Dinosaur Jr. – Fossils (1991)

FrontCover1.jpgDinosaur Jr. is an American rock band formed in Amherst, Massachusetts, in 1984, originally simply called Dinosaur until legal issues forced a change in name.

The band was founded by J Mascis (guitar, vocals, primary songwriter), Lou Barlow (bass, vocals), and Murph (drums). After three albums on independent labels earned the band a reputation as one of the formative influences on American alternative rock. Creative tension led to Mascis firing Barlow, who later formed Sebadoh and Folk Implosion. His replacement, Mike Johnson came aboard for three major-label albums. Murph eventually quit, with Mascis taking over drum duties on the band’s albums before the group disbanded in 1997. The original lineup reformed in 2005, releasing four albums thereafter.

Mascis’s drawling vocals and distinct guitar sound, hearkening back to 1960s and 1970s classic rock and characterized by extensive use of feedback and distortion, were highly influential in the alternative rock movement of the 1990s.

Fossils is a compilation album by indie rock band Dinosaur Jr., released in August 1991 on SST Records. It contains three 7″ singles the band had previously released on SST, as well as three covers. (by wikipedia)

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A brief, eight-song compilation of the group’s SST singles, Fossils effectively sums up the power and vision of Dinosaur Jr.’s early work. Not only does it contain the two masterpieces from You’re Living All Over Me and Bug — “Little Fury Things” and “Freak Scene,” respectively — but it also gathers several excellent B-sides, including sardonic covers of Peter Frampton’s “Show Me the Way” and the Cure’s “Just Like Heaven,” making it an excellent retrospective of Dinosaur’s influential and erratic indie recordings. (by Stephen Thomas Erlewine)

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Personnel:
Lou Barlow (bass, ukulele, vocals)
J. Mascis (guitar, vocals)
Murph (drums)
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Lee Ranaldo (background vocals on 01.)

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Tracklist:
01. Little Fury Things (Mascis) 3.07
02. In A Jar (Mascis) 3.30
03. Show Me The Way (Frampton) 3.49
04. Freak Scene (Mascis) 3.36
05. Keep The Glove (Mascis) 2.52
06. Just Like Heaven (Gallup/Smith/Thompson/Tolhurst/Williams) 2.55
07. Throw Down (Mascis) 0.49
08. Chunks (Kelly/Perez) 2.11

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Goblin – Their Hits, Rare Tracks & Outtakes Collection 1975-1989 (1995)

FrontCover1.jpgGoblin (also Back to the Goblin, New Goblin, Goblin Rebirth, the Goblin Keys, The Goblins and Claudio Simonetti’s Goblin) is an Italian progressive rock band known for their soundtrack work. They frequently collaborate with Dario Argento, most notably creating soundtracks for Profondo Rosso in 1975 and Suspiria in 1977. CD re-releases of their soundtracks have performed well, especially in Germany and Japan. Goblin returned with a series of live concerts in Europe in 2009 and in North America in 2013.

Initially recording as Cherry Five (they had done some live gigs as Oliver), their early work spawned one eponymous progressive rock record, and they were then called in to compose the soundtrack for Profondo Rosso. The band changed their name to Goblin, rewriting most of the score, originally written by Giorgio Gaslini including the famous main theme. The 1975 soundtrack album was a huge hit. After a reshuffle in their line-up, they put out an instrumental progressive rock album Roller, before working with Argento again for 1977’s Suspiria.

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Other film soundtracks and a concept album (Il Fantastico Viaggio Del Bagarozzo Mark) followed, then the score for the European version of George A. Romero’s 1978 Dawn of the Dead. In both this and Suspiria’s opening title sequences, they are credited as “The Goblins with Dario Argento”. Tracks 1, 2 and 7 from the European version are also in the American version of the film.

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Despite their success, membership continued to be a revolving door, and the band also struggled to maintain their credibility. The remaining members continued to work on further soundtracks, and there was a partial reunification of three of the four band-members for Argento’s Tenebrae (1982) (the album was credited to the three band-members separately, not as Goblin). The last collaboration with the director took place in 2000, with the film Non ho sonno (Sleepless).

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Halloween is upon us, and it’s time to fire up the VCR for some primo fright-fests. True lovers of the blood & gore genre know that Italian filmmaker Dario Argento and Pittsburgh’s one and only George Romero are two of the best in the biz, and both turned to the Italian art-rock group Goblin when they needed otherworldly sounds to match their nightmarish visions. Goblin is one of the only rock bands that exclusively recorded soundtracks, and this collection includes some of its most inventive and creepy work. The jazzy, percussive, synth-driven tunes will be instantly familiar to anyone who’s seen Argento’s Profondo Rosso (1975) or Suspiria (1977) or Romero’s classic Dawn of the Dead (1978). That’s a fine triple bill if you have an adventurous video store in the neighborhood, but the music works just as well on its own, especially as background music for your Halloween party, or for a little vampiric necking. (by Jim Derogatis)

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Personnel:
Various line ups … look here

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Tracklist:

Profondo Rosso 1975:
01. Profondo Rosso (Main Title) (Simonetti/Pignatelli/Martino) 3.43
2 Death Dies – M32 (Original Film Version) (Simonetti/Pignatelli/Martino) 2.44
3 Profondo Rosso – M15 (Simonetti/Pignatelli/Martino) 0.40
4 Profondo Rosso – M31 (Simonetti/Pignatelli/Martino) 1.02

Wampyr (a/k/a Martin) 1976:
05 Wampyr (Finale) (Morante/Simonetti) 1.42

Chi? (Theme From The Original TV Show) 1976:
06. Chi? – Part 1 (Caruso/Baudo) 3.20
07. Chi? – Part 2 (Caruso/Baudo) 3.27

Patrick 1977:
08. Patrick – M32 Bis (Marangolo/Pignatelli/Pennisi) 3.01
09 Patrick – M1 (Marangolo/Pignatelli/Pennisi) 0.56
10 Patrick – M34/34 Bis/35 (Marangolo/Pignatelli/Pennisi) 0.47

Suspiria 1977;
11. Suspiria (Main Title) (Marangolo/Morante/Simonetti/Pignatelli) 5.55

La Via Della Droga 1977:
12. La Via Della Droga – M11V  ((Marangolo/Morante/Simonetti/Pignatelli) 2.08
13. La Via Della Droga – M2 (Marangolo/Morante/Simonetti/Pignatelli) 2.00
14 La Via Della Droga – M6 (Marangolo/Morante/Simonetti/Pignatelli) 2.05
15 La Via Della Droga – 31 (Marangolo/Morante/Simonetti/Pignatelli) 4.29

Zombi 1978:
16. L’Alba Dei Morti Viventi (Marangolo/Morante/Simonetti/Pignatelli) 6.04

Buio Omega 1979:
17. Buio Omega – M6 (Marangolo/Pennisi/Pignatelli) 2.33
18 Buio Omega – M25 (Marangolo/Pennisi/Pignatelli) 4.02
19 Buio Omega (Main Title) (Marangolo/Pennisi/Pignatelli) 2.56

St. Helen 1979:
20. St. Helen (Love Theme) (Marangolo/Guarini/Pignatelli) 2.08

Contamination 1980:
21. Contamination – M3 (Marangolo/Pignatelli) 1.40
22. Contamination – M8 (Marangolo/Pignatelli) 1.02

Tenebre 1982:
23. Tenebre (Main Title) (Morante/Simonetti/Pignatelli) 4.35

Notturno 1983:
24. Bass Theme (Pignatelli/Guarini/Marangolo) 3.22

Phenomena 1984:
25. Phenomena – M12 (Pignatelli) 1.01
26. Phenomena – M15 (Alternate Version) (Simonetti) 3.10

La Chiesa 1989:
27. La Chiesa (Pignatelli) 5.25

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Destroy All Monsters – November 22, 1963 (1989)

FrontCover1.jpgDestroy All Monsters were an influential Detroit band existing from 1973 to 1985, with sporadic performances since. Their music touched on elements of punk rock, psychedelic rock, heavy metal and noise rock with a heavy dose of performance art. They described their music as “anti-rock.”

Destroy All Monsters never found mainstream success, but earned some notoriety due to members of notable rock groups The Stooges and MC5 who joined the group.

Although Destroy All Monsters never recorded a proper album, Sonic Youth singer/guitarist Thurston Moore released a three compact disc compilation of the group’s music in 1994.

Formed in 1973, the first edition of Destroy All Monsters was formed by University of Michigan art students Mike Kelley, Jim Shaw, Niagara (Lynn Rovner) and filmmaker Cary Loren. They performed in the Ann Arbor area from 1973–1976, and their only release was a one-hour cassette of their recordings available only through Lightworks magazine. Their early music was influenced by Sun Ra, Velvet Underground, ESP-Disk, monster movies, beat culture and futurism. Their sound was experimental, psychedelic, darkly humorous and droning.

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On New Year’s Eve of 1973, the first Destroy All Monsters concert was held at a comic book convention in Ann Arbor, Michigan. At the time the instruments were a violin, a sax, a vacuum cleaner and a coffee can. They performed a demented version of Black Sabbath’s “Iron Man” and were asked to leave after ten minutes. The group performed “guerilla style”, setting up free at parties and playing for food along Ann Arbor’s frat row. They used modified instruments, a drum box, tape loops, hot-wired toys, cheap keyboards and broken electronic devices. Aside from the comic convention, the group’s only formal gig in this era was at the Halloween Ball at the University of Michigan art school in 1976.

Kelley and Shaw left the band during the summer of 1976 to attend graduate school at CalArts in Los Angeles, California. Both have gone on to lead successful solo careers in the art world. Their work is held in major collections around the world.

Niagara, Ron Asheton and unidentified drummer, Ann Arbor, Michigan, USA, Spring of 1982

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In 1977, Niagara and Loren recruited guitarist Laurence B. (Larry) Miller and saxophonist Benjamin (Ben) Miller; both had been in the short-lived Sproton Layer with their brother Roger Miller (who later went on to found Mission of Burma). They invited Mike (Jett) Powers on bass but he soon left for Harvard University. Not long after, members of two important Detroit-based groups signed on: guitarist Ron Asheton, earlier of The Stooges, and bass guitarist Michael Davis of the MC5. Their presence garnered the group more attention than ever before. Shortly thereafter, Ron asked drummer Rob King to join the band.

In 1978, Destroy All Monsters were preparing to release “Bored”, their first official recording, when the group began to fall apart. Niagara ended her romance with Loren in favor of a new relationship with Asheton; Loren quit the group, with the Miller brothers leaving after the band’s Halloween gig at EMU, in 1978. The “Bored”/”You’re Gonna Die” single earned some attention in the UK music press, and the band was able to capitalize on the notoriety.

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Niagara, Ron Asheton and unidentified drummer,
Ann Arbor, Michigan, USA, Spring of 1982

In late 1978, Loren issued a live DAM EP known as “Days of Diamonds” on his Black Hole label. Another EP followed in 1979, “Blackout in the City” under the name XANADU with the Miller Brothers, Loren and Rob King. Niagara and Ron Asheton carried on with various personnel releasing a total of three 7″ singles on the IDBI label. Between 1982 and 1984, Destroy All Monsters played in bars and nightclubs in Ann Arbor and Detroit. Personnel: Bill Frank on drums, Mike Davis on bass, Ron Asheton on guitar, and Niagara on vocals. In May 1983, the band recorded and videotaped the song called “Make Mine Japanese.” Released in December 1983, this video can now be seen on-line. The Monsters broke up in 1985. The Asheton singles were released by Cherry Red Records on CD.

In 1994, Mike Kelley, Cary Loren, Byron Coley and Thurston Moore compiled a three-CD boxed set of music, artwork and extensive liner notes as Destroy All Monsters: 1974-1976 on Moore’s Ecstatic Peace! label.

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Single “Bored” bw “You´re Gonna Die” (1978)

The original lineup (Kelley, Loren, Niagara and Shaw) reformed for reunion shows in 1995. Loren republished the six issues of the Destroy All Monsters Magazine (1976–1979) with added DAM student artwork, flexi disc and history in the book DESTROY ALL MONSTERS:GEISHA THIS — four VHS tapes of DAM films were also issued. An exhibition of their artwork followed at the Book Beat Gallery as well as live performances in Detroit, Los Angeles and San Diego. A live CD, “Silver Wedding Anniversary”, resulted from these concerts and was released in 1996 on the Sympathy for the Record Industry label.

In 1996, the group (sans Niagara) performed in Tokyo and Osaka, Japan. A display of DAM artwork was held at the Deep Gallery in Tokyo. At the invitation of Ben Schot and Ronald Cornelissen for the “I Rip You, You Rip Me” festival and seminar at the Boijman’s Museum in Rotterdam, DAM began work on the installation and film known as Strange Früt: Rock Apochrypha, an investigation of Detroit culture. This exhibition was shown and completed in 2000 at COCA (Center on Contemporary Art) in Seattle, WA., and in 2001 at the DAM Collective: Artists Take On Detroit at the Detroit Institute of Arts. This work was also selected for inclusion in the 2002 Whitney Biennial of Art in NYC.

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Single “Nov. 22” bw “Meet The Creeper” (1979)

In 2006, the “Strange Früt” exhibition and the bands archives traveled to the Magasin Center for Contemporary Art in Grenoble, France. DAM performed at the “All Tomorrow’s Parties” festivals in Los Angeles as guest artists of Sonic Youth, and in London, UK as guest artists selected by Dino and Jake Chapman. A selection of the band’s archives was on exhibition as part of the “Theater Without Theater” show at MACBA in Barcelona, Spain opening May 25, 2007. The exhibit traveled to Lisbon, Portugal in the fall of that year.

Since 1995, the band has released five full-length CDs on their own label(s) [The End is Here]: Radio Teardrop 1996, Backyard Monster Tube and Pig 1998, Swamp Gas 2001, and on [Compound Annex]: Detroit Oratorio 2003, DAM: Live in Tokyo 2003.

DAM04A reprint of the first six issues of DAM Magazine with added band artwork, history, poster and a flexi disc was published by Book Beat in 1995 as Destroy All Monsters: Geisha This, and reprinted in three different editions. A DVD of selected DAM films was released in 2007 by MVD video as: “Grow Live Monsters” featuring early 8mm & 16mm films taken in 1971-1976.

Ron Asheton died on January 1, 2009, aged 60, of an apparent heart attack.

In 2009 the Printed Matter bookstore in NYC mounted the Destroy All Monsters exhibit Hungry for Death curated by James Hoff and Cary Loren featuring the group’s collected work.[2] The exhibition toured to White Flag Projects in St Louis, 0047 in Oslo, SPACE Gallery in London, The American Academy in Rome, Italy, Galerie 1m3 in Lausanne, Switzerland, AMP Gallery in Athens, Greece (2010), galerie du jour agnès b in Paris, France (2011) and the Boston University Art Gallery (2011). To coincide with the Hungry for Death exhibition Printed Matter released a 1975 recording Double Sextet as a vinyl album. The band also re-released the Destroy All Monsters: 1974 – 1976 compilation, without booklet, in a limited edition of 1000. In 2011, the Boston University Art Gallery released “Hungry for Death: Destroy All Monsters”, with essays by Byron Coley and Branden Joseph. This catalog included a detailed discography and a CD titled “Get Out of My Bedroom” of unreleased DAM music spanning over thirty years of band history.[3]

A facsimile reprint of the Destroy All Monsters Magazine 1976-1979 was published by Primary Information in the May 2011.

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An exhibition curated by Mike Kelley and Dan Nadel titled “Return of the Repressed: Destroy All Monsters 1973-1977” showing work by Mike Kelley, Jim Shaw, Cary Loren and Niagara opened at PRISM in Los Angeles on November 19, 2011 and ran through January 7, 2012. Accompanying the exhibition was a catalog published by PRISM and PictureBox, edited by Mike Kelley and Dan Nadel with an essay by Nicole Rudick.

Mike Kelley was found dead in South Pasadena, California, on February 1, 2012, aged 57, having committed suicide. Sixteen days later, on February 17, 2012, Michael Davis died of liver failure, aged 68. (by wikipedia)

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When it comes to Detroit-area, proto-punk supergroups, I like Destroy All Monsters more than Sonic’s Rendezvous Band. The energy, the passion, the fire; it’s all just booming in this band. On the other hand, Sonic’s Rendezvous Band got a little dad-rock sounding at times, and it was pretty formulaic throughout. Destroy All Monsters were anti-rock, meaning they just did what they wanted pretty much, and in doing so, they came up with some fantastic riffs, and some fantastic melodies.

I listened to this, and it finally struck me – Sonic Youth is a complete rip-off of Destroy All Monsters. They both have that crazy, manic type sound, and Kim Gordon is a dead ringer for Niagra; vocally that is. In fact, Thurston Moore actually released everything Destroy All Monsters had ever done on a box set, so you know the influence was definitely there.

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Musically, this thing is way chaotic, and it even rocks more than The Stooges at points. It’s loaded with fuzzy guitar, and crazy free saxophone going off in each and every direction. I really like it. Especially the song “Bored”; boy does that rock. Other highlights are “Nobody Knows”, “What Do I Get”, and “Anyone Can Fuck Her”. This is crazy, testosterone-pumping rock with a female vocal lead, and it’s probably the sexiest thing ever conceived by mankind.

A sweating recommendation goes out to you rock lovers! Wooooooeeeeee!!!! (Seattle_Junkie_Queen)

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Personnel:
Ron Asheton (guitar, background vocals, bass on 09. – 11.)
Michael Davis (bass)
Rob King (drums)
Lynn “Niagara” Rovner (vocals)
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Bill Franck (drums on 09. – 11.)
Ben Miller (saxophone on 01. – 04.)
Larry Miller (guitar on 01. – 04.)
Charlie Tyfklind (saxophone on 10.)

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Tracklist:
01 Bored (Asheton/Rovner) 3.56
02. You’re Gonna Die (Loren/Asheton/Rovner) 2.49
03. Meet The Creeper (Davis) 4.57
04. November 22, 1963 (Asheton/Rovner) 4.24
05. Jesus Is A Shotgun (King/Asheton/Rovner) 2.56
06. Nobody Knows (Davis/Rovner) 3.27
07. What Do I Get (Asheton/Rovner) 4.16
08. These Boots Are Made For Walking (Hazlewood) 5.40
09. Anybody Can (Fuck Her) Asheton/Rovner)  3.33
10. Party Girl Asheton/Rovner) 3.43
11. A/D (Angel In The Daytime, Devil At Night) (Franck/Asheton/Rovner) 2.38

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Niagara in 1974

Tina Turner – What’s Love Got To Do With It (1993)

FrontCover1What’s Love Got to Do with It is the eighth solo studio album by Tina Turner, released on Parlophone in 1993. It was the soundtrack album for the 1993 Tina Turner biographical film What’s Love Got to Do with It, which was released by Touchstone Pictures the same year.

Turner re-recorded many of her songs from the Ike and Tina Turner period for this album including their first hit single “A Fool in Love”. Three brand new tracks were also included, “I Don’t Wanna Fight” being a top 10 hit in both the US and UK, her last major American chart success. The album also includes Turner’s version of The Trammps’ disco classic “Disco Inferno”, a song she had often performed live in concert during the late 1970s, but which she had never previously recorded in studio. Two tracks from her 1984 breakthrough solo album Private Dancer are included as well, the title track to the movie and “I Might Have Been Queen”. The album hit #1 on the UK Albums Chart and was certified platinum in various countries including the US, the UK, Switzerland and New Zealand. (by wikipedia)

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This is the soundtrack for the Tina Turner film that got Angela Bassett and Lawrence Fishburne Oscar nominations. There’s little here that you couldn’t get elsewhere in better versions, but if you only want a hint of the music Tina Turner made in various contexts, with and without Ike, this would be a serviceable purchase. Otherwise, get the film and hear the music in the correct setting. (by Ron Wynn)

This respects literal chronology even less than the movie, which has her doing “Proud Mary” before Creedence released it. But there’s a logic to the willy-nilly segues–in which, for instance, two glossily intelligent new products of her pop-diva phase, the thematic “I Don’t Wanna Fight” and the pneumatic “Why Must We Wait Until Tonight?,” flank B.B. King’s 1964 “Rock Me Baby” and the Trammps’ 1978 “Disco Inferno,” neither of which has ever had her name on it before. In essence, she’s reenacting her career as timeless myth, submitting every brilliant exploit and humiliating compromise to the unmatched lust and lustre of her 54-year-old pipes. She’s never sounded more beautiful or more alive. Or more enigmatic–it’s as impossible as ever to glimpse what she might be like in “real life,” or even to pin down an artistic appeal that at this point seems to inhere in the raw fact of her survival. As for the sex, it’s more abstract and calculated than ever. And right–love has nothing to do with it. (Robert Christgau)

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Personnel:
Curt Bisquera (drums)
Gene Black (guitar)
Rick Braun (trumpet)
Terry Britten (guitar, background vocals)
Graham Broad (drums)
Timmy Cappello (saxophone, vocals)
Steve DuBerry (keyboards, drum programming, background vocals)
Bob Feit (bass)
Nick Glennie-Smith (keyboards)
Rupert Hine (keyboards, programming)
Graham Jarvis (drums)
Robbie King (organ)
Billy Livsey (keyboards)
Steve McNamara (programming)
Trevor Morais (drums)
Simon Morton (percussion)

David Paich (piano)
Tim Pierce (guitar)
James Ralston (guitar, background vocals)
Keith Scott (guitar)
Lee Thornburg (trumpet, trombone)
Tina Turner (vocals)
C.J Vanston (keyboards, drum programming)
Jamie West-Oram (guitar)

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background vocals:
The Tuck Back Twins – Sharon Brown – Jean McClain – Jacquelyn Gouche – Jam – Cy Curnin – Tessa Niles – background vocals
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Laurence Fishburne (spoken vocals on 10.)

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Tracklist:
01. Don’t Wanna Fight (Lulu/Lawrie/DuBerry) 6.09
02. Rock Me Baby (King/Josea) 3.59
03. Disco Inferno (Green/Kersey) 4.05
04. Why Must We Wait Until Tonight (Adams/Lange) 5.55
05. Nutbush City Limits (T.Turner) 3.20
06. (Darlin’) You Know I Love You (King/Taub 4.29
07. Proud Mary (Fogerty) 5.27
08. A Fool in Love (I.Turner) 2.56
09. It’s Gonna Work Out Fine (McKinney/McCoy) 2.50
10. Stay Awhile (Britten/Lyle) 4.52
11. I Might Have Been Queen (Obstoj/Hine/West-Oram/T.Turner) 4.21
12. What’s Love Got To Do with It (Britten/Lyle) 3.49

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ZZ Top – One Foot In The Blues (1994)

FrontCover1One Foot in the Blues is a compilation album by the American blues rock band ZZ Top, released in 1994 (see 1994 in music). The album contains a selection of the band’s songs which fall into the blues genre. With the exception of the songs taken from the Degüello, El Loco, Eliminator and Recycler albums, the 1987 digital remixes were used. (by wikipedia)

Before they sweated their image down to beards, babes and hot rods, ZZ Top were a down ‘n’ dirty blues-rock trio with a bonafide hot guitar player in Billy Gibbons. On this 14-track offering, Warner goes back through the back ZZ catalog and cobbles together an interesting collection of the Texas trio’s bluesier sides that originally appeared on their earliest albums. Highlights include “Brown Sugar,” “A Fool for Your Stockings,” “My Head’s in Mississippi,” “Apologies to Pearly” and Gibbons’ storming stringwork on “Bar-B-Q.” (by Cub Koda)

Wow, where do I start with this compilation of Texas’s greatest Little Ole Band from Texas ! I love this album. Alot of these songs didnt get alot of airplay , but they are some of my favorite ZZTOP song’s of all time .These songs are the reason I love ZZTOP , Oldman, Hot,Blue and Righteous,Sure got cold after the rain fell, Bron Sugar,I need you tonight, 2000 blues ! All these songs on one album. ya gotta get it. (by Judy Kopeck)

And “Hot, Blue and Righteous” and “Sure Got Cold After The Rain Fell” are one of the finest rock ballads ever written.

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Personnel:
Frank Beard (drums, percussion)
Billy Gibbons (guitar, vocals)
Dusty Hill (bass, keyboards, background vocals, lead vocal on 06.)

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Tracklist:
01. Brown Sugar (Gibbons) 5.20 Originally from ZZ Top’s First Album (1971)
02. Just Got Back From Baby’s (Gibbons/Ham) 4.09 Originally from ZZ Top’s First Album (1971)
03. A Fool for Your Stockings (Gibbons/Hill/Beard) 4.16 Originally from Degüello (1979)
04. I Need You Tonight (Gibbons/Hill/Beard) 6.15 Originally from Eliminator (1983)
05. She Loves My Automobile (Gibbons/Hill/Beard) 2.23 Originally from Degüello (1979)
06. Hi Fi Mama (Gibbons/Hill/Beard) 2,24 Originally from Degüello (1979)
07. Hot, Blue and Righteous (Gibbons) 3.17 Originally from Tres Hombres (1973)
08. My Head’s In Mississippi (Gibbons/Hill/Beard) 4.20 Originally from Recycler (1990)
09. Lowdown In The Street (Gibbons/Hill/Beard) 2.49 Originally from Degüello (1979)
10. If I Could Only Flag Her Down (Gibbons/Hill/Beard) 3.39 Originally from Eliminator (1983)
11. Apologies To Pearly (Gibbons/Hill/Beard/Ham) 2.44 Originally from Rio Grande Mud (1972)
12. Sure Got Cold After The Rain Fell (Gibbons) 6.47 Originally from Rio Grande Mud (1972)
13. Bar-B-Q (Gibbons/Ham) 3.21 Originally from Rio Grande Mud (1972)
14. Old Man (Gibbons/Hill/Beard) 3.32 Originally from ZZ Top’s First Album (1971)
15. Certified Blues (Gibbons/Beard/Ham) 3.25 Originally from ZZ Top’s First Album (1971)
16. 2000 Blues (Gibbons/Hill/Beard) 4.42 Originally from Recycler (1990)
17. Heaven, Hell Or Houston (Gibbons/Hill/Beard) 2.32 Originally from El Loco (1981)

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Still alive and well … ZZ TOP in 2017

Various Artists – The Color Of Money (OST) (1986)

FrontCover1The Color of Money is a 1986 American drama film directed by Martin Scorsese from a screenplay by Richard Price, based on the 1984 novel of the same name by Walter Tevis. The film stars Paul Newman and Tom Cruise, with Mary Elizabeth Mastrantonio, Helen Shaver, and John Turturro in supporting roles. It features an original score by Robbie Robertson.

Newman won the Academy Award for Best Actor for his performance, his first Oscar win after eight nominations, seven of them for Best Actor.

The film continues the story of pool hustler and stakehorse Edward “Fast Eddie” Felson from Tevis’ first novel, The Hustler (1959), with Newman reprising his role from the 1961 film adaptation. It begins more than 25 years after the events of the previous film, with Eddie retired from the pool circuit. Although Tevis did author a screenplay, adapting the storyline from his novel, the filmmakers decided not to use it, instead crafting an entirely different story under Tevis’ title.

Eddie Felson is a former pool hustler turned successful liquor salesman. One night he meets Vincent Lauria, a young, charismatic pool player and video gamer who plays small-time nine-ball games while working as a sales clerk at a toy store. Eddie, who still stakes bets for players, persuades Vincent and girlfriend/manager Carmen to go on the road, where he can teach Vincent how to make much more money through hustling pool.

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With Eddie staking their bets, Vincent visits a series of billiard halls where Eddie tries to teach him that “pool excellence is not about excellent pool.” Although Carmen is a quick study, Vincent chafes at Eddie’s scams, which routinely require him to play well below his abilities. Eventually, Fast Eddie picks up a cue himself, and does well in several games, but is taken in by a pool shark named Amos. Humiliated, Eddie leaves Vincent and Carmen with enough money to make it to the championships in Atlantic City.

ColorOfMoney02Wearing new prescription eyeglasses, Eddie begins working out and practicing. He enters the 9-ball tournament in Atlantic City and, after several victories, finds himself facing off against a more world-wise Vincent. He beats Vincent, but later, when he is celebrating with girlfriend Janelle, Vincent arrives and informs Eddie that he intentionally lost in order to collect on a bet. He gives Eddie $8,000 as his “cut.” During his semi-final match against Kennedy, Eddie sees his reflection in the cue ball; disgruntled, he chooses to forfeit the game.

Out-hustled again, Eddie returns the money, saying that he wants to beat Vincent legitimately. The two set up a private match, where Eddie informs Vincent that if he doesn’t beat him now, he will in the future because “I’m back!” (by wikipedia)

Ex-Band songwriter/guitarist Robbie Robertson put together this soundtrack, which allowed him to collaborate with blues master Willie Dixon and jazz master Gil Evans, though it was his collaboration with Eric Clapton that produced the album’s hit song, “It’s in the Way That You Use It.” Also featured: Don Henley, Robert Palmer (three tracks), and B. B. King. (by William Ruhlmann)

Okay, here you´ll find a lot of rare tracks … and: this was the sound of the Eighties !

And “Werewolves Of London” was of course stealed/borrowed from Lynyrd Skynrd (“Sweet Home Alabama”).

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Tracklist:
01. Don Henley: Who Owns This Place? (Henley/Kortchmar/Souther) 4.48
02. Eric Clapton: It’s In The Way That You Use It (Clapton/Robertson) 3.56
03. Robert Palmer: Let Yourself In For It (Palmer) 5.18
04. Willie Dixon: Don’t Tell Me Nothin’ (Dixon) 4.43
05. Mark Knopfler: Two Brothers And A Stranger (Knopfler) 2.41
06. B.B. King: Standing On The Edge Of Love (Williams) 3.53
07. Robbie Robertson + Gil Evans: Modern Blues (Robertson) 2.55
08. Warren Zevon: Werewolves Of London (Marinell/Wachtel/Zevon) 3.21
09. Robert Palmer: My Baby’s In Love With Another Guy (Brightman/Lucie) 2.27
10. Robbie Robertson + Gil Evans: The Main Title (Robertson) 2.44

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Hassan Boussou – Maalem (80´s)

FrontCover1Hassan Hakmoun is one of the most notable figures in contemporary Moroccan music.

Though schooled in the deeply traditional sounds of the Gnawa people in his native Marrakesh, since moving to the U.S. in 1987, his music has absorbed elements from a variety of popular styles, from jazz and “world music” to neo-classical contemporary Western music and cerebral pop, resulting in a diverse, award-winning and critically acclaimed body of work. His participation in such internationally renowned arts festivals as WOMAD (World of Music, Arts and Dance) and collaborations with respected artists, including David Sanborn, Peter Gabriel, Don Cherry and The Kronos Quartet, among countless others, have brought him further into the spotlight and inspired many artists from North Africa and around the globe to follow in his footsteps.

As a master musician whose vision and contributions have enabled a unique fusion and blending of traditions, cultures and genres in a world of ever-expanding global communication and exchange, his work maintains its profound and enormous capacity to joyously inspire and heal the individuals and communities it reaches, as Hakmoun undoubtedly remains a commanding and intriguing artist in the world music scene.

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Hakmoun’’s musical origins are rooted in the African folk music of the Islamic Gnawa sect, descendants from West African slaves brought to North Africa several hundred years ago. Their music combines complicated West African syncopations with long, sinuous North African melodies. Tracing their roots back to the Bilal, a freed slave known for his beautiful voice and believed to have been chosen by the Islamic prophet Mohammed to serve as the first muezzin to call the people of the faith to their prayers, Gnawa musicians often express their religious devotion through their music, using it to enter into spiritual trance states.

These rich, ancient Gnawa traditions have powerfully and intimately influenced Hakmoun’s early life and calling as a musician as his mother is a mystic healer known throughout Marrakesh for her derdeba trance ceremonies, often all-night affairs involving hypnotic playing and chanting to exorcise spirits. Steeped in Islamic mysticism and West African rhythms, the Gnawa musical form and its rituals lift the spirit and heal the sick and wounded through its songs of praise.

Hakmoun began learning Gnawa music after witnessing his first trance ceremony at the young age of four. Through a miraculous incident involving his younger sister, whose body was mysteriously touched by the spirit, covered in cigarette burns and then healed as a result of a meeting of the local Gnawa masters who proceeded to gather and conduct a ceremony of singing, drumming and playing instruments such as the sintir while asking for forgiveness and inquiring as to the cause of her ailments, Hakmoun proceeded to study percussion, as well as traditional trance-inducing dances.

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He eventually chose the sintir as his main instrument, a three-stringed lute with a body made of camel skin stretched over nutwood. The strings of the sintir are pitched low, enabling the instrument to serve as the bass foundation much like the Western string bass, while its tone is sweet, making it well-suited to carry the melodic line of a composition. By drumming on the body of the instrument, Hakmoun added his own percussion while contributing vocals, thereby creating a unique foundation for his musical explorations and growth. By the age of fourteen, he was an established musician performing at Gnawa lila ceremonies with his own ensemble.

Hakmoun made his U.S. debut in 1987 at Lincoln Center in New York City with Etian and Blanca Lee’’s Trio Gna & Nomadas dance group … (taken from his website)

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I guess this is very rare record by Hassan Boussou … I found no further informations in the internet (this is maybe a bootleg, I don´t know) … I bought it last week in Marrakesh  at the Jamaa el Fna market:

Jamaa el Fna (also Jemaa el-Fnaa, Djema el-Fna or Djemaa el-Fnaa) is a square and market place in Marrakesh’s medina quarter (old city). It remains the main square of Marrakesh, used by locals and tourists.

And I guess, this were very erly recordings from the Eighties … unfortunatley the covers gives no more informations ..

So … listen to the magic of a real unique world of music …

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Personnel:
Hassan Boussou (lute, vocals)
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Marie le Baron et la troupe Boussou Ganga

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Tracklist:
01. Part 1 / 22.07
02. Part 2 / 36.51

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