eye Jazzclub in Basel. Due to being that well-rehearsed the result is an album which is wonderfully harmonic, virtuosic and coherent to listen to.
The idea of ARTet as a boundless formation remains – Márcio Tubino goes even further and understands a concert as a musical dialogue between audience and band.
Furthermore, the band provided the concept of global networking via a QR code in the artwork: the portal “Community” opens new doors and the “community” is globally present. There is not just more information about the current CD but also links to other artists and art forms, as well as about projects for development aid, protection of nature and much more.


“Community” derives from natural events:
Musicians are playing in a charming Jazz club and still stay grounded in our technological world full of possibilities. Back to the roots, still spiced with a plenty of innovative sounds.
The songs connect traditional elements of South American Jazz with modern elements. Just in ARTet style not bound to any genres. Anything can and should flow in – a groovy globalization!
Or to quote composer and band leader Márcio Tubino: “Brazilian music, recorded in Switzerland, released in Germany and at home all over the world!”


Ricardo Fiúzapiano (keyboards)
João Luis Nogueira (guitar)
Fernando Paiva (drums)
Ciro Trindade (bass)
Márcio Tubino (saxophone, flute)

01. Marcha 6.56
02. Água 7.56
03. Onde todos estão 8.48
04. Da janela 5.55
05. E a vida segue 6.57
06. Batatinha 7.37
07. Azuis 10.50
08. Sol 6.04

Music composed by Márcio Tubino




More from GLM Records:


Simple Plan – Taking One For The Team (2016)

FrontCover1.jpgTaking One for the Team is the fifth studio album by Canadian rock band Simple Plan. It was released on February 19, 2016 through Atlantic Records and represents the band’s first full-length record in nearly five years. Following the release of three buzz singles in mid-2015, the band released “I Don’t Wanna Go to Bed” featuring American rapper Nelly as the official lead single for the album on October 16, 2015. It debuted at number 4 on the Canadian Albums Chart, earning the band their fourth consecutive top-5 and a perfect streak of top-10s for their first five studio albums.

“I Don’t Wanna Go to Bed” was released October 16, 2015 as the album’s official lead single. The song features pop and funk influences in a stylistic departure from the pop punk and pop rock of the group is earlier work. A Baywatch-inspired music video premiered October 15, 2015 – a day before the song is digital release It has since peaked outside the top 50 on the Canadian Hot 100 at number 54.

“Singing in the Rain” was released as second single from the album on March 25, 2016. However, the single version of the song does not feature R. City. The music video for “Singing in the Rain was released on April 12, 2016; set in the 1960s, it was a tribute to the movie That Thing You Do.


“Perfectly Perfect” was announced as the third official single on September 26, 2016.

The first song released from the era was “Saturday” on June 22, 2015.[14] In September 2015, drummer Chuck Comeau revealed the song would not be featured on the album.

“Boom” was released August 28, 2015 as the second promotional single after its music video premiered a day earlier.

A third buzz track, “I Don’t Wanna Be Sad”, was released September 18, 2015.[18] Initially presumed to be the album’s first official single, it was later announced to be a promotional track only.

The band released the album tracks steadily leading up to the release date. A music video for “Opinion Overload” was released on February 5, 2016.”Farewell” was released on February 14, followed by “I Refuse” on February 15, “Nostalgic”, “P.S. I Hate You” and “Perfectly Perfect”.


At the end of the album, Canadian sports announcer Bob Cole calls a fictional ice hockey game featuring Simple Plan, concluding with, “Oh my goodness, can you believe it? Just like that, Simple Plan have won the game!”.

Taking One for the Team received generally favorable reviews from music critics. On Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 65 based on 4 reviews, indicating “generally favorable reviews”.


Neil Z. Yeung of AllMusic called the record “pure, no-frills, feel-good fun, a start-to-finish crowd-pleaser for fans of that classic pop-punk sound.” He concluded about the band’s musical stance they made with their album: “When music is presented this directly, and after so many years holding firm to a particular style, it’s hard to root against them. They’re aware of their legacy and position as now-veterans in a scene that has already experienced another revival with young bands like Neck Deep and All Time Low. Simple Plan — whose members were in their late thirties at the time of recording — are the comeback underdog team, winning whether critics like it or not.”

A real pretty good high energy power rock album !


Pierre Bouvier (vocals)
Chuck Comeau (drums, vocals)
David Desrosiers (bass, vocals
Sébastien Lefebvre (guitar, vocals)
Jess Stinco (lead guitar, vocals)
Howard Benson (organ)
R. City (vocals on 05.)
Bob Cole (play-by-play announcer on 14.)
Nelly (vocals on 08.)
Jordan Pundik (vocals on 04.)
Juliet Simms (vocals on 14.)
Lenny Skolnik (keyboards, vocals)
baackground vocals:
Jonny Litten – Chady Awad – Melanie Fontana – Sidnie Tipton – Myah Langston

01. Opinion Overload (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Company) 3.19
02. Boom! ((Bouvier/Comeau/Desrosiers/Lefebvre/Stinco//Ogren/Bailey) 3.10
03. Kiss Me Like Nobody’s Watching (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.23
04. Farewell (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco//Ogren/Bailey)3.21
05. Singing In The Rain (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/ Th.Thomas/ T.Thomas) 3.43
06. Everything Sucks (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.32
07. I Refuse (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.19
08. I Don’t Wanna Go To Bed Nelly (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/ Baran/Haynes) 3.09
09. Nostalgic (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Company) 3.06
10. Perfectly Perfect (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Stewart/Higgenson) 3.07
11. I Don’t Wanna Be Sad (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.14
12. P.S. I Hate You (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco(Stewart) 3.03
13. Problem Child (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Tranter) 3.41
14. I Dream About You (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.09





Joe Bonamassa – Rockin’ Christmas Blues (2016)

FrontCover1.jpgThis is a very special christmas album. because it´s a self-released mp3 album by blue guitrplayer Joe Bonamassa, distrubted via facebook and his newsletter (# 51/2016):

I really look forward to the holiday season each year. The precious family time, the tightly wrapped presents, the glistening white snow – ok, no glistening white snow for me anymore, I’m in Florida now. And holiday time means holiday tunes, usually starting in about October these days. But if you’re like me, you’re just a little bit tired of hearing the same holiday jingles over and over again each year. Of course, there’s something fun about the first time you hear “Winter Wonderland” and “The Christmas Song” coming through that department store’s speakers. After all, who doesn’t love the holidays? And by Thanksgiving, I’m already pulling out my copy of Jewel’s first Christmas album – that can be our little secret, by the way. But you and me – deep down we’re blues fans, and after a few weeks of the novelty of Christmas music starts to wear off like yesterday’s aftershave, we’re ready to get back to our musical roots. (by Joe Bonamassa)

And so this is a nice addition to every serious Joe Bonamassa collection … christmas tunes in his very special way of playing the guitar !


Joe Bonamasse (guitar, vocals)
a bunch of unknown studio musicians


01. Merry Christmas, Baby (Baxter/Moore) 4.46
02. Bring Back My Cadillac (Bonamassa) 3.35
03. Christmas Boogie (One Little Kiss) (Bonamassa) 6.52
04. Christmas Date Blues (Turner) 2.31
05. O Holy Night (Adam) 4.05
06. Lonesome Christmas (Glenn) 3.27
07. Santa Claus Is Back In Town (Leiber/Stoller) 2.29



Rolling Stones – Havana Moon (TV rip) (2016)

HavannaMoon52Havana Moon is a concert film by the Rolling Stones, directed by Paul Dugdale. Havana Moon was filmed on 25 March 2016 in Havana, Cuba. The film is a recording of a free outdoor concert put on by the band at the Ciudad Deportiva de la Habana sports complex, which was attended by an estimated 500,000 concert-goers. The concert marked the first time a rock band had performed in Cuba to such a large crowd. On 11 November 2016 the film was released in multiple formats.

When the news that sitting United States president, Barack Obama was to visit Cuba was released—marking the first time a sitting president had visited the island nation in 88 years—the concert was rescheduled from 20 March 2016 to 25 March 2016.

The concert was suggested by lawyer Gregory Elias to Rolling Stones manager Joyce Smyth during a phone call on 13 November 2015. Elias suggested that the Stones play a free concert in Cuba, which he would cover the costs of – to which Smyth responded “Well, that’s certainly a unique proposal”. The concert was bankrolled by Elias’ charitable organization, Fundashon Bon Intenshon. There was some speculation that the move on Elias’ part was politically motivated, to which he responded in a statement that he only wanted to do something good for the Cuban people and did not have any business relations in the country.

The concert was planned for several months prior to its public announcement while the band was on their 2016 tour of South America, titled América Latina Olé Tour 2016.[4] The bands’ manager, Joyce Smyth, and Concerts West worked extensively with the Cuban government in order for the show to be approved, due to the Cuban government still having control over what its citizens listen to. The embargo on Cuba proved to be a technical challenge for the band and stage crews since they had to ship all of their equipment from Belgium and could not rely on local infrastructure to assist to the degree that they are used to in more developed areas.


The concert took place 5 days after President Barack Obama visited Cuba, marking the first time a sitting United States president has visited the island nation since the 30th President of the United States, Calvin Coolidge, visited the nation 88 years earlier, in 1928.

The show was originally scheduled to take place 20 March 2016. However, after it was announced that President Barack Obama was scheduled to arrive on the same day, concerns were raised and the decision was made to reschedule the concert to 25 March 2016.[5][6] Shortly before the rescheduled concert date, Pope Francis attempted to delay it, asking that the band play on a later date as the concert was scheduled for 25 March 2016, which was Good Friday, a major and solemn Christian holiday. The Vatican also suggested that the band delay the start of their concert until midnight to avoid the holy day. However, the Stones opted to play the concert at the originally scheduled date and time.


Prior to the show, the band were guests of honour at the British embassy in Cuba, which held a meet and greet on 24 March 2016 for approximately 200 people, many being Cuban musicians. The Rolling Stones also started a “musician-to-musician” charity initiative in which musical instruments were donated by major instrument suppliers to Cuban musicians of all genres.

The concert itself was attended by a crowd estimated to have consisted of over 500 thousand concert-goers and marked the first time a foreign rock band had performed an open-air concert in Cuba to a crowd of that size.


The film received critical acclaim from multiple publications, including The New York Times, The Guardian, Rolling Stone, and The Daily Telegraph. The New York Times stated that “The Rolling Stones gave a stunning performance”. The Guardian remarked that the show was “spectacular and historic,”[24] with the Daily Express sharing a similar viewpoint, calling it a “historic” show.[25] Rolling Stone magazine praised the concert, stating that it was “no ordinary concert” and had a significant impact for music in Cuba.

“This was no ordinary concert. People hugged and shared looks of disbelief. Coming at the end of a run of shows in South America and Mexico, last night might have marked at least a temporary pause for the legendary group, but it had all the markings of a new chapter for music in Cuba.” (Richard L. Dewey, Rolling Stone, 26 March 2016)

“We have performed in many special places during our long career but this show in Havana is going to be a landmark event for us, and, we hope, for all our friends in Cuba too.” (The Rolling Stones official statement, 1 March 2016)

This video was ripped from the a German TV channel called 3sat with German subtitles.


Mick Jagger (vocals, harmonica, guitar)
Keith Richards (guitar, vocals)
Charlie Watts (drums)
Ron Wood (guitar)
Sasha Allen (background vocals)
Karl Denson (saxophone)
Bernard Fowler (background vocals)
Darryl Jones (bass, background vocals)
Chuck Leavell (keyboards)
Tim Ries (saxophone, keyboards)
Havanna Chor: Coro Entrevoces

Directed by Paul Dugdale


01. Jumpin’ Jack Flash
02. It’s Only Rock ‘n Roll (But I Like It)
03. Tumbling Dice
04. Out of Control
05. All Down The Line
06. Angie
07. Paint It Black
08. Honky Tonk Women
09. You Got the Silver
10. Before They Make Me Run
11. Midnight Rambler
12. Miss You
13. Gimme Shelter
14. Start Me Up
15. Sympathy For The Devil
16. Brown Sugar
17. You Can’t Always Get What You Want
18. (I Can’t Get No) Satisfaction

All songs written by Mick Jagger & Keith Richards