Guido Toffoletti´s Blues Society – Ways Back (1987)

Unfortunatly I can´t speak or read the Italian language, and because I found only information about in Italian Website … I can´t give you many informations about Guido Toffoletti.
He was born in 1951 Venice and 15 years later he “run away from his Venice home in search of a tumultuous myth: The music world.

In Milan, he got to know Kim Brown from England and his group “The Renegades”. managed to get taken on as their Roadie ans was thus able to pass hours and hours admiring guitarist Mick Webley´s playing.

After various musically formative experiences, determined to make his career take a decisive turn, in 1975 he went to London where he worked as a dishwasher to make Ends meet and played in his free time.

In London het met his spiritual “father”, Alexis Korner, and thanks to him managed to find his feet in what was at the time Europe´s top blues circuit.

Toffoletti came back toItaly in 1976 with the precise aim of forming the “Blues Society”, an “open” Group of some of Italy´s top blues-men.

As well as bearing testimony to a period from 1979 to the present day with unreleased songs, covers and alternative tracks, “Ways Back” ideally gathers round Guido all his English and Italian friends; those who helped him, loved him and in some cases let him down.” (taken from the liner notes by Guiseppe Barbieri)

And you´ll hear finest Britsh blues, recorded with musicians like Paul Jones, Dick Heckstall-Smith, Zoot Money, Mel Collins, Ian Stewart and Mick Taylor.

A forgotten jewel of the British blues music, recorded by a great guy from Italy !

I was too lazy, to type all these informations down …

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Italian bluesman Guido Toffoletti
Born 1951 – † 22 August 1999 (Car accident injuries)

 

 

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Various Artists – Songs Of Israel (1971)

This rare Album is a giveaway from El Al, the Airline Company of Israel:

El Al Israel Airlines Ltd. is the flag carrier of Israel. Since its inaugural flight from Geneva to Tel Aviv in September 1948, the airline has grown to serve over 50 destinations, operating scheduled domestic and international services and cargo flights within Israel and to Europe, Middle East, Americas, Africa and the Far East from its main base in Ben Gurion Airport.

El Al in principle offers only kosher in-flight meals and does not fly passengers on the Jewish Sabbath or religious holidays. El Al is the only commercial airline to equip its planes with missile defense systems, and is considered one of the world’s most secure airlines, thanks to its stringent security procedures, both on the ground and on board its aircraft. Although it has been the target of many attempted hijackings and terror attacks, only one El Al flight has ever been hijacked.[8][9] As Israel’s national airline, El Al has played an important role in humanitarian rescue efforts, airlifting Jews from other countries to Israel, setting the world record for the most passengers on a commercial aircraft (single plane record of 1,122 passengers) by Operation Solomon when 14,500 Jewish refugees were transported from Ethiopia in 1991.

In 2012, El Al operated an all-Boeing fleet of 38 aircraft, flying over 4 million passengers, and employed a staff of 6,056 globally. The company’s revenues for 2011 grew to $2.4 billion, totalling losses of $49.4 million compared to a profit of $57 million in 2010. (by wikipedia)

“This selection of Songs draws on many traditions and like very old wines the vintage suits the pattern and ryhthm of the seventies.We hope that you will find in this record some of the excitmentyou have experienced in Israel today” (taken from the original liner notes).

The music of Israel is a combination of Jewish and non-Jewish music traditions that have come together over the course of a century to create a distinctive musical culture. For almost 150 years, musicians have sought original stylistic elements that would define the emerging national spirit. In addition to creating an Israeli style and sound, Israel’s musicians have made significant contributions to classical, jazz, pop rock and other international music genres. Since the 1970s, there has been a flowering of musical diversity, with Israeli rock, folk and jazz musicians creating and performing extensively, both locally and abroad. Many of the world’s top classical musicians are Israelis or Israeli expatriates. The works of Israeli classical composers have been performed by leading orchestras worldwide.

Ilan & Ilanit

Music in Israel is an integral part of national identity. Beginning in the days of the pioneers, Hebrew songs and public singalongs (Shira beTsibur) were encouraged and supported by the establishment. “Public singalongs were a common pastime [of the early settlers], and were for them a force in defining their identity”, wrote Nathan Shahar.[2] This view of music as nation-building continues to this day. “We are in the midst of creating a culture”, says Nahum Heyman, one of Israel’s leading music composers and music historians. Jewish immigrants from Europe, Asia, the Middle East and elsewhere brought with them their musical traditions, melding and molding them into a new Israeli sound. (ny Wikipedia)

And I was deeply impressed by this beautiful songs … and ir you like world music, than you should listen to this record !

And I guess, I would like to collect more records with music from Israel …

Tracklist:

01. Ilan & Ilanit: Bashana Haba’ah (Manor/Hirsh) 2.49
02. The Navy Troupe: Ma Avarech (Shapira/Rosenblum) 3.59
03. Shiru Shir Ensemble: Hevenu Shalom Alechem (Traditional) 1.14
04. Southern Command Troupe:  Shivchey Maoz (Shemer) 2.58
05. Ilana Rovina: Yevarechecha (Weinkranz/Traditional) 2.51
06. Shuly Nathan: Jerusalem Of Gold (Shemer) 4.55
07. Sh. Nitzan & N. Rabinovitz: Chassidic Song (Traditional) 1.48
08. Igal Bashan: Osse Shalom (Hirsh/Traditional) 3.42
09. Ran & Nama: Hava Nagila (Traditional) 2.00
10. Effi Netzer Singers: Tsur Mishelo Achalnu (Traditional) 3.07
11. Shlomo Carlebach: Vehaer Enenu (Carlebach/Traditional) 3.36
12. The Nachal Troupe: Haben Yakir Li (Traditional) 4.24
13. Ran Eliran: Lach Yerushalayim (Ettinger/Rubinstein) 2.08

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Shuly Nathan

The Sweet – The Outtakes (1994)

The Sweet (also referred to as Sweet, and originally called Sweetshop) are a British glam rock band that rose to worldwide fame in the 1970s with their most prolific line-up: lead vocalist Brian Connolly, bass player Steve Priest, guitarist Andy Scott, and drummer Mick Tucker.

The band was formed in London in 1968 and achieved their first hit, “Funny Funny”, in 1971 after teaming up with songwriters Nicky Chinn and Mike Chapman and record producer Phil Wainman. During 1971 and 1972, their musical style followed a marked progression from the Archies-like bubblegum style of “Funny Funny” to a Who-influenced hard rock style supplemented by a striking use of high-pitched backing vocals.

The band achieved notable success in the UK charts, with thirteen Top 20 hits during the 1970s alone, with “Block Buster!” (1973) topping the chart, followed by three consecutive number two hits in “Hell Raiser” (1973), “The Ballroom Blitz” (1973) and “Teenage Rampage” (1974). The band turned to a more hard rock style with their mid-career singles, like 1974’s “Turn It Down”. “Fox on the Run” (1975) also reached number two on the UK charts. These results were topped in West Germany and other countries on the European mainland. They also achieved success and popularity in the US with the top ten hits “Little Willy”, “The Ballroom Blitz” and “Fox on the Run”.

The Sweet had their last Top 10 hit in 1978 with “Love Is Like Oxygen”. Connolly left the group in 1979 to start a solo career and the remaining members continued as a trio until disbanding in 1981. From the mid-1980s, Scott, Connolly and Priest each played with their own versions of Sweet at different times. Connolly died in 1997 and Tucker in 2002. The two surviving members are still active in their respective versions of the band; Scott’s is based in England and Priest’s in Los Angeles. (by Wikipedia)

And here´s a rare bootleg from their most sucesssful years …

If you are a Sweet fan, there’s really nothing more to say except “Too bad” if you’re into the bubblegum phase of the group [Co-Co, Funny Funny, Poppa Joe] – these are from the glam/rock side of Sweet.

Excellent audio recordings !

Personnel:
Brian Connolly (vocals)
Steve Priest (bass, background vocals)
Andy Scott (guitar, Keyboards, Background vocals)
Mick Tucker (drums, Percussion, Background vocals)

Tracklist:
01. Teenage Rampage (previously unreleased outtake from 1973) (Chinn/Chapman) 3.19
02. She Gimme Lovin’ (outtake version) (Connolly/Priest/Scott/Tucker) 4.04
03. Hell Raiser (previously unreleased outtake from 1972) (Chinn/Chapman) 3.10
04. Hard Times (outtake version) (Connolly/Priest/Scott/Tucker) 4.36
05. Block-Buster! (previously unreleased outtake from 1972) (Chinn/Chapman) 3.13
06. Laura Lee (previously unreleased ‘Off The Road’ version from 1977) (Connolly/Priest/Scott/Tucker) 6.42
07. Be With You Soon (previously unreleased track recorded 1972) (Connolly/Priest/Scott/Tucker) 3.31
08. Done Me Wrong Alright (previously unreleased BBC session from 1971) (Connolly/Priest/Scott/Tucker) 2.41
09. Ballroom Blitz (previously unreleased outtake from 1973) (Chinn/Chapman) 3.58
10. Rebel Rouser (previously unreleased ‘Funny Adams’ outtake from 1974) (Connolly/Priest/Scott/Tucker) 3.32
11. 4th Of July (previously unreleased ‘Give Us A Wink’ version) (Connolly/Priest/Scott/Tucker) 3.46
12. Need A Lot Of Lovin’ (previously unreleased BBC session from 1973) (Connolly/Priest/Scott/Tucker) 2.58
13. Action (previously unreleased ‘Give Us A Wink’ version from 1977) (Connolly/Priest/Scott/Tucker) 3.25
14. Love Is Like Oxygen (extended instrumental version) (Scott/Griffin) 6.58

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Orchestre Sassoun – Folklore Armenien (70´s)

Armenia, officially the Republic of Armenia , is a sovereign state in the South Caucasus region of Eurasia. Located in Western Asia,[20][21] on the Armenian Highland, it is bordered by Turkey to the west, Georgia to the north, the de facto independent Nagorno-Karabakh Republic and Azerbaijan to the east, and Iran and Azerbaijan’s exclave of Nakhchivan to the south. The Republic of Armenia constitutes only one-tenth of historical Armenia.

Armenia is a unitary, multi-party, democratic nation-state with an ancient cultural heritage. Urartu was established in 860 BC and by the 6th century BC it was replaced by the Satrapy of Armenia which was one of Satrapies of Persian Empire . In the 1st century BC the Kingdom of Armenia reached its height under Tigranes the Great. Armenia became the first state in the world to adopt Christianity as its official religion.[23] In between the late 3rd century to early years of the 4th century, the state became the first Christian nation.[24][25][26] The official date of state adoption of Christianity is 301 AD.[27] The ancient Armenian kingdom was split between the Byzantine and Sasanian Empires around the early 5th century. Under the Bagratuni dynasty, the Bagratid Kingdom of Armenia was restored in the 9th century. Declining due to the wars against the Byzantines, the kingdom fell in 1045 and Armenia was soon after invaded by the Seljuk Turks. An Armenian principality and later a kingdom Cilician Armenia was located on the coast of the Mediterranean Sea between the 11th and 14th centuries.

Between the 16th century and 19th century, the traditional Armenian homeland composed of Eastern Armenia and Western Armenia came under the rule of the Ottoman and Iranian empires, repeatedly ruled by either of the two over the centuries. By the 19th century, Eastern Armenia had been conquered by the Russian Empire, while most of the western parts of the traditional Armenian homeland remained under Ottoman rule. During World War I, Armenians living in their ancestral lands in the Ottoman Empire were systematically exterminated in the Armenian Genocide. In 1918, following the Russian Revolution, all non-Russian countries declared their independence after the Russian Empire ceased to exist, leading to the establishment of the First Republic of Armenia. By 1920, the state was incorporated into the Transcaucasian Socialist Federative Soviet Republic, and in 1922 became a founding member of the Soviet Union. In 1936, the Transcaucasian state was dissolved, transforming its constituent states, including the Armenian Soviet Socialist Republic, into full Union republics. The modern Republic of Armenia became independent in 1991 during the dissolution of the Soviet Union.

Armenians have had a long tradition of folk music from the antiquity. Under Soviet domination, Armenian folk music was taught in state-sponsored conservatoires. Instruments played include qamancha (similar to violin), kanun (dulcimer), dhol (double-headed hand drum, see davul), oud (lute), duduk, zurna, blul (ney), shvi and to a lesser degree saz. Other instruments are often used such as violin and clarinet. The duduk is Armenia’s national instrument, and among its well-known performers are Margar Margarian, Levon Madoyan, Saro Danielian, Vatche Hovsepian, Gevorg Dabaghyan and Yeghish Manoukian, as well as Armenia’s most famous duduk player, Djivan Gasparyan.
Armenian folk musicians

Earlier in Armenian history, instruments like the kamancha were played by popular, travelling musicians called ashoughs. Sayat Nova, an 18th-century Ashough, is revered in Armenia. Performers such as Armenak Shahmuradian, Vagharshak Sahakian, Norayr Mnatsakanyan, Hovhannes Badalyan, Hayrik Muradyan, Raffi Hovhannisyan, Papin Poghosian, and Hamlet Gevorgyan have been famous in Armenia and are still acclaimed. The most notable female vocalists in the Armenian folk genre have been Araksia Gyulzadyan, Ophelia Hambardzumyan, Varduhi Khachatrian, Valya Samvelyan, Rima Saribekyan, Susanna Safarian, Manik Grigoryan, and Flora Martirosian.

Armenian emigrants from other parts of the Middle East settled in various countries, especially in the California Central Valley, and the second- and third-generation have kept their folk traditions alive, such as Richard Hagopian, a famous oud-player. Another oud player, John Berberian, is noted in particular for his fusions of traditional music with jazz and rock in the 1960s. From Lebanon and Syria, George Tutunjian, Karnig Sarkissian and others performed Armenian Revolutionary Songs which quickly became popular among the Armenian Diaspora, notably ARF supporters. In Tehran Iran the folk music of the Armenian community is characterized by the work of Nikol Galanderian (1881–1946) and the Goghtan choir. (by wikipeda)

And this is a very rare album with music from Armenia, recorded in France during the  70`s.

It´s maybe a music we never heard before, but it´s an unique piece of music … and you know I call my blog “many fantastic colors” (of music) … so enjoy this beautiful trip to Armenia … it´s a magic trip !

Personnel:
Samvel Adiarian (guitar)
Michael Boyadjian (tenpouk)
Yervant Harounian (mandoline)
Levon Minassian (mandoline)
Gilbert Kulbastian (guitar)
Jean-Pierre Mazloumian (guitar)
Antranik Minassian (vocals)
Helene Ohanian (vocals)
Nelly Vemian (piano)
Hovcep Yeghiazariab (mandoline)

Orchestra conducted by Philippe Boyadjian

Tracklist:
01. Tek Daneïn (Traditional) 2.42
02. Odar Amaï (Meserlian/Issahakian) 3.50
03. Ain Kicher (Manassarian)
04. Sirounik et danses des chevaliers (Traditional) 7.33
05. Haïastani Dzov Ginin (Haroutyounian) 3.19
06. Mama (Amirghanian/Ohanian) 3.01
07. Tou Im Hebard Haï Artchik (Porian/Arménian) 2.48
08. Im Anouch Davir (Avedissian/Haroutyounian) 4.26
09. Enzeli (Spendiarian) 2.13

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José Feliciano – Ché Sara´ (1971)

One of the most prominent Latin-born performers of the pop era, singer/guitarist Jose Feliciano was born September 10, 1945, in Lares, Puerto Rico; the victim of congenital glaucoma, he was left permanently blind at birth. Five years later, he and his family moved to New York City’s Spanish Harlem area; there Feliciano began learning the accordion, later taking up the guitar and making his first public appearance at the Bronx’s El Teatro Puerto Rico at the age of nine. While in high school he became a fixture of the Greenwich Village coffeehouse circuit, eventually quitting school in 1962 in order to accept a permanent gig in Detroit; a contract with RCA followed a performance at New York’s Gerde’s Folk City, and within two years he appeared at the Newport Jazz Festival. After bowing with the 1964 novelty single “Everybody Do the Click,” he issued his flamenco-flavored debut LP The Voice and Guitar of Jose Feliciano, trailed early the next year by The Fantastic Feliciano.

Unhappy with the direction of his music following the release of 1966’s A Bag Full of Soul, Feliciano returned to his roots, releasing three consecutive Spanish-language LPs — Sombras…Una Voz, Una Guitarra, Mas Exitos de Jose Feliciano and El Sentimiento, La Voz y La Guitarra de Jose Feliciano — on RCA International, scoring on the Latin pop charts with the singles “La Copa Rota” and “Amor Gitana.” With 1968’s Feliciano!, he scored a breakthrough hit with a soulful reading of the Doors’ “Light My Fire” that launched him into the mainstream pop stratosphere; a smash cover of Tommy Tucker’s R&B chestnut “Hi Heel Sneakers” solidified his success, and soon Feliciano found himself performing the national anthem during the 1968 World Series. His idiosyncratic Latin-jazz performance of the song proved highly controversial, and despite the outcry of traditionalists and nationalists, his status as an emerging counterculture hero was secured, with a single of his rendition also becoming a hit.

In 1969 Feliciano recorded three LPs — Souled, Alive Alive-O, and Feliciano 10 to 23 — and won a Grammy for Best New Artist; however, he never again equalled the success of “Light My Fire,” and only the theme song to the sitcom Chico and the Man subsequently achieved hit status, edging into the Top 100 singles chart in 1974. Throughout the 1970s Feliciano remained an active performer, however, touring annually and issuing a number of LPs in both English and Spanish, including 1973’s Steve Cropper-produced Compartments; he also appeared on the Joni Mitchell hit “Free Man in Paris,” and guested on a number of television series including Kung Fu and McMillan and Wife. In 1980 Feliciano was the first performer signed to the new Latin division of Motown, making his label debut with an eponymous effort the following year; his recorded output tapered off during the course of the decade, although he occasionally resurfaced with LPs including 1987’s Tu Immenso Amor and 1989’s I’m Never Gonna Change. A school in East Harlem was renamed the Jose Feliciano Performing Arts School in his honor; in 1996, he also appeared briefly in the hit film Fargo. (by Jason Ankeny)

This is a rare German sampler (all songs were recorded between 1968 and 1971) including his bit hit “Ché Sara’, a fine version of “Hitchcock Railway” (most of us will know this song from Joe Cocker) … and a wonderful version of “Let It Bet”.

“California Dreamin'” was recorded live is another pretty good socer version of José Feliciano.

This is the chance to discover the magic musical world of José Feliciano …  try and enjoy !

Tracklist:
01. Ché Sara’ (Migliacci/Fontana) 3.34
02. Hitchcock Railway (Dunn/McCashen) 3.18
03. There’s No One About (Feliciano) 1.43
04. Sunny (Hebb) 3.25
05. Destiny (Feliciano) 2.50
06. I Only Want To Say (Gethsemane) (Webber/Rice) 4.36
07. Rain (H.Feliciano/J.Feliciano) 2.24
08. (There’s) Always Something There To Remind Me (Bacharach/David) 3.01
09. El Voh (Caymmi) 2.17
10. Let It Be (Lennon/McCartney) 3.55
11.  California Dreamin’ (Phillips) 4.23
12. Shake A Hand (Fontana/Burnett) 3.31

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Denny Laine – Blue Nights (1994)

Denny Laine (born Brian Frederick Hines, 29 October 1944) is an English musician, singer, songwriter and guitarist. He was an original member of the Moody Blues, singing the band’s first hit “Go Now” in 1964, and was a member of Wings with Paul McCartney from 1971 to 1981.

Laine was born in Birmingham, where he attended Yardley Grammar School, and took up the guitar as a boy under the influence of gypsy jazz (jazz manouche) legend Django Reinhardt; he gave his first solo performance as a musician at the age of 12 and began his career as a professional musician fronting Denny Laine & the Diplomats, which also included future Move and Electric Light Orchestra drummer Bev Bevan.

In 1964, Laine left the Diplomats to join Mike Pinder in the Moody Blues and sang the group’s first big hit, “Go Now”; other early highlights included I Don’t Want To Go on Without You, another UK hit, plus two minor UK chart hits “From The Bottom of My Heart ( I Love You)”, Everyday (both written by Laine and Pinder), “Can’t Nobody Love You” and the harmonica-ripping “Bye Bye Bird” (a big hit in France).

A self-titled EP and ‘The Magnificent Moodies’ LP on Decca followed. Laine and Pinder wrote most of The Moody Blues ‘B’ sides during the 1965-66 period, such as You Don’t (All the Time), And My Baby’s Gone and This Is My House. However, Laine’s tenure with the MB’s was relatively short-lived and, after a number of comparative chart failures,[citation needed] Laine quit the band in October 1966. The last record issued by the Moody Blues that featured Laine was “Life’s Not Life”/”He Can Win” in January 1967, just after Justin Hayward had replaced him in the band.

Denny Laine with The Moody Blues

After leaving the Moody Blues, he formed the Electric String Band in December 1966, which featured himself on guitar and vocals, Trevor Burton (of the Move) on guitar, Viv Prince on drums and electrified strings in a format not dissimilar to what Electric Light Orchestra would later attempt. Laine made two singles, “Say You Don’t Mind”/”Ask The People” (April 1967, Deram) and “Too Much in Love”/”Catherine’s Wheel” (January 1968, Deram); and, in June 1967, the band shared a bill with the Jimi Hendrix Experience and Procol Harum at the Saville Theatre in London. However, it did not achieve national attention, and the pioneering Electric String Band broke up. (There was apparently a third single recorded called “Why Did You Come?”. Why it was never released is unknown, but there have been rumors that the finished track – and probably the B side as well – was mailed to Decca and was lost.)[citation needed] Laine and Burton then went on to the band Balls from February 1969 until the band’s breakup in 1971, with both also taking time to play in Ginger Baker’s Air Force in 1970.[2]

Only one single was issued by Balls: “Fight for My Country”/”Janie, Slow Down” on UK Wizard Records. The top side was re-edited and reissued on UK Wizard and issued in the UK on Wizard and in the United States on Epic under the name of Trevor Burton; Laine and Burton shared lead vocals on the B side. The single was reissued again as B.L.W. as “Live in the Mountains” for a small Pye-distributed label, “Paladin”. Twelve tracks were recorded for a Balls album, but it has never been released. Laine’s 1967 song “Say You Don’t Mind” was a hit when recorded in 1972 by ex-Zombie Colin Blunstone.

Denny Laine with The Wings

In 1971, Laine joined Paul McCartney to form Wings, and stayed with the group for 10 years until it disbanded in 1981. Laine provided lead and rhythm guitars, lead and backing vocals, keyboards, bass guitar and woodwinds, as well as writing or co-writing some of the group’s material. Laine, McCartney, and McCartney’s wife, Linda McCartney formed the nucleus of the band. With Wings, Laine enjoyed the biggest commercial and critical successes of his career, including co-writing the hit Mull of Kintyre. He also co-wrote and sang lead vocal on Deliver Your Children, which was released as a Wings B-side but charted in the Netherlands.

In January 1980, McCartney was arrested for possession of marijuana on arrival at an airport for a tour in Japan. The tour was cancelled and the band members, except Linda, returned to England. After returning to England, McCartney decided to release his solo album, McCartney II, and plans for an autumn U.S. tour were dropped. Meanwhile, Laine released the single “Japanese Tears” and formed the short-lived Denny Laine Band with Steve Holley and released a solo album Japanese Tears that December. On April 27, 1981, Laine announced he was leaving Wings due to McCartney’s reluctance to tour in the wake of John Lennon’s murder.

He signed with Scratch records and began working on a new album, Anyone Can Fly. He then went on to record other solo albums such as Hometown Girls, Wings on Your Feet and Lonely Road before returning to Scratch to do his Wings at the Sound of Denny Laine. He has also had three fanzine publications, Ahh Laine, wrote the musical Arctic Song and released two more albums, Master Suite and Reborn.

Laine moved to the United States in the 1990s, where he continues to tour, originally with the World Classic Rockers and later with the Cryers.

He was briefly married to Jo Jo Laine, with whom he had a son, Laine Hines, and a daughter, Heidi Hines. He has three other children from other relationships: Lucianne Grant (with Helen, daughter of Led Zeppelin manager Peter Grant), Damian James (with model Catherine James) and Ainsley Laine-Adams. (by wikipedia)

Denny Laine’s solo CD’s never have sold big, but I’ve found them very enjoyable. “Blue Nights” compiles songs from various albums he recorded in the 80’s and 90’s – most of which were only available as imports, and impossible to find, so this CD makes a nice sampling of some of his lesser known works. Standouts include the upbeat “Wings on my Feet” (not about his former band), “Hometown Girls” (a sad bit of longing for simpler times), “Caribbean Sun” (great summer sound), and “Blue Nights” (recorded with very simple instrumental backing). A few of the songs were familiar to me from his “Japanese Tears” and “Lonely Road” albums. “Japanese Tears” has been re-released more times than I can count, but “Lonely Road” has long been out of print, so those songs were welcome additions here. It’s also nice that they included a list of the musicians performing on every track, including Rick Wakeman and Denny’s ex-Wings mates. (by Ron)

Denny Laine as a bass player in 1976

 

Personnel:
see booklet

Tracklist:
01. Wings On My Feet (Laine) (1987) 3.29
02. Japanese Tears (Laine) (1980) 4.42
03. Go Now (Banks/Bennett) (1980) 3.22
04. Say You Don’t Mind (Laine) (1980) 3.10
05. Hometown Girls (Laine) (1985) 4.08
06. Weep For Love (Laine) (1979) 4.34
07. Send Me The Heart (Laine/McCartney) (1973) 3.39
08. Caribbean Sun (Laine) (1987) 3.25
09. If I Tried (Laine) (1986) 2.22
10. Money Talks (Laine) (1988) 3.38
11. Stay Away (Laine) (1985) 4.00
12. Roll The Dice (Laine) (1987) 3.57
13. Land Of Peace (Laine) (1986) 3.37
14. Blue Nights (Laine) (1985) 3.19
15. Blushing Bride (Laine) (1987) 4.02

 

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If you are interested in the German edition of Denny Laine´s “guitar Book” from 1979 click on th pic:

Various Artists – Flamenco For Beginners (2006)

Okay, I´m back from my trip to Andalusian … a real excellent destination (as Chris wrote) even we had many rainy days …

And I´ll start my spanish weeks with a fine compilation album called  “Flamenco For Beginners”:

Flamenco (Spanish pronunciation: [flaˈmeŋko]) is an artform native to the Spanish regions of Andalusia, Extremadura and Murcia. It includes cante (singing), toque (guitar playing), baile (dance), jaleo (vocalizations), palmas (handclapping) and pitos (finger snapping).

First mentioned in literature in 1774, the genre originates in Andalusian music and dance styles. Flamenco is strongly associated with the gitanos (Romani people of Spain)—however, unlike Romani music of eastern Europe, the style is distinctively Andalusian and the fusion of the various cultures of southern Spain is clearly perceptible in Flamenco music. Although there are many theories on its influences and origins, the most widespread highlights a Morisco heritage, the cultural melting pot that was Andalusia at the time (Andalusians, Moors, Castilian settlers, Romanis and Jews) fostering its development over time. Flamenco music, as a theatrical representation of Andalusian musical tradition, was first recorded in the late 18th century but the genre underwent a dramatic development in the late 19th century.

In recent years, flamenco has become popular all over the world and is taught in many non-Hispanic countries, especially United States and Japan. In Japan, there are more flamenco academies than there are in Spain. On November 16, 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.

There are many suggestions for the origin of the word flamenco as a musical term (summarized below) but no solid evidence for any of them. The word was not recorded as a musical and dance term until the late 18th century.

The Spanish word flamenco could have been a derivative of “fire” or “flame”, as it is connected to the ‘Cante’ and the dance’s solemn, passionate nature. The word flamenco may have come to be used for certain behaviour in general, which could possibly have come to be applied to the Gitano players and performers.

Another theory, proposed by Andalusian historian Blas Infante in his 1933 book Orígenes de lo Flamenco y Secreto del Cante Jondo suggests that the word flamenco comes from the Hispano-Arabic term fellah mengu, meaning “expelled peasant”; Infante argued that this term referred to the ethnic Andalusians of the Islamic faith, the Moriscos, who in order to avoid forced exile and religious persecution, joined with the Roma newcomers.

Palos (formerly known as cantes) are flamenco styles, classified by criteria such as rhythmic pattern, mode, chord progression, stanzaic form and geographic origin. There are over 50 different palos and a detailed description of them can be found in the main article. Some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down: the Farruca, for example, once a male dance, is now commonly performed by women too.

There are many ways to categories Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande), while lighter, frivolous forms are called cante chico. Forms that do not fit either category are classed as cante intermedio.[citation needed] Cante jondo has clear traces of Arabic and Spanish folk melodies, as well as vestiges of Byzantine, Christian and Jewish religious music. (by wikipedia)

Let´s discover this fascinating music !

Tracklist:
01. El Camarón de la Isla: Un Un Tiro Al Aire (1987) (Monge/Pachon) 4.41
02. La Paquera de Jerez: Que Dolor De Mare Mia (1975) (Traditional) 3.08
03. Paco de Lucía: Monasterio De Sal (1981) (Gómez/Lucía) 4.51
04. Ramon Algeciras + Paco Toronjo: De Mi Mismo Me Reia (1971) (Sanchez) 3.06
05. Juan Habichuela + Rancapino: La Pureza (1999) (Habichuela) 3.59
06. Paco de Lucía: Recuerdos (1971) (Sanchez) 3.06
07. Carmen Linares: Y Doy Suspiros Al Aire (1996) (Traditional) 5.32
08. Sernita De Jerez: A La Mare De Mi Alma (1959) (Traditional) 4.10
09. Terremoto Jerez: Yo Ya No Soy Quien Era (1969) (Traditional) 2.05
10. Paco de Lucía: Mi Nino Curro (1987) (R.Gomez/S.Gómez) 3.27
11. Bambino: Bambino, Piccolino (1969) (Molina) 2:13
12. José Mercé: Me Cierren los Ojos (1983) (Pernia) 1.57
13. Salmarina: A La Yala Yala (1994) (Evora/Muñoz) 3.29
14. Antonio Mairena: Por Tu Causa (1973) (Garcia) 5.32
15. Juan Peña: Lo Mismo Que Un Loco (1973) (Peña) 3.38
16. El Camarón de la Isla: Romance De La Luna, Luna (1983) (Bermejo/Lorca) 4.00
17. Fosforito: Te Quiero Más Cada Día (1980) (Diaz) 2.49
18. Jacinto Almaden + Justo Badajoz: Hablo Con Mi Dios Y Le Digo (1971) (Traditional) 3.45 19. Rafael Romero: Los Olivaritos Del Valle (1967) ( (Traditional) 1.16
20. Rosa Duran: Zapateado De Las Campanas (1956) (Traditional) 4.07

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