Jefferson Airplane – Live At The Monterey Festival 1967 (1990)

frontcover1Live at the Monterey Festival is a live album by the San Francisco rock band Jefferson Airplane, which was released in the United Kingdom and Europe by Thunderbolt Records in 1990. The album was authorized by the band and features the entire set from the group’s June 17, 1967 performance at the Monterey Pop Festival. The album marked the first time that Jefferson Airplane’s entire Monterey Pop Festival performance had been given a release by a legitimate record company. (by wikipedia)

Jefferson Airplane was unique among San Francisco psychedelic groups for actually charting a pair of hit singles (“White Rabbit” and “Somebody to Love”), but apart from those two radio staples, it was their albums and their live performances that made their reputations. Yet it wasn’t until 1969 that they issued an official live album, by which time their repertory and sound had become much heavier than the way it started out. Live at the Monterey Festival captures them earlier in their history, on June 17, 1967, dead-center in the middle of the Summer of Love that their two hit singles helped usher in. They were still a somewhat folk-based group with an interest in blues as well, riding the initial tide of their success four months after the release of Surrealistic Pillow (whose songs make up the bulk of the eight-song set that they played) and with the two hits still fresh; it was also less than a year after Grace Slick joined, when Marty Balin was still playing a prominent (if not dominant) role in shaping the group’s sound.


The group’s sound is very lean and muscular, especially Jorma Kaukonen’s razor-sharp lead playing and Spencer Dryden’s pounding beat, over Jack Casady’s surprisingly melodic bass work — Slick and Balin’s voices meld perfectly on “High Flying Bird” and soar on the individual featured numbers. “Today” gets almost a definitive performance, and “Somebody to Love” isn’t far behind. “The Ballad of You and Me and Pooneil” as performed here is possibly the best single live track ever issued by the band. Additionally, the audio version of this set works better than elements of the film of it do — for much of “Today,” director D.A. Pennebaker ended up focusing on Grace Slick, who was only playing the keyboard, rather than Marty Balin, who was singing. (by Bruce Eder )

And I guess, Patti Smith was very impressed by, very influenced by Grace Slick !

Enjoy the early magic of Jefferson Airplane !!!


Marty Balin (vocals)
Jack Casady (bass)
Spencer Dryden (drums, percussion)
Paul Kantner (guitar, vocals)
Jorma Kaukonen (guitar)
Grace Slick (vocals, piano)

01. Somebody to Love” (D.Slick/G.Slick) 3.16
02. The Other Side Of This Life (Neil) 6.53
03. White Rabbit (G,Slick) 2.41
04. High Flying Bird (Wheeler) 4.02
05. Today (Balin/Kantner) 3.07
06. She Has Funny Cars (Kaukonen/Balin) 3.20
07. Young Girl Sunday Blues (Balin) 3.26
08. The Ballad Of You & Me & Pooneil (Kantner) 11.13



Mott The Hoople – Live At HMV Hammersmith Apollo (2009)

frontcover1“Mott the Hoople storm back to London for a dazzling night at the Hammersmith Apollo.

The stakes in heritage rock reunions are getting so high that, soon, only the exhumation of some demised old stager will up the ante. This latest one, however, was pretty far-fetched.

Mott the Hoople were titans of mid-Seventies glam. In their early career, they struggled as unreconstructed rockers, until David Bowie, no less, remodelled them in satin suits and platform boots. He donated them a fabulously dissolute glam anthem, ‘All the Young Dudes’, and thus began their tenure in the Top Five.

This, however, was a band destined to fail. They didn’t handle whirlwind fame well at all, and quickly disintegrated, only to be championed retrospectively by fans such as Morrissey, for their raunchy, wry take on the rock ‘n’ roll life.

Forty years on from their inception, and thirty years since some of the members had concertposteractually spoken to each other, Mott stormed back into London for the first of five sold-out nights at the Apollo. Their singer, Ian Hunter, agelessly shrouded in corkscrew curls and face-blotting sunglasses, led straight into a ballad, ‘Hymn For the Dudes’, his gnarly, Dylan-esque voice roaring at the high notes. This was not to be a half-hearted canter through the hits.

The first hour was mostly devoted to the band’s pre-Bowie, high-voltage rock ‘n’ roll material. Hunter, a busy solo artist for more than three decades, and the silver-topped lead guitarist, Mick Ralphs, riffed vigorously, in active defiance of Time’s subsequent intervention. The partisan crowd — at least eighty percent of whom, gloriously, unrepentantly, were old enough to remember it all from the turn of the Seventies — responded with commensurate enthusiasm.

The electricity crackled to a new intensity, however, when Hunter moved to a piano stage-left, and finally unleashed a dazzling run of glam classics — songs about little more than rock itself. Glam, originally, existed purely to overturn prog-rock’s tedious virtuosity, to revive the raw, sexy thrill of Fifties rock’s simple, thumping beats and clanging riffs.

Perhaps it was daft, witnessing a seventy-year old man with a blond afro singing, “I get my kicks from guitar licks”, but also fabulously empowering, given his heedless dedication to the cause.

The sense of lifelong commitment was heightened during the encore, when the band’s original drummer, Dale Griffin, entered the fray.

Martin Chambers with Ian Hunter and his daughter Tracy Hunter

Griffin has Alzheimer’s, and had to be led by the hand to a drum kit alongside his substitute for the evening, the Pretenders’ Martin Chambers. Soon, he was pounding away the rhythm to ‘Roll Away the Stone’, grinning from ear to ear. ‘All the Young Dudes’, then, was simply breath-taking, with Def Leppard’s Joe Elliott joining in for a verse.

And the rockin’ went on, unrestrainable, deafening, totally life-affirming.”(by Andrew Perry; The Telegraph, 02 October, 2009)

Okay, most of th time, Mott Te Hoople sounds like a “Mott The Hoople Revival Band” … but it´s still a very important document of one of the finest bands from the Seventies.

Note: This show was recorded and transferred to CD on the night. This means you hear a CD-R rather than factory-pressed CDs.

Recorded live at the first Mott The Hoople re-union show
at HMV Hammersmith Apollo 1st October 2009.


Verden Allen (keyboards)
Martin Chambers (drums)
Ian Hunter (vocals, guitar, piano, bass on 11.)
Mick Ralphs (guitar, background vocals)
Overend Watts (bass, vocals on 11.)
Joe Elliott (vocals on 20.)
Dale Griffin (drums on 21. + 22.)
background vocals:
Maggie Ronson – Tracy Hunter



CD 1:
01. Jupitor Intro  (Holst) 1.12
02. Hymm For The Dudes (Allen/Hunter) 5.34
03. Rock & Roll Queen (Ralphs) 4.44
04. Sweet Jane (Reed) 4.51
05. One Of The Boys (Hunter/Ralphs) 6.15
06. Sucker (Hunter/Ralphs/Watts) 5.15
07. Moon Upstairs (Hunter/Ralphs) 6.32
08. The Original Mixed Up Kid (Hunter) 4.41
09. I Wish I Was Your Mother (Hunter) 6.36
10. Ready For Love (Ralphs) 8.13
11. Born Late ’58 (Watts) 4.33
12. Ballad Of Mott The Hoople (GriffinHunter/Ralphs/Watts) 6.18

CD 2:
13. Walking With A Mountain (Hunter) / Jumpin Jack Flash (Jagger/Richards) 5.56
14. Like A Rolling Stone (Dylan) / Laugh At Me (Bono) /The Journey (Hunter) 9.02
15. Golden Age Of Rock & Roll (Hunter) 3.35
17. Honaloochie Boogie (Hunter) 3.43
18. All The Way From Memphis (Hunter) 9.46
19. Roll Away The Stone (Hunter) 4.41
20. All The Young Dudes (Bowie) 4.52
21. Keep A Knockin’  (Penniman) 3.53
22. Saturday Gigs (Hunter) 6.28




Bernie Marsden – And About Time Too (1979)

frontcover1Bernard John “Bernie” Marsden (born 7 May 1951) is an English rock and blues guitarist. He is primarily known for his work with Whitesnake, having written or co-written with David Coverdale many of the group’s hit songs, such as “Fool For Your Loving” and “Here I Go Again.”

After playing with a Buckinghamshire band called Skinny Cat, Bernie Marsden got his first professional gig with UFO. He next played with Glenn Cornick’s Wild Turkey in 1974, before Bernie Marsden joined Babe Ruth in 1975, and played on two releases, Stealin’ Home (1975) and Kid’s Stuff (1976), before moving on to Paice Ashton Lord in 1977, with Tony Ashton and ex-Deep Purple members, Ian Paice and Jon Lord. (by

And this is his first solo-album during his Whitesnake period:

Bernie Marsden was well into a recording career when he struck out on his own for 1979’s And About Time Too, which may explain the album’s joking title. At the time, Marsden was playing guitar in Whitesnake, following years with UFO, Wild Turkey, Cozy Powell’s Hammer, and Babe Ruth, among others, so he had a significant résumé, all suggesting that he was ready for a spot of heavy rocking, but And About Time Too is much softer than his past or present, a slick and phased collection of ’70s album pop and rock featuring such impressive players as Powell, Jack Bruce, Ian Paice, and Jon Lord. Again, all this suggests a harder record than what And About Time Too actually is. Certainly, much of its appeal is down to its period stylings, particularly when he indulges himself on a piece of sprightly pop like “Love Made a Fool of Me” or “Sad Clown” — songs that could’ve crossed over from album rock to adult contemporary — and these tunes are strong enough that they make such heavy blues workouts as the grinding “Brief Encounter” and the woozy, solo-laden closer “Head the Ball” feel like detours even when they’re much closer to Marsden’s main line of work. Other remnants of the time, such as the heavy layers of analog synths from Don Airey and the long stretches of instrumental pyrotechnics, keep this somewhat at a remove from modern listeners, but it is those aforementioned poppier numbers that do make this worth a spin; they may not capture Marsden at his most representative but they may capture him at his best. (by Stephen Thomas Erlewine)

This edition includes the single B-side “You & Me,” a pretty good arena rockerand two more live recordings, including a great version of the classic “Shakey Ground”.

And itßs the jazz-rock part of this album, that is more than brilliant (listen to “Head The Ball” sounds a little bit like “Colosseum II”)


Don Airey (keyboards, synthesizer on 01., 02., 03.,  04.,  05., 07., 09.)
Jack Bruce (bass on 01., 02., 04., 06, 07., 08., 09.)
Jon Lord (organ on 06., 07. , 08, clavinet on 08.)
Bernie Marsden (guitar, vocals)
Neil Murray (bass on 03., 05.)
Ian Paice (drums on 01., 07., 08.)
Simon Phillips (drums on 02., 04., 06., 09.)
Cozy Powell (drums on 03., 05.)
background vocals:
Alan Carvell – Stuart Calver – Tony Rivers – Doreen Chanter – Irene Chanter


01. You’re The One (Marsden) 3.58
02. Song For Fran (Marsden) 2.52
03. Love Made A Fool Of Me (Marsden) 3.48
04. Here We Go Again (Marsden) 3.30
05. Still The Same (Marsden) 6.27
06. Sad Clown (Marsden) 5.13
07. Brief Encounter (Marsden) 4.25
08. Are You Ready (Marsden) 3.38
09. Head The Ball (Marsden(Airey) 5.30
10. You And Me (Marsden) 2.53
11. Who’s Fooling Who (live) (Marsden) 4.17
12. Shakey Ground (Bowen/Boyd/Hazel) 4.20




Single front+back cover


Alannah Myles – Live Diamond Club, Toronto (1989)

frontcover1Alannah Myles was born to a father in radio, producer of “The Happy Gang”. Her mother was a pianist and singer. When she was a child, she knew she wanted to be a singer despite discouragement from her parents to pursue it as a profession. At age 11, she took up the guitar. By the age of 15, she was writing her own songs emulating her favourite folk artists Leonard Cohen, Linda Ronstadt, and Joni Mitchell. She got herself an agent in 1977 and played her songs around Toronto. To earn extra money, she did some television work, doing ads. She also worked as a backup singer and model. In the mid-80s, she hooked up with songwriter Christopher Ward and began performing some of his songs. The music industry rejected her outright; no record company was interested. Eventually, Bob Roper at WEA (Warner-Elektra-Atlantic) approached her after listening to her demo and signed her. David Tyson was chosen to produce her first (self-titled) album. She entered the recording studio with Christopher Ward who was to be a video jockey for MuchMusic.

alannahmyles01The album was released and MuchMusic immediately played the music video for the first single “Love Is”. To the Canadian public, this sultry female rocker seemed to come out of nowhere. The entire nation was captivated. The single was aired on radio stations and peaked at #16 across the country. The second single, a tribute to American singer Elvis Presley called “Black Velvet” did even better, scraping the Top 10. It also became an international hit, topping the Billboard charts in the United States and the Top 3 in Britain and Australia. The song won the Juno for Song of the Year and a Grammy award in the U.S. Two more singles were released from the album, one of which was her biggest hit at home; “Lover of Mine” peaked at #2 and became the 16th biggest song of 1990. As for the album, it became the third from a Canadian artist, first for a female, and first as a debut to attain Diamond sales in Canada. It won Album of the Year at the Junos. (by

This concert was filmed for Much Music’s Big Ticket featuring a duet with special guest, Mavis Staples singing “Respect yourself”.

And this is the bootleg version of this concert … soundboard quality and … believe me … Alannah Myles is pure dynamite !


Jørn Andersen (drums)
Alannah Myles (vocals)
Kurt Schefter (guitar)
Eric Webster (keyboards)
Steve Webster (bass)
Mavis Staples (vocals on 09. + 10.)


01. Still Got This Thing (Ward) 6.10
02. Rock This Joint (Ward) 4.51
03. Black Velvet (Ward/Tyson) 6.55
04. Just One Kiss (Ward/Tyson) 4.06
05. Lover Of Mine (Myles/Ward/Tyson/Johnson) 7.52
06. Hurry Make Love (Simmonds) 4.15
07. If You Want To (Ward/Tyson) 5.58
08. Kick Start My Heart (Waters/Stone/ElkhardWard) 7.18
09. Respect Yourself (Ingram/Rice) 5.55
10. Jaguar (only Mavis Staples) (Prince) 5.56
11. Love Is (Ward) 4.26
12. Who Loves You (Ward/Tyson) 4.45
13. Still Got This Thing (Ward) 7.00




Locomotive GT – Same (1974)

frontcover1The late ’60s and, most especially, the 70s have inspirited the music and the rock from all over the place, so that it evolved all the way up to contributing to the appearance of the most prestigious and prodigious ensembles. LOCOMOTIV GT is a band that’s legendary in the Hungarian Rock scene, but also in the Occident, lighting up an irresistible and torrential rock, in a way that made them classic. For the culture of rock, LOCOMOTIV GT marks moreover an independent and styled breath than something typical and inspiring – nevertheless, it goes as a defining reference.

LOCOMOTIV GT processed, during the classic period, all the fantasy and the asperities of hard and blues rock. Yet, in almost the same general way, their music consistently caught a much more artistic brightness (and all sorts of jazz, pop, melodic, lyrical and experimental accents). The next periods, along with their transitions, didn’t shattered their spirit, but only changed their personality, their musical greatness and their perfection.

The band was founded in 1971 (biographical dates even state, more precisely, the day and the place: April 6th, Budapest) having a core of four great musicians: Gábor Presser and József Laux from OMEGA, Károly Frenreisz from METRO and Tamás Barta, a guitarist finally finding his way with this ensemble. The pressure of the music, at this beginning phase, was put on sophisticated expression, powerful rhythms and gullible orientations. Playing with familiar rock groups, selling out minimal music through different clubs plus some worthy festivals, was their first good steps up rock’s slipstream.

Their debut was considered experimental and hazy in Hungary, but the Western side saw it as the best new music that could come from the East. In 1972, the band was invited to play along legendary Joe COCKER or, right from the progressive top scene, with GENESIS. They also spend the year in London, recording a second album, “Ringasd el magad”, or producing several music projects. With Tamás Somló replacing Frenreisz, and with a wide-popular tour through North America, LOCOMOTIV GT became a worthy big name.

High tours and important projects continued in the next years, music itself finding probably the best expressions and wild maturity of all the style and fusion that was, so intimately, used. As oppose to this, the career break was slipping every time. More than a rumor or a hint, it seems LOCOMOTIV GT faced a lot of oppressive taste from the authorities, at least until the end of the 70s. Nevertheless, their portrait was constantly breaking the full standard and emotion of rock and interpretive art. Having always a lyricist by their side (Adamis Ann 1971-1977; Sztevanovity Dusán 1977-1984, 1997-2002) , LOCOMOTIV GT played colorful fictions and complex poetries, in a rustling frame of coolness, until they reached out from the blaze of hard rock (and, implicitly, of heavy thoughts) and continued to mix frictions of pure rock or, lastly, pop rock.

thomas-somloThomas Somlo

The 80s seemed refreshing, thanks to a better contract and an already indubitable fame, but the taste for rock and pop reached, well enough, a lower and colder level, so that the band departed for good after their 1984 studio release. They re-joined in 1992, only with the intention of making a farewell concert out of a big concert in Budapest. Up in 1997, the odds finally stopped being bitter, when the group reunited for good, recording a new studio album and deciding to continue their music journey, through big and important festivals or different projects and productions. Nothing of modern art, but, all the same, something of modern times, when LOCOMOTIVE GT stays legendary and can cheer up the endless taste towards their music and phenomenon.

By all this, LOCOMOTIV GT catches, therefore, a classic, rough, artistic and progressive spot. (by Victor “Philip” Parau; sources include biographical notes from the official website and from wikipedia)

“Locomotive GT were the Hungarian ‘supergroup’ formed by ex-members of Omega, Metro and Hungria. This rare and sought-after (English-language) album was recorded in London in 1973 (with Jack Bruce guesting on harmonica) by the famous The Rolling Stones producer Jimmy Miller and released next year in UK and USA by ABC Records. This is top-notch European progressive rock with jazz-fusion influences” (by

In 1972, the band was invited to London, where this great second LP was recorded. The album’s material balanced between the classic progressive sounds of ELP, Gentle Giant and Procol Harum, and harder, bluesy rock.(by


Thomas Barta (guitar, slide-guitar, harmonica, vocals)
Joseph Laux (drums, percussion)
Gabor Presser (piano, vocals)
Thomas Somlo (bass, saxophone, violin, vocals)
Jack Bruce (harmonica on 05.)
XY (*) (congas on 01., + 03.)

(*) who the fuck is XY ?


01. Rock Yourself (Adamis/Presser) 4.21
02. Gimme Your Love (Barta) 3.46
03. Free Me (Barta) 3.15
04. Confession (Barta) 4.21
05. She’s Just 14 (Barta) 3.51
06. Won’t You Dance With Me (Barta) 2.39
07. Hey, Get The Feelin’ (Barta) 3.31
08. Waiting For You (Adamis/Presser) 4.15
09. Serenade (To My Love If I Had One) (Adamis/Presser) 2.18
10. Back Home (Barta)    3:36
11. Jenny’s Got A New Thing (Adamis/Presser) 3.46




Various (unknown) Artists – Movimento Brasil – Bossa Nova (2005)

frontcover1Bossa nova is a genre of Brazilian music, which developed and was popularized in the 1950s and 1960s and is today one of the best-known Brazilian music genres abroad. The phrase bossa nova means literally “new trend” . A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students.

In Brazil, the word “bossa” is an old-fashioned slang for something that is done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba:

“O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas.” (“The samba, the readiness and other bossas are our things, are things from us.”)

The exact origin of the term “bossa nova” remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term “bossa” was used to refer to any new “trend” or “fashionable wave”. In his book Bossa Nova, Brazilian author Ruy Castro asserts that “bossa” was already in use in the 1950s by musicians as a word to characterize someone’s knack for playing or singing idiosyncratically.[3] Castro claims that the term “bossa nova” might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil (University Hebrew Group of Brazil). The authorship of the term “bossa nova” is attributed to the (then) young journalist Moyses Fuks, who was promoting the event.[4] That group consisted of Sylvia Telles, Carlinhos Lyra, Nara Leão, Luizinho Eça, Roberto Menescal, et al. According to Mr. Fuks description, fully supported by most of the bossa nova members, he simply wrote a sign as “HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA” ( meaning : Today. Sylvia Telles and a “Bossa Nova” group), because Sylvia Telles was the most famous musician in the group, at that time. In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. This included the 1st Festival de Samba Session, conducted by the PUC’s (Pontifícia Universidade Católica) student union. This session was then chaired by Carlos Diegues, a law student that Leão ultimately married.(by wikipedia)

This a strange samüler, because I don´t know the artists … but it´s a good start to discover the wonderful world of Bossa Nova !


01. Wave (Jobim) 3.42
02. Ela é carioca (Jobim/DeMoraes) 2.45
03. Chega de saudade (Jobim/DeMoraes) 2.33
04. Corcovado (Jobim) 2.58
05. Desafinado (Mendonca/Jobim) 3.45
06. Samba de una nota so (Mendonca/Jobim) 3.02
07. Insensatez (Jobim/DeMoraes) 4.49
08. A felicidade (Jobim/DeMoraes) 3.25
09. Orecuso aprender a ser so (M.Valle/P.Valle) 2.33
10. Garota de Ipanema (Jobim/DeMoraes) 3.28
11. O barqhino (Mensescal/Boscoli) 2.58
12. Manha de carnival (Bonfa/Maria) 2.43
13. Minha Namorada (DeMoraes/Lyra) 4.00
14. Eu sei que vue te amar (Jobim/DeMoraes) 2.47




Jorge Tuna – Coimbra á Noite (50s)

frontcover1This is a very rare 4 track sinlge from Portugal with a special from of the legendary Fado musicbecause Fado music from Coimbra …

.. is a subgenre of Fado originating in the city of Coimbra, Portugal. While adopted by students at the University of Coimbra, and sometimes known as Student Fado (Fado de Estudante), it is usually considered the typical music of Coimbra itself. Developed from the Iberian lyric style of trovadorismo popular during the Middle Ages, the genre shares additional roots with Occitan troubadors.
Performed with the traditional Guitarra de Coimbra (a kind of Portuguese guitar originating in Coimbra), a modified version of Lisbon’s fado guitar allegedly created by Artur Paredes, it is usually accompanied by classic acoustic guitar and male voices.(by

Whoever came up with the expression “one does not listen to Fado, one feels Fado” must have spent a great deal of his/her life in Coimbra, as in my opinion Coimbra Fado is the only Fado inPortugal which truly deserves and embodies this expression

This single was recorded by Jorge Tuna (Jorge Manuel Casqueiro Lopo Tuna ) and two other musicians.

Jorge Tuna (born 1937) is a very popular guitarplayer in Portugal and I guess, this was his first single, recorded during the Fifties.

Enjoy and discover the wonderful world of Fade !


Jorge Tuna + Durval Moreirinhas

Jorge Godino (guitar)
Durval Moreirinhas (viola)
Jürge Tunas (guitar)


01. Rapsódia de Cancoes (Traditional) 2.53
02. Variacoes em si Menor (Tuna) 2.29
03. Rapsódia de Fados (Traditional) 3.32
04. Variacoes em la Maior (Tuna) 2.49



Another fine piece of music, recorded live by  Jorge Tuna and Durval Moreirinhas