Grupo Folklorico Y Experimental Nuevayorquino – Concepts In Unity (1975)

FrontCover1.jpgThe Grupo Folklorico y Experimental Nuevayorquino made only two records–Concepts in Unity (1975) and Lo Dice Todo (1976) –but both are classics of the 1970’s New York salsa scene. The recordings came out of jam sessions held in Andy and Jerry Gonzalez’s basement in the Bronx (I’m imagining the Latin version of Minton’s Playhouse), and they have that spirit to them: open, loose, with a lot of space for supremely talented musicians to do their thing. (

This release contains the superlative debut album Concepts In Unity, by the legendary Grupo Folklorico y Experimental Nuevayorquino. The 16 piece band was composed of the finest New York Puerto Rican & Cuban musicians, who combined their own traditional music with the Latin sounds heard on the streets of New York City.

Originally released in 1975, this timeless album is a Salsa masterpiece in every way–I’d personally go as far as saying that it’s THE most important Salsa recording ever. Why? These legendary musicians took Salsa’s Afro-Cuban and Afro-Puerto Rican roots to the forefront in a way no other artist had ever done previously. Guaguancos, rumbas, descargas and other Afro-Cuban-derived rhythms are all included here. “Cuba Linda”, “Choco’s Guajira”, “Anabacoa” and “Iya Modupue” are glorious masterpieces yet to be equalled. Manny Oquendo, Jerry Gonzalez and Andy Gonzalez (and some other musicians featured here)would go on to form the equally-superb Conjunto Libre several years after recording this masterpiece. INDISPENSABLE!!! (Justo Roteta)


This album stands alone in the Salsa field because of the excellent mixture of Jazz, Puerto Rican, and Cuban rhythms, with Africa being the “abuelo” (grandfather), of them all. The opening cut, (Cuba Linda), will force you to fasten your salsa seatbelt and go along for one of the best musical rides of your life. It opens with the rumberos jammin’ into the main melody, with the lead singer setting you up for what comes next. Chocolate’s trumpet takes over, while, at the same time, Manny Oquendo’s timbale cowbells go into overdrive, launching the musicians into high gear. The jam goes on until it reaches it’s glorious conclusion. Let me tell you, this whole album is a masterpiece and belongs in the catalogue of every Salsa lover. But don’t take my word for it, listen to it for yourself, you won’t be disappointed. Highly recommended. (Charlie Farrar)


Chocolate Armenteros (trumpet)
Milton Cardona (percussion)
Julito Collazo (percussion)
Noel de Costa (violín)
Alfredo de la Fe (violín)
Marcelino Guerra (guitar, vocals)
Gonzalo Fernández (saxophone, flute)
Guillermi Franco (percussion)
Gene Golden (drums, percusion)
Andy González (bass, marimba)
Jerry González (percussion)
Nelson González (guitar)
Oscar Hernández (piano)
Reinaldo Jorge (trombone)
Ron Libscomb (cello)
Francisco Tan Martínez (harmonica)
Víctor Montañez (percussion, vocals)
Portinho (percusión)
Marcial Reyes (guitar, background vocals)
Ashley Richardson (viola)
Jaime Rivera (percussion. background vocals)
Frankie Rodríguez (percussion, vocals)
José Rodrigues (trombone)
Henny Álvarez – Virgilio Martí – Willie García – Ubatan do Nascimento – Félix Rodríguez – Rubén Blades


01. Cuba Linda (Marti) 9.04
02. Choco’s Guajira (Armenteros/Lopez) 6.14
03. Anabacoa (Ramirez) 6.43
05. Adelaida (D.R.) 4.51
06. Luz Delia (Martinez) 3.07
07. Carmen La Ronca (Alvarez) 6.56
08. Canto Asoyin (D.R.) 4.26
09- Canto Ebioso (D.R.) 3.02
10. A Papa Y Mama (Alvarez) 7.52
11. Iya Modupue (D.R.) 8.31





Various Artists – Jesus Christ Superstar (1970)

FrontCover1.jpgJesus Christ Superstar is a 1970 rock opera by Andrew Lloyd Webber and Tim Rice. The album musical is a musical dramatisation of the last week of the life of Jesus Christ, beginning with his entry into Jerusalem and ending with the Crucifixion. It was originally banned by the BBC on grounds of being “sacrilegious.”

The album’s story is based in large part on the Synoptic Gospels and Fulton J. Sheen’s Life of Christ, which compares and calibrates all four Gospels. However, greater emphasis is placed on the interpersonal relationships of the major characters, in particular, Jesus, Judas and Mary Magdalene, relationships that are not described in depth in the Gospels.
Lyricist Rice said he took inspiration from the Bob Dylan song “With God on Our Side”.
“Herod’s Song” is a lyrical rewrite of “Try It and See”, previously written by Lloyd Webber and Rice as a proposed British entry into the 1969 Eurovision Song Contest to be sung by Lulu, then recorded and released as a single by Rita Pavone. The writers had also included it (as “Those Saladin Days”) in an aborted show called Come Back Richard Your Country Needs You.
The melody of “I Don’t Know How to Love Him” also predates Jesus Christ Superstar; it was rewritten from a 1968 Lloyd Webber/Rice collaboration titled “Kansas Morning”.Recording

For the recording, Lloyd Webber and Rice drew personnel from both musical theatre (Murray Head had just left the West End production of Hair) and the British rock scene (Ian Gillan had only recently become the singer of Deep Purple). Many of the primary musicians — guitarists Neil Hubbard and Henry McCullough, bassist Alan Spenner, and drummer Bruce Rowland — came from Joe Cocker’s backing group The Grease Band. Saxophonist Chris Mercer had also played with Hubbard in Juicy Lucy.Release
The first piece of Superstar released was the title song, as a single in November 1969 backed with the instrumental “John Nineteen Forty-One.” The full album followed almost a year later.


The album topped the U.S. Billboard Pop Albums in both February and May 1971 and ranked number one in the year-end chart ahead of Carole King’s massive hit Tapestry. It also served as a launching pad for numerous stage productions on Broadway and in the West End. The original 1970 boxed-set issue of this 2-record set was packaged in the U.S. with a special thin brown cardboard outer box which contained the 2 vinyl records and a 28-page libretto. The album was listed as the top-selling LP on the U.S. Billboard Pop chart of 1971. It is also the sixth most successful album of all time in Norway, peaking at No. 3 and staying on the charts for 87 weeks. (by wikipedia)

Jesus Christ Superstar started life as a most improbable concept album from an equally unlikely label, Decca Records, which had not, until then, been widely known for groundbreaking musical efforts. It was all devised by then 21-year-old composer Andrew Lloyd Webber and 25-year-old lyricist Tim Rice. Jesus Christ Superstar had been conceived as a stage work, but lacking the funds to get it produced, the two collaborators instead decided to use an album as the vehicle for introducing the piece, a fairly radical rock/theater hybrid about the final days in the life of Jesus as seen from the point of view of Judas. If its content seemed daring (and perhaps downright sacrilegious), the work, a “sung-through” musical echoing operatic and oratorio traditions, was structurally perfect TheaterProgramfor an album; just as remarkable as its subject matter was the fact that its musical language was full-blown rock music. There was at the time an American-spawned hit theater piece called Hair that utilized elements of rock music, but it wasn’t as unified a work as Webber and Rice’s creation, and it was less built on rock music than on pop music that referred to rock; Webber and Rice’s work presented a far sharper, bolder musical edge and pushed it much further and harder than Hair ever did. Serving as their own producers, the two creators got together more than 60 top-flight singers and musicians (including Chris Spedding, John Gustafson, Mike Vickers, P.P. Arnold, and members of Joe Cocker’s Grease Band, not to mention Murray Head, Ian Gillan, and Yvonne Elliman in key singing roles), and managed to pull the whole production together into a more than coherent whole that contained a pair of hit singles (the title track and “I Don’t Know How to Love Him”) to help drive AM radio exposure. What’s more, the whole album sounded like the real article as far as its rock music credibility was concerned — it was played good and hard for a studio creation. Released in America by Decca as a handsomely decorated double-LP set complete with illustrated libretto, Jesus Christ Superstar seemed to pick up where the Who’s Tommy (also a Decca release) and Hair had left off, and audiences from across the age and cultural spectrum responded. Teenagers who didn’t know from Jesus, opera, or oratorios liked the beat, the hard rock sounds, and the singing and bought the album, as did parents who felt that the record offered a chance to understand some aspects of this youth culture around them, and especially its music — and so did some more forward-thinking clergy and theologians, who saw any opportunity to spread the word about Jesus where it wasn’t previously going as intrinsically good.


The result was a chart-topping LP followed in short order by a Broadway production and, a little later, a multi-million-dollar movie (oddly enough, the original double LP created barely a ripple in England in 1970 and 1971, though there was eventually a British stage production that went on to become what was then the longest-running musical on London’s West End). And all of this acceptance and embrace in America took place scarcely five years after an innocent observation by John Lennon concerning the relative popularity of the Beatles and Jesus, made in England but reported in the American tabloids, had led to protests and a media boycott of the band’s music and their 1966 tour across the Bible Belt. Jesus Christ Superstar, by contrast, passed through the border and Southern states without any controversy, speaking volumes in the process about what had happened to American society in the interim. The original release was also the first “event” album of the ’70s, presaging a brace of generally less successful efforts in that direction, ranging from Lou Adler and Lou Reizner’s orchestrated version of Tommy (Pete Townshend’s rock opera basically blown up to Jesus Christ Superstar dimensions) to the soundtrack All This and World War II and Leonard Bernstein’s Mass. (by Bruce Eder)



Victor Brox (Caiaphas, High Priest)
Barry Dennen (Pontius Pilate)
Yvonne Elliman (Mary Magdalene)
Ian Gillan (Jesus Christ)
Murray Head (Judas Iscariot)
Mike d’Abo (King Herod)
Annette Brox (Maid by the Fire)
Paul Davis (Peter)
John Gustafson (Simon Zealotes)
Brian Keith (Annas)
Paul Raven (Priest)
Neil Hubbard (guitar)
Henry McCullough (guitar)
Chris Mercer (saxophone)
Peter Robinson (keyboards)
Bruce Rowland (drums, percussion)
Alan Spenner (bass)
Harold Beckett (trumpet)
Anthony Brooke (bassoon)
James Browne (horns)
Jim Buck, Sr (horns)
Jim Buck, Jr. (horns)
John Burdon (horns)
Joseph Castaldini (bassoon)
Norman Cave (piano)
Jeff Clyne (bass)
Ciclone (saxophone)
Keith Christie (trombone)
Les Condon (trumpet)
Alan Doggett (synthesizer)
Ian Hamer (trumpet)
Ian Herbert (clarinet)
Clive Hicks (guitar)
Karl Jenkins (piano)
Frank Jones (trombone)
Bill LeSage (drums)
John Marshall (drums)
Andrew McGavin (horns)
Anthony Moore (trombone)
Douglas Moore (horns)
Peter Morgan (bass)
Chris Spedding (guitar)
Louis Stewart (guitar)
Chris Taylor (flute)
Steve Vaughan (guitar)
Mike Vickers (synthesizer)
Brian Warren (flute)
Mick Weaver (keyboards)
Andrew Lloyd Webber (keyboards, synthesizer)
Alan Weighall (bass)
Kenny Wheeler (trumpet)
Strings of the City of London Ensemble
backgroumd vocals conducted by Geoffrey Mitchell:
Pat Arnold – Tony Ashton – Tim Rice – Peter Barnfeather – Madeline Bell – Brian Bennett – Lesley Duncan – Kay Garner – Barbara Kay – Neil Lancaster – Terry Saunders – Alan M. O’Duffy
Children’s choir conducted by Alan Doggett on 01.
The Trinidad Singers conducted by Horace James on superstar



CD 1:
01. Overture 3.59
02. Heaven On Their Minds 4.22
03. What’s The Buzz/Strange Thing Mystifying 4.13
04. Everything’s Alright 5.14
05. This Jesus Must Die 3.37
06. Hosanna 2.09
07. Simon Zealotes/Poor Jerusalem 4.47
08. Pilate’s Dream 1.28
09. The Temple 5.43
10. Everything’s Alright (reprise) 0.32
11. I Don’t Know How To Love Him 3.38
12. Damned for All Time/Blood Money 5.09

CD 2:
13. The Last Supper 7.08
14. Gethsemane (I Only Want to Say) 5.33
15. The Arrest 3.21
16. Peter’s Denial 1.28
16. Pilate and Christ 2.44
17. King Herod’s Song (Try It and See) 3.03
18. Judas’ Death 4.15
19. Trial Before Pilate (Including the 39 Lashes) 5.13
20. Superstar 4.16
21. The Crucifixion 4.06
22. John Nineteen: Forty-One 2.09

Music written by Andrew Lloyd Webber
Lyrics written by Tim Rice


The US labels

Bread – Same (1969)

FrontCover1.jpgBread is the self-titled debut album by soft rock band Bread, released in 1969.

Bread peaked at #127 on the Billboard Pop Albums chart. The re-recorded track “It Don’t Matter to Me” was issued as a single after the release of Bread’s second album, On the Waters, and the #1 success of “Make It with You” in the summer of 1970. “It Don’t Matter to Me” peaked at #2 and #10 on Billboard’s Adult Contemporary and Pop Singles charts, respectively.

The album’s cover, with whimsical depictions of the band members photos on paper currency, refers to contemporary slang equating “bread” to money. (by wikipedia)

Hi, kids! Here’s another great group, made just as you like ’em! Straight from LA, group capital of the world!! You’re gonna love ’em! You’ve got to if you like the Beatles, Byrds, Bee Gees, Buffalo Springfield, Johnny Rivers, Van Dyke Parks, Randy Newman, or male clotheshorses with giant collars.

Make no mistake, kids, this album is no synthetic bullshit. The three boys in the group wrote all their own songs, and we’re proud of them. They also played all their own instruments, everything from guitars to recorders to Moogs, and their lyrics have the simple eloquence of all folk poetry: “I looked into my morning mirror/And it revealed some things to me that I had not been able to see/I saw someone that I’m not sure I want to be/An empty, lonely face was staring back at me …”


Isn’t that touching? Ah, but you should hear the music that goes with it—the epitome of Taste. “A highly refined amalgam of the sweetest, most successful elements in both rock and country and western”. Oh, by the way, all you “over-thirties” will love this album too. It never descends to the grating noise and unspeakable vulgarities so many groups find necessary to get attention today. These boys are real professionals. Guaranteed never to hit a bad note. Of course, there will be some cynical critics who’ll say that Bread’s music is bland, one-dimensional, repetitious and even bubble-gummy. But we need not listen to these malcontents—they’d probably rather just watch some maniac smash his guitar to bits on his amplifier or something anyway. Why expect people with no respect for high musical standards to like this album? And let me say that the standards are the very highest: those of “Family Doctor,” for example, were set by the Band, while “Don’t Shut Me Out” should please all you Buffalo Springfield fans, and “London Bridge” could easily have been written by the Bee Gees and arranged by Van Dyke Parks. All of the boys sing: just imagine a combination of the Everly Brothers, Marty Balin and Johnny Rivers singing harmony together. Wheh!


Bread’s songs are mostly about love (just good old rock and roll), but they have not shut their eyes to all the misery and injustice in the world today. Dig, for instance, this stark evocation of alienation: “I drug myself outside to face the people that I knew would be there/And though they walked along pretending not to care/I knew behind my back they’d point and laugh and stare …’

Buy this album today. You’re sure to get your money’s worth: twelve highly polished numbers, just like a year’s supply of hit singles! Catchy, bright, snappy, wholesome. A new incarnation of images you’ll love forever. It might be best to let the boys themselves have the last word: “I’m driftin’ down the street/Askin’ of all I meet/Don’t you know me from somewhere / Hazel eyes and curly hair …?” (Rolling Stone 1060, No. 41. Lester Bangs)


David Gates (bass, guitar, percussion, piano, violin, keyboards, viola, vocals, synthesizer)
James Griffin (vocals, guitar, percussion, keyboards)
Robb Royer (guitar, percussion, piano, piano, recorder, flute, bass, background vocals)
Ron Edgar (drums)
Jim Gordon (drums)

01. Dismal Day (Gates) 2.22
02. London Bridge (Gates) 2.32
03. Could I (Griffin/Royer) 3.32
04. Look At Me (Gates) 2.44
05. The Last Time (Griffin/Royer) 4.11
06. Any Way You Want Me (Griffin/Royer) 3.16
07. Move Over (Griffin) 2.37
08. Don’t Shut Me Out (Gates) 2.40
09. You Can’t Measure the Cost (Gates) 3.23
10. Family Doctor (Griffin/Royer) 2.15
11. It Don’t Matter To Me (Gates) 2.43
12. Friends And Lovers (Griffin/Royer) 3.55




Joe Dassin – Les Champs-Elysees (1969)

FrontCover1Joseph Ira Dassin (5 November 1938 – 20 August 1980) was an American-born French singer-songwriter.

Dassin was born in New York City to American film director Jules Dassin (1911–2008) and Béatrice Launer (1913–1994), a New York-born violinist, who after graduating from a Hebrew High School in the Bronx studied with the British violinist Harold Berkely at the Juilliard School of Music. His father was of Ukrainian-Jewish and Polish-Jewish extraction, his maternal grandfather was an Austrian-Jewish immigrant, who arrived in New York with his family at age 11.

He began his childhood first in New York City and Los Angeles. However, after his father fell victim to the Hollywood blacklist in 1950, he and his family moved from place to place across Europe.

JorDassin1Dassin studied at the International School of Geneva and the Institut Le Rosey in Switzerland, and graduated in Grenoble. Dassin moved back to the United States, where he attended the University of Michigan in Ann Arbor, Michigan from 1957 to 1963, winning an undergraduate Hopwood Award for fiction in 1958 and earning a Bachelor of Arts in 1961 and a Master of Arts in 1963, both in Anthropology.

Moving to France, Dassin worked as a technician for his father and appeared as an actor in supporting roles, among others in a number of movies (three) directed by his father, including Topkapı (1964) in which he played the role of Josef. He met Valentin Teboul in Paris writing the famous Champs-Elysées Song in 1964.

On 26 December 1964, Dassin signed with CBS Records, making him the first French singer to be signed with an American record label.

JorDassin2By the early 1970s, Dassin’s songs were at the top of the charts in France, and he became immensely popular there. He recorded songs in German, Spanish, Italian, and Greek, as well as French and English. Amongst his most popular songs are “Les Champs-Élysées” (Originally “Waterloo Road”) (1969), “Salut les amoureux” (originally “City of New Orleans”) (1973), “L’Été indien” (1975), and “Et si tu n’existais pas” (1975).

Joe Dassin has appeared in the following movies:

1957 : He Who Must Die, by Jules Dassin : Benos
1958 : The Law (1959 film), by Jules Dassin : Nico
1964 : Topkapi (film), by Jules Dassin : Joseph
1965 : Lady L, by Peter Ustinov : police inspector
1965 : Nick Carter and Red Club, by Jean-Paul Savignac : Janos Adler
Joe Dassin with his parents, Jules Dassin and Béatrice Launer, in Paris in 1970.

Dassin married Maryse Massiéra in Paris on 18 January 1966. Their son Joshua was born two and a half months early on 12 September 1973, and died five days later. Overcome by grief, Joe became deeply depressed. Despite all their efforts, their marriage did not survive. In 1977, one year after their move to their newly built home in Feucherolles, just outside Paris, they divorced.


Joe Dassin with Maryse Massiéra

On 14 January 1978, Dassin married Christine Delvaux in Cotignac. Their first son, Jonathan, was born on 14 September 1978; and their second son, Julien, arrived on 22 March 1980. Christine died in December 1995.

Dassin died from a heart attack during a vacation to Tahiti on 20 August 1980. He was survived by his two sons, both living in France, as well as his two younger sisters, Richelle (b. 1940) and Julie (b. 1945) and his parents Jules Dassin (1911–2008) and Béatrice Launer (1913–2005). His body is interred in the Beth Olam section of Hollywood Forever Cemetery in Hollywood, CA. (wikipedia)


Joe Dassin with Christine Delvaux

Where Serge Gainsbourg was Paris to the core and would export his work in many different styles, Joe Dassin was imported from Brooklyn, New York and focused on bright French pop.

This third album was his commercial breakthrough on the strength of the title track—a Magazine1969Continental reworking of the Jason Crest tune “Waterloo Road”—that would pop up years later on the soundtrack to The Darjeeling Limited and as a drinking song in Russian nightclubs. Some compositions nod to his Jewish heritage via the onomatopoeia (“Siffler sur la colline”) and orchestration (“Le Chemin de papa”) of klezmer and Yiddish theater.

We also hear hints of the early rustic arrangements of The Kinks (“La Bande à Bonnot”), Brill Building songsmithing (“Sunday Times”), even the Parisian jazz legacy (“La Violette africaine”).

Sure, your modern sensibilities might detect kitsch on the surface of this LP, but trust us when we say this is no mere novelty (by Adam Blyweiss)


Joe Dassin (vocals)
Orchestra conducted by Johmmy Arthey
Orchestra conducted by John Musy (on 04.)


01. Le Chemin De Papa (Dassin/Delanoë) 2.31
02. Le Petit Pain Au Chocolat (Bigazzi/Delanoë/Del Turco) 3.26
03. Les Champs-Elysées (Deighan/Wilsh/Delanoë) 2.40
04. Siffler Sur La Colline (Pace/Thomas/Rivat/Pilat/Panzeri) 2.40
05. Mon Village Du Bout Du Monde (Dassin/Delanoë/Traditional) 3.21
06. Me Que – Me Que (Aznavour/Bécaud) 2.39
07. Ma Bonne Etoile (Pace/Panzeri/Delanoë) 2.40
08. Un Peu Comme Toi (Nash/Dassin) 3.00
09. La Bande A Bonnot (Thomas/Rivat/Dassin) 2.52
10. La Violette Africaine (J. Dassin/R. Dassin) 3.28
11. Le Temps Des Oeufs Au Plat (Lemesle/J. Dassin/R. Dassin) 2.54
12. Sunday Times (J. Dassin/R. Dassin) 2.22



Trio Beyond – Live At The Umbria Jazz Festival (2006)

FrontCover1.jpgTrio Beyond is an avant-jazz fusion organ trio, formed in 2003.

The trio was formed by drummer Jack DeJohnette and guitarist John Scofield, after conversations between the pair about how important Tony Williams was for them in that he provided musical influence as drummer and bandleader. Organist Larry Goldings, another admirer of Williams’ uncanny sense of time and rhythmic pulse, was invited to join Scofield and DeJohnette to form the trio that pays tribute to The Tony Williams Lifetime band of the 1970s.

The trio have performed many concerts since their formation. A concert from the Queen Elizabeth Hall at the 2004 London Jazz Festival was released in 2006 on ECM. The double disc album was named Saudades. (by wikipedia)

Here´s a broadcast recrding from the Umbria Jazz Festival, Perudia/Italy.

With the exception of Miles Davis’s Bitches Brew, Tony Williams’s group Lifetime–the pioneering late ’60s trio featuring organist Larry Young, and guitarist John McLauglin–wrote the book on jazz-rock fusion. This 2004 London concert features two former Miles sidemen as well as Jack DeJohnette, John Scofield, and Larry Goldings, who was contacted by Williams to join his band before his untimely death in 1997.


It brilliantly updates music from Lifetime’s seminal recordings Emergency! and Turn it Over. DeJohnette succeeded Williams in Davis’s band, and his articulated drumming drives Scofield’s blues-trenched, Hendrixian guitar licks and Goldings’s evocative organ voicings, electric piano, and digital sampling. Their rewiring of the combustible blues “If,” the spacey ballad “As One,” and the rock-out numbers “Spectrum” and “Emergency” shows that this music is as durable as it is dynamic. The cooperatively composed title track further highlights Williams’s never-ending influence and the exceptional improvisational acumen of these musicians. (by Eugene Holley, Jr.)


Jack DeJohnette (drums)
Larry Goldings (organ)
John Scofield (guitar)


01. Punjab (Henderson) 9.41
02. Medley 18.38
02.1. As One (Goldings)
02.2. Allah Be Praised (Young)
02.3. Saudades (DeJohnette/Scofield/Goldings)
03. If (Henderson)
04. Pee Wee (Williams) 14.29
05. Emergency (Williams) 18.06
06. Out Of The City (Scofield) 7.48



ZZ Top – Tres Hombres (1973)

FrontCover1Tres Hombres (Spanish for “three men”) is the third album by the American rock band ZZ Top. It was released in 1973. The album was the first time the band worked with Terry Manning as engineer. It was a successful combination as the release was the band’s commercial breakthrough. In the US, the album entered the top ten while the single “La Grange” reached number 41 on the singles charts (meanwhile, “La Grange” debuted number 33 on the American Top 40 broadcast on June 29, 1974).Tres Hombres (Spanish for “three men”) is the third album by the American rock band ZZ Top. It was released in 1973. The album was the first time the band worked with Terry Manning as engineer. It was a successful combination as the release was the band’s commercial breakthrough. In the US, the album entered the top ten while the single “La Grange” reached number 41 on the singles charts (meanwhile, “La Grange” debuted number 33 on the American Top 40 broadcast on June 29, 1974).

At the height of ZZ Top’s success in the mid-1980s a digitally remixed version of the recording was released on CD and the original 1973 mix was no longer issued. The remix version created controversy among fans because it significantly changed the sound of the instruments, especially drums. The remix version was used on all early CD copies and was the only version available for over 20 years. A remastered and expanded edition of the album was released on February 28, 2006, which contains three bonus live tracks.


The 2006 edition is the first CD version to use Manning’s original 1973 mix. Subsequent releases on digital platforms such as iTunes have used the original mix as well.Reception
The album was released in July 1973 to a lukewarm reception. Steve Apple in a September 1973 review for Rolling Stone felt that while the “Southern rock & roll sound” was becoming popular, ZZ Top themselves were “only one of several competent Southern rocking bands”, though they had “an advantage over most white rockers” because they “sound black”. Apple felt that ZZ Top had “the dynamic rhythms that only the finest of the three-piece bands can cook up. Billy Gibbons plays a tasty Duane Allman lead with Dusty Hill and Frank Beard pounding out the funky bottom”, and were “one of the most inventive of the three-piece rockers” but wondered when “audiences will get tired of hearing the same … ‘Poot yawl hans together’ patter.”


In 2003, the album was ranked number 498 on Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2012, the album ranked at number 490 on a revised list. The album peaked at number 8 on the Billboard 200. In July 2013, 40 years after its release, the album was described by Andrew Dansby in the Houston Chronicle as “… full of characters and doings so steeped in caricature – yet presented straight-faced – as to invite skepticism. The album is stuffed with color and flavor, much like its famous gate-fold photo on the inside: a gut-busting couple of plates of food from the much-beloved but now-closed Leo’s Mexican Restaurant on Lower Westheimer.”
The two tracks “Waitin’ for the Bus” and “Jesus Just Left Chicago” segue seamlessly into each other. Although there are many stories of it being a “mistake”, it is in fact an intentional effect according to the album’s engineer Terry Manning, who performed the edit.
The only single released from the album was “La Grange” (b/w “Just Got Paid” from the band’s second album Rio Grande Mud) which peaked at number 41 on the Billboard Hot 100. (by wikipedia)


Tres Hombres is the record that brought ZZ Top their first Top Ten record, making them stars in the process. It couldn’t have happened to a better record. ZZ Top finally got their low-down, cheerfully sleazy blooze-n-boogie right on this, their third album. As their sound gelled, producer Bill Ham discovered how to record the trio so simply that they sound indestructible, and the group brought the best set of songs they’d ever have to the table. On the surface, there’s nothing really special about the record, since it’s just a driving blues-rock album from a Texas bar band, but that’s what’s special about it. It has a filthy groove and an infectious feel, thanks to Billy Gibbons’ growling guitars and the steady propulsion of Dusty Hill and Frank Beard’s rhythm section. They get the blend of bluesy shuffles, gut-bucket rocking, and off-beat humor just right. ZZ Top’s very identity comes from this earthy sound and songs as utterly infectious as “Waitin’ for the Bus,” “Jesus Just Left Chicago,” “Move Me on Down the Line,” and the John Lee Hooker boogie “La Grange.” In a sense, they kept trying to remake this record from this point on — what is Eliminator if not Tres Hombres with sequencers and synthesizers? — but they never got it better than they did here. (by Stephen Thomas Erlewine)


Frank Beard (drums, percussion)
Billy Gibbons (guitar, vocals)
Dusty Hill (bass, background vocals, vocals on 03.)
James Harman (harmonica on 01. + 02.)


01. Waitin’ For The Bus (Gibbons/Hill) 2.53
02. Jesus Just Left Chicago (Gibbons/Hill/Beard) 3.30
03. Beer Drinkers & Hell Raisers (Gibbons/Hill/Beard) 3.26
04. Master Of Sparks (Gibbons) 3.32
05. Blue And Righteous (Gibbons) 3.18
06. Move Me On Down The Line (Gibbons) 2.32
07. Precious And Grace (Gibbons) 3.10
08. La Grange (Gibbons(Hill/Beard) 3.53
09. Sheik (Gibbons/Hill) 4.07
10. Have You Heard? (Gibbons/Hill) 3.15
11. Waitin’ For The Bus (live) (Gibbons/Hill) 2.42
12. Jesus Just Left Chicago (live) (Gibbons/Hill/Beard) 4.03
13. La Grange (live) (Gibbons/Hill/Beard) 4.44



Rare German single (front + back cover)


Record ad

Swing de Gitanes – Muza (2011)

FrontCover1.jpgSwing de Gitanes refreshing virtuosity creates a unique musical experience derived from the color and excitement of Gypsy music, the elegance of French melodies, the infectious bounce of American swing and the charm of the middle east. The band’s original compositions influenced by the Gypsy guitarist Django Reinhardt and by the Israeli melting pot of music that the members of the band grew up on: Russian folk songs, Spanish- Ladino songs, Greek music and more…
Over its tenth year of varying activity, Swing de Gitanes has been in the forefront of the Gypsy Swing genre in Israel and has gleaned ample praise – with hundreds of performances in the most acclaimed stages and festivals.
The band has three albums under its belt, as well as hundreds of performances, participation in major Israeli music festivals, collaborations with leading local artists and collaboration with leading international Gypsy Swing and Jazz luminaries.  (by

What a great album … and I will call this music “world music”  Enjoy the beautiful sound of Swing de Gitanes !

Photo By

Ori Ben-Zvi (guitar)
Yaakov Hoter (guitar)
Oren Sagi (bass)
Daniel Weltlinger (violin on 04., 06., 11. + 14.)


01. You Made Me Love You (Monaco) / I Can’t Give You Anything But Love (Mchugh) 3.36
02. The Godfather Love Theme – Speak Softly Love (Rota) 4.19
03. J’attendrai (Oliveri) 4.22
04. Sweet Sue (Harris/Young) 2.56
05. Montagne Sainte Genevieve (Reinhardt) 4.37
06. Rhythm Israel (Hoter) 2.56
07. Blue Drag (Myrow) 4.18
08. Honeysuckle Rose (Waller) 2.25
09. Honeymoon (Hoter) 3.58
10. Nuages (Reinhardt) 4.20
11. Burning Guatemala (Ben Zvi) 3.32
12. Tchavolo Swing (Schmitt) 4.49
13. Honey Pie (Lennon/Mccartney) 3.12
14. Black And White (Reinhardt) 2.43
15. Danube (lvanovici) 4.33