2167 - THE BEACH BOYS - That's Why God Made The Radio (2012)

THE BEACH BOYS
''THAT'S WHY GOD MADE THE RADIO''
JUN 5 2012
CAPITOL
38:47

1/Think About the Days
Larry Millas / Jim Peterik / Joe Thomas / Brian Wilson/1:27
2/That's Why God Made the Radio
Larry Millas / Jim Peterik / Joe Thomas / Brian Wilson/3:18
3/Isn't It Time
Mike Love / Larry Millas / Jim Peterik / Brian Wilson/3:45
4/Spring Vacation
Mike Love / Joe Thomas / Brian Wilson/3:06
5/The Private Life of Bill and Sue
Joe Thomas / Brian Wilson/4:17
6/Shelter
Joe Thomas / Brian Wilson/3:02
7/Daybreak Over the Ocean
Mike Love/4:20
8/Beaches in Mind
Mike Love / Joe Thomas / Brian Wilson/2:38
9/Strange World
Joe Thomas / Brian Wilson/3:03
10/From There to Back Again
Joe Thomas / Brian Wilson/3:23
11/Pacific Coast Highway
Joe Thomas / Brian Wilson/1:47
12/Summer's Gone
Jon Bon Jovi / Joe Thomas / Brian Wilson/4:41

Adrian Baker /Vocals
Alisha Bauer /Cello
Jeff "Skunk" Baxter /Guitar, Guitar (Electric)
Eddie Bayers /Drums
Scott Bennett /Clavinet, Organ
Jessica Bish /Snaps
Curt Bisquera /Drums
Chris Bleth /Oboe
Nelson Bragg /Percussion, Timpani
Tom Bukovic /Guitar, Guitar (Acoustic), Guitar (Electric)
John Cowsill /Drums, Snaps
Chad Cromwell /Drums
Joel Deroulin /Violin
Paul Fauerso /Keyboard Arrangements, Percussion Arrangement, Producer, Vocal Arrangement
Jeffrey Foskett /Guitar (Acoustic), Snaps, Vocals
Vanessa Freebarin-Smith /Cello
Probyn Gregory /Banjo, French Horn, Guitar (Acoustic), Trombone
Gary Griffin /Accordion
John Hobbs /Piano, Tack Piano
Cliff Hugo /Bass
Sharon Jackson /Violin
Al Jardine /Vocals, Whistle
Bruce Johnston /Vocals
Peter Kent /Violin
Songa Lee /Violin
Christian Love /Vocals
Hayleigh Love /Vocals
Mike Love /Vocals
David Marks /Guitar
Skip Masters /Voiceover
Paul Mertens /Flute, Sax (Baritone), String Arrangements
Larry Millas /Bass
Jim Peterik /Percussion, Ukulele
Michael Rhodes /Bass
Jim Riley /Guitar
Julie Rogers /Violin
Nick Rowe /Guitar
Brett Simons /Bass
David Stone /Double Bass
Scott Totten /Guitar (Acoustic), Guitar (Electric)
Nick Walusko /Guitar
Brian Wilson /Producer, Vocals
John Wittenburg /Violin

REVIEW
by John Bush Plans for the Beach Boys' 50th anniversary tour came together surprisingly quickly, but nothing prepared fans for a full studio album just six months after their official reunion. Further surprises included apparently cordial relations between all surviving members, Brian Wilson in the producer's booth, the presence of 12 original songs on the album, and the complete absence of any attempt to cash in on fond memories of "Kokomo" or Endless Summer or "Do It Again" or "Help Me, Rhonda" -- depending on which generation the band might want to court. That's Why God Made the Radio is as good as it gets for those who love their Beach Boys. It includes frequently gorgeous charts from Wilson and just a little sweetening to the songs (musically with help from Wilson's regular band and arranger Paul Mertens, lyrically with help from Joe Thomas and Jim Peterik). The album is a record of two halves -- or sides, in case the band was thinking back to famous side-by-side classics like 1965's Today! The first half is mostly upbeat, with highlights "Isn't It Time" and the title track evoking pleasant curios from late-'60s LPs like Wild Honey or Friends. The second half is largely reflective, with songs that reveal the band's feelings about time passing and life ending (much more than any other material in their entire careers). Granted, no latter-day Beach Boys record comes without missteps, but fortunately there are only two. "Spring Vacation" is embarrassingly chummy, with the lines "As for the past, it's all behind us/Happier now, look where life finds us/Singing our songs is enough reason/Harmony boys is what we believe in/Some said it wouldn't last/All we can say is we're still having a blast." Meanwhile, the downright odd "Private Life of Bill and Sue" takes a fictional couple into the reality-show realm for a misguided cultural critique. For those worried about either Love or Wilson dominating the proceedings, it's clear to see that not only Wilson gets his moment in the sun. For Mike Love, it's "Daybreak Over the Ocean," which could have come off as an update of "Kokomo"'s tropical motif (with Mike crooning a little too close to your ear), but is thankfully treated very lightly. For Al Jardine, it's "From There to Back Again," easily the most beautiful song on the album, a Side 2 ballad epic that Wilson frames impeccably around Jardine's voice, aging but still sweet. (It ranks as one of their best ballads since the '60s.) These may not be the songs that will ever light up their live sets, but together they form what is easily the best Beach Boys record in 35 years -- and a surprisingly cohesive, reflective, listenable one at that.

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2166 - JOE ELY - Live At Liberty Lunch (1990)

JOE ELY
''LIVE AT LIBERTY LUNCH''
OCT 16 1990
GEFFEN
63:30

1. Me And Billy The Kid/3:51
2. Are You Listenin' Lucky?/3:37
3. Grandfather Blues/4:18
4. B.B.Q. & Foam/Ed Vizard/4:15
5. Row Of Dominoes/Butch Hancock/4:22
6. Dallas/Jimmie Dale Gilmore/4:09
7. Where Is My Love?/Randy Banks/5:30
8. She Gotta Get The Gettin'/5:06
9. Drivin' To The Poorhouse In A Limousine/4:14
10. Cool Rockin' Loretta/Eddie Beethoven, Joe Ely/9:23
11. Musta Notta Gotta Lotta/3:23
12. Letter To L.A./12:01
13. If You Were A Bluebird/Butch Hancock/4:17
Tracks By Eli Except As Indicated

Joe Ely/Guitar, Vocals
David Grissom/Guest Artist, Electric Guitar, Backing Vocals
Davis McLarty/Guest Artist, Drums
Jimmy Pettit/Guest Artist, Bass Guitar, Backing Vocals

REVIEW
by Mark Deming
The standard-issue live album usually works as a "greatest-hits" disc with some crowd noise in the background, but since Joe Ely has never been blessed with hit records in the traditional sense, for 1990's Live at Liberty Lunch he was able to pull from the cream of his catalog rather than playing favorites, and thanks to his well-documented strength as a live performer, he was able to turn all 13 numbers into crowd-pleasers no matter how well (or little) known they were. Recorded during a two-night stand at the fabled Austin, TX venue, Live at Liberty Lunch lacks the fire and intensity of Ely's superb 1980 concert set Live Shots, but the ten years that separate the two albums isn't all to Live at Liberty Lunch's disadvantage. While the earlier album may have drawn most of its songs from three of Ely's best albums, here he's able to rescue some superb songs that got lost in the shuffle ("Cool Rockin' Loretta" and "She Gotta Get the Gettin'" prove there was some fine material on Hi-Res despite the wrong-headed production), and the otherwise unavailable "Drivin' to the Poorhouse in a Limousine" is one of Ely's best rockers. Ely's band is in sterling form here (especially David Grissom on guitar and Davis McLarty on drums), and if the tone of this album is more mature and subdued than the raucous Live Shots, Ely is more than up to the challenge of making the songs communicate, and from the first verse of "Me and Billy the Kid," he has the audience in the palm of his hand. In short, this preserves a truly gifted writer and performer having a great night in front of an appreciative audience in his hometown, and in this case, that's the formula for a superior live disc.

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2165 - STAR ANNA & THE LAUGHING DOGS - The Only Thing That Matters (2009)

STAR ANNA & THE LAUGHING DOGS
''THE ONLY THING THAT MATTERS''
APR 2009
LOCAL 638 RECORDS
52:40

1. Sleep My Darlin'/4:03
2. Through The Winter/4:08
3. Hawks/3:26
4. Where I Come From/4:14
5. Spinning My Wheels/4:33
6. Burn/3:55
7. For Now/5:02
8. Restless Water/5:18
9. Lonely Ride Home/3:21
10. All Her Ghosts/3:58
11. Running Man/7:13
12. Tripping Wire/3:29
All Tracks By Star Anna

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2164 - TEN YEARS AFTER - Think About The Times: The Chrysalis Years 1969 To 1972, Disc Three (2010)

TEN YEARS AFTER
''THINK ABOUT THE TIMES: THE CHRYSALIS YEARS 1969 TO 1972, DISC THREE''
JUL 26 2010
CHRYSALIS RECORDS LTD.
216:02

DISC ONE
1. Bad Scene/3:30
2. Two Time Mama/2:02
3. Stoned Woman/3:21
4. Good Morning Little Schoolgirl/7:10
5. If You Should Love Me/5:24
6. I Don't Know That You Don't Know My Name/2:06
7. The Stomp/4:30
8. I Woke Up This Morning/5:32
9. If You Should Love Me (Single B- Side)/4:14
10. Sugar The Road/4:06
11. Working On The Road/4:17
12. 50,000 Miles Beneath My Brain/7:37
13. Year 3,000 Blues/2:25
14. Me And My Baby/4:18
15. Love Like A Man/7:30
16. Circles/3:58
17. As The Sun Still Burns Away/4:46

DISC TWO
1. Love Like A Man (Single Edit)/3:08
2. I'm Coming On/3:47
3. My Baby Left Me/5:23
4. Think About The Times/4:43
5. I Say Yeah/5:17
6. The Band With No Name/1:37
7. Gonna Run/6:02
8. She Lies In The Morning/7:24
9. Sweet Little Sixteen/4:11
10. One of These Days/5:57
11. Here They Come/4:35
12. I'd Love to Change the World/3:44
13. Over the Hill/2:28
14. Baby Won't You Let Me Rock 'N' Roll You/2:14
15. Once There Was a Time/3:22
16. Let the Sky Fall/4:20
17. Hard Monkeys/3:11
18. I've Been There Too/5:45
19. Uncle Jam/1:57

DISC THREE
1. I'd Love To Change The World (Single Edit)/3:16
2. You Give Me Loving/6:31
3. Convention Prevention/4:22
4. Turned Off TV Blues/5:12
5. Standing At The Station/7:08
6. You Can't Win Them All/4:05
7. Religion/5:50
8. Choo Choo Mama (1998 Digital Remaster)/4:01
9. Tomorrow I'll Be Out Of Town/4:28
10. Rock 'N' Roll Music To The World/3:47
11. Choo Choo Mama (Single Edit)/3:15
12. Love Like A Man (Live) (Single B- Side)/8:16

REVIEW
by Hal Horowitz
Americans might not understand the title of this Ten Years After collection covering the titular years. That's because the band was not signed to Chrysalis in the States. It was in the U.K. though, and the label was fortunate to be associated with the Alvin Lee-fronted act for its most popular and arguably finest work (Ssssh, 1969; Cricklewood Green, 1970; Watt, also 1970; A Space in Time, 1971, and Rock & Roll Music to the World, 1972). The original four-piece would only release one more studio LP and one double-live package (both for Columbia) before calling it quits in 1974 after the tepid response to Positive Vibrations. This three-disc set presents the albums in order and adds a few negligible B-sides and single edits. The sound is excellent throughout because the compilers predominantly used the 2004 remasters, an enormous improvement over the previous editions. The difference is immediately noticeable on the bass and keyboard parts that were formerly often lost in the mix. The music jumps out of the speakers belying the late-'60s/early-'70s recording technology. So what's not to like? First, this was a perfect opportunity to unearth and add unreleased material, such as the two songs that were tacked onto the reissue of Cricklewood Green, but they're M.I.A. here. Also, there are no new liner notes, no fresh pictures (nearly all the graphics are taken from the existing album artwork), and the somewhat shoddy layout of the skimpy eight-page book looks like it was thrown together in a few hours. Considering how terrific this music now sounds, this was a missed opportunity to issue a classy package that even fans who own the discs would want to include in their collection. Musically, a closer listen to Ten Years After reveals that there was more to the group than just the sped-up, psychedelic boogie blues and Lee's patented, fast-fingered riffing that they typically get pigeonholed for. Although Lee's lyrics weren't particularly memorable, the band matured during these years, resulting in a more folk-oriented slant for their biggest seller, A Space in Time, and Chick Churchill's restrained yet effective use of synthesizers without dragging the proceedings into prog on Rock & Roll Music to the World. Another listen to the oft-derided Watt shows that, although it doesn't approach the heights of its Cricklewood Green predecessor, there is a certain charm in its lackadaisical, murky style. Rock & Roll Music is another unsung gem of sorts, a return to Ten Years After's boogie beginnings with contemporary -- at least for its time -- trappings that's worth reappraisal, especially with the remixed audio revealing subtleties in the recording. Leo Lyons' bass work is impressively present and shows him to be an imaginative and talented musician. There should have been more care applied to the graphics and presentation of this package but newcomers to the band can start here and pick up the remaining entries in Ten Years After's catalog afterwards.

BIOGRAPHY
by William Ruhlman
Ten Years After is a British blues-rock quartet consisting of Alvin Lee (born December 19, 1944), guitar and vocals; Chick Churchill (born January 2, 1949), keyboards; Leo Lyons (born November 30, 1944) bass; and Ric Lee (born October 20, 1945), drums. The group was formed in 1967 and signed to Decca in England. Their first album was not a success, but their second, the live Undead (1968) containing "I'm Going Home," a six-minute blues workout by the fleet-fingered Alvin, hit the charts on both sides of the Atlantic. Stonedhenge (1969) hit the U.K. Top Ten in early 1969. Ten Years After's U.S. breakthrough came as a result of their appearance at Woodstock, at which they played a nine-minute version of "I'm Going Home." Their next album, Ssssh, reached the U.S. Top 20, and Cricklewood Green, containing the hit single "Love Like a Man," reached number four. Watt completed the group's Decca contract, after which they signed with Columbia and moved in a more mainstream pop direction, typified by the gold-selling 1971 album A Space in Time and its Top 40 single "I'd Love to Change the World." Subsequent efforts in that direction were less successful, however, and Ten Years After split up after the release of Positive Vibrations in 1974. They reunited in 1988 for concerts in Europe and recorded their first new album in 15 years, About Time, in 1989 before disbanding once again. In 2001, Ric Lee was preparing the back catalog for rerelease when he discoverd the Live at the Fillmore East 1970 tapes. He approached Alvin about getting back together to promote the lost album, but Alvin Lee declined. The rest of the band was up for it, though, and together with guitarist Joe Gooch, Ten Years After started touring again. In addition to touring the world, this new incarnation recorded their first new material in about a decade and a half and released Now in 2004 and added the live double CD set Roadworks in 2005.

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2163 - TEN YEARS AFTER - Think About The Times: The Chrysalis Years 1969 To1972, Disc Two (2010)

TEN YEARS AFTER
''THINK ABOUT THE TIMES: THE CHRYSALIS YEARS 1969 TO 1972, DISC TWO''
JUL 26 2010
CHRYSALIS RECORDS LTD.
216:02

DISC ONE
1. Bad Scene/3:30
2. Two Time Mama/2:02
3. Stoned Woman/3:21
4. Good Morning Little Schoolgirl/7:10
5. If You Should Love Me/5:24
6. I Don't Know That You Don't Know My Name/2:06
7. The Stomp/4:30
8. I Woke Up This Morning/5:32
9. If You Should Love Me (Single B- Side)/4:14
10. Sugar The Road/4:06
11. Working On The Road/4:17
12. 50,000 Miles Beneath My Brain/7:37
13. Year 3,000 Blues/2:25
14. Me And My Baby/4:18
15. Love Like A Man/7:30
16. Circles/3:58
17. As The Sun Still Burns Away/4:46

DISC TWO
1. Love Like A Man (Single Edit)/3:08
2. I'm Coming On/3:47
3. My Baby Left Me/5:23
4. Think About The Times/4:43
5. I Say Yeah/5:17
6. The Band With No Name/1:37
7. Gonna Run/6:02
8. She Lies In The Morning/7:24
9. Sweet Little Sixteen/4:11
10. One of These Days/5:57
11. Here They Come/4:35
12. I'd Love to Change the World/3:44
13. Over the Hill/2:28
14. Baby Won't You Let Me Rock 'N' Roll You/2:14
15. Once There Was a Time/3:22
16. Let the Sky Fall/4:20
17. Hard Monkeys/3:11
18. I've Been There Too/5:45
19. Uncle Jam/1:57

DISC THREE
1. I'd Love To Change The World (Single Edit)/3:16
2. You Give Me Loving/6:31
3. Convention Prevention/4:22
4. Turned Off TV Blues/5:12
5. Standing At The Station/7:08
6. You Can't Win Them All/4:05
7. Religion/5:50
8. Choo Choo Mama (1998 Digital Remaster)/4:01
9. Tomorrow I'll Be Out Of Town/4:28
10. Rock 'N' Roll Music To The World/3:47
11. Choo Choo Mama (Single Edit)/3:15
12. Love Like A Man (Live) (Single B- Side)/8:16

REVIEW
by Hal Horowitz
Americans might not understand the title of this Ten Years After collection covering the titular years. That's because the band was not signed to Chrysalis in the States. It was in the U.K. though, and the label was fortunate to be associated with the Alvin Lee-fronted act for its most popular and arguably finest work (Ssssh, 1969; Cricklewood Green, 1970; Watt, also 1970; A Space in Time, 1971, and Rock & Roll Music to the World, 1972). The original four-piece would only release one more studio LP and one double-live package (both for Columbia) before calling it quits in 1974 after the tepid response to Positive Vibrations. This three-disc set presents the albums in order and adds a few negligible B-sides and single edits. The sound is excellent throughout because the compilers predominantly used the 2004 remasters, an enormous improvement over the previous editions. The difference is immediately noticeable on the bass and keyboard parts that were formerly often lost in the mix. The music jumps out of the speakers belying the late-'60s/early-'70s recording technology. So what's not to like? First, this was a perfect opportunity to unearth and add unreleased material, such as the two songs that were tacked onto the reissue of Cricklewood Green, but they're M.I.A. here. Also, there are no new liner notes, no fresh pictures (nearly all the graphics are taken from the existing album artwork), and the somewhat shoddy layout of the skimpy eight-page book looks like it was thrown together in a few hours. Considering how terrific this music now sounds, this was a missed opportunity to issue a classy package that even fans who own the discs would want to include in their collection. Musically, a closer listen to Ten Years After reveals that there was more to the group than just the sped-up, psychedelic boogie blues and Lee's patented, fast-fingered riffing that they typically get pigeonholed for. Although Lee's lyrics weren't particularly memorable, the band matured during these years, resulting in a more folk-oriented slant for their biggest seller, A Space in Time, and Chick Churchill's restrained yet effective use of synthesizers without dragging the proceedings into prog on Rock & Roll Music to the World. Another listen to the oft-derided Watt shows that, although it doesn't approach the heights of its Cricklewood Green predecessor, there is a certain charm in its lackadaisical, murky style. Rock & Roll Music is another unsung gem of sorts, a return to Ten Years After's boogie beginnings with contemporary -- at least for its time -- trappings that's worth reappraisal, especially with the remixed audio revealing subtleties in the recording. Leo Lyons' bass work is impressively present and shows him to be an imaginative and talented musician. There should have been more care applied to the graphics and presentation of this package but newcomers to the band can start here and pick up the remaining entries in Ten Years After's catalog afterwards.

BIOGRAPHY
by William Ruhlman
Ten Years After is a British blues-rock quartet consisting of Alvin Lee (born December 19, 1944), guitar and vocals; Chick Churchill (born January 2, 1949), keyboards; Leo Lyons (born November 30, 1944) bass; and Ric Lee (born October 20, 1945), drums. The group was formed in 1967 and signed to Decca in England. Their first album was not a success, but their second, the live Undead (1968) containing "I'm Going Home," a six-minute blues workout by the fleet-fingered Alvin, hit the charts on both sides of the Atlantic. Stonedhenge (1969) hit the U.K. Top Ten in early 1969. Ten Years After's U.S. breakthrough came as a result of their appearance at Woodstock, at which they played a nine-minute version of "I'm Going Home." Their next album, Ssssh, reached the U.S. Top 20, and Cricklewood Green, containing the hit single "Love Like a Man," reached number four. Watt completed the group's Decca contract, after which they signed with Columbia and moved in a more mainstream pop direction, typified by the gold-selling 1971 album A Space in Time and its Top 40 single "I'd Love to Change the World." Subsequent efforts in that direction were less successful, however, and Ten Years After split up after the release of Positive Vibrations in 1974. They reunited in 1988 for concerts in Europe and recorded their first new album in 15 years, About Time, in 1989 before disbanding once again. In 2001, Ric Lee was preparing the back catalog for rerelease when he discoverd the Live at the Fillmore East 1970 tapes. He approached Alvin about getting back together to promote the lost album, but Alvin Lee declined. The rest of the band was up for it, though, and together with guitarist Joe Gooch, Ten Years After started touring again. In addition to touring the world, this new incarnation recorded their first new material in about a decade and a half and released Now in 2004 and added the live double CD set Roadworks in 2005.

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2162 - TEN YEARS AFTER - Think About The Times: The Chrysalis Years 1969 To1972, Disc One (2010)

TEN YEARS AFTER
''THINK ABOUT THE TIMES: THE CHRYSALIS YEARS 1969 TO 1972, DISC ONE''
JUL 26 2010
CHRYSALIS RECORDS LTD.
216:02

DISC ONE
1. Bad Scene/3:30
2. Two Time Mama/2:02
3. Stoned Woman/3:21
4. Good Morning Little Schoolgirl/7:10
5. If You Should Love Me/5:24
6. I Don't Know That You Don't Know My Name/2:06
7. The Stomp/4:30
8. I Woke Up This Morning/5:32
9. If You Should Love Me (Single B- Side)/4:14
10. Sugar The Road/4:06
11. Working On The Road/4:17
12. 50,000 Miles Beneath My Brain/7:37
13. Year 3,000 Blues/2:25
14. Me And My Baby/4:18
15. Love Like A Man/7:30
16. Circles/3:58
17. As The Sun Still Burns Away/4:46

DISC TWO
1. Love Like A Man (Single Edit)/3:08
2. I'm Coming On/3:47
3. My Baby Left Me/5:23
4. Think About The Times/4:43
5. I Say Yeah/5:17
6. The Band With No Name/1:37
7. Gonna Run/6:02
8. She Lies In The Morning/7:24
9. Sweet Little Sixteen/4:11
10. One of These Days/5:57
11. Here They Come/4:35
12. I'd Love to Change the World/3:44
13. Over the Hill/2:28
14. Baby Won't You Let Me Rock 'N' Roll You/2:14
15. Once There Was a Time/3:22
16. Let the Sky Fall/4:20
17. Hard Monkeys/3:11
18. I've Been There Too/5:45
19. Uncle Jam/1:57

DISC THREE
1. I'd Love To Change The World (Single Edit)/3:16
2. You Give Me Loving/6:31
3. Convention Prevention/4:22
4. Turned Off TV Blues/5:12
5. Standing At The Station/7:08
6. You Can't Win Them All/4:05
7. Religion/5:50
8. Choo Choo Mama (1998 Digital Remaster)/4:01
9. Tomorrow I'll Be Out Of Town/4:28
10. Rock 'N' Roll Music To The World/3:47
11. Choo Choo Mama (Single Edit)/3:15
12. Love Like A Man (Live) (Single B- Side)/8:16

REVIEW
by Hal Horowitz
Americans might not understand the title of this Ten Years After collection covering the titular years. That's because the band was not signed to Chrysalis in the States. It was in the U.K. though, and the label was fortunate to be associated with the Alvin Lee-fronted act for its most popular and arguably finest work (Ssssh, 1969; Cricklewood Green, 1970; Watt, also 1970; A Space in Time, 1971, and Rock & Roll Music to the World, 1972). The original four-piece would only release one more studio LP and one double-live package (both for Columbia) before calling it quits in 1974 after the tepid response to Positive Vibrations. This three-disc set presents the albums in order and adds a few negligible B-sides and single edits. The sound is excellent throughout because the compilers predominantly used the 2004 remasters, an enormous improvement over the previous editions. The difference is immediately noticeable on the bass and keyboard parts that were formerly often lost in the mix. The music jumps out of the speakers belying the late-'60s/early-'70s recording technology. So what's not to like? First, this was a perfect opportunity to unearth and add unreleased material, such as the two songs that were tacked onto the reissue of Cricklewood Green, but they're M.I.A. here. Also, there are no new liner notes, no fresh pictures (nearly all the graphics are taken from the existing album artwork), and the somewhat shoddy layout of the skimpy eight-page book looks like it was thrown together in a few hours. Considering how terrific this music now sounds, this was a missed opportunity to issue a classy package that even fans who own the discs would want to include in their collection. Musically, a closer listen to Ten Years After reveals that there was more to the group than just the sped-up, psychedelic boogie blues and Lee's patented, fast-fingered riffing that they typically get pigeonholed for. Although Lee's lyrics weren't particularly memorable, the band matured during these years, resulting in a more folk-oriented slant for their biggest seller, A Space in Time, and Chick Churchill's restrained yet effective use of synthesizers without dragging the proceedings into prog on Rock & Roll Music to the World. Another listen to the oft-derided Watt shows that, although it doesn't approach the heights of its Cricklewood Green predecessor, there is a certain charm in its lackadaisical, murky style. Rock & Roll Music is another unsung gem of sorts, a return to Ten Years After's boogie beginnings with contemporary -- at least for its time -- trappings that's worth reappraisal, especially with the remixed audio revealing subtleties in the recording. Leo Lyons' bass work is impressively present and shows him to be an imaginative and talented musician. There should have been more care applied to the graphics and presentation of this package but newcomers to the band can start here and pick up the remaining entries in Ten Years After's catalog afterwards.

BIOGRAPHY
by William Ruhlman
Ten Years After is a British blues-rock quartet consisting of Alvin Lee (born December 19, 1944), guitar and vocals; Chick Churchill (born January 2, 1949), keyboards; Leo Lyons (born November 30, 1944) bass; and Ric Lee (born October 20, 1945), drums. The group was formed in 1967 and signed to Decca in England. Their first album was not a success, but their second, the live Undead (1968) containing "I'm Going Home," a six-minute blues workout by the fleet-fingered Alvin, hit the charts on both sides of the Atlantic. Stonedhenge (1969) hit the U.K. Top Ten in early 1969. Ten Years After's U.S. breakthrough came as a result of their appearance at Woodstock, at which they played a nine-minute version of "I'm Going Home." Their next album, Ssssh, reached the U.S. Top 20, and Cricklewood Green, containing the hit single "Love Like a Man," reached number four. Watt completed the group's Decca contract, after which they signed with Columbia and moved in a more mainstream pop direction, typified by the gold-selling 1971 album A Space in Time and its Top 40 single "I'd Love to Change the World." Subsequent efforts in that direction were less successful, however, and Ten Years After split up after the release of Positive Vibrations in 1974. They reunited in 1988 for concerts in Europe and recorded their first new album in 15 years, About Time, in 1989 before disbanding once again. In 2001, Ric Lee was preparing the back catalog for rerelease when he discoverd the Live at the Fillmore East 1970 tapes. He approached Alvin about getting back together to promote the lost album, but Alvin Lee declined. The rest of the band was up for it, though, and together with guitarist Joe Gooch, Ten Years After started touring again. In addition to touring the world, this new incarnation recorded their first new material in about a decade and a half and released Now in 2004 and added the live double CD set Roadworks in 2005.

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2161 - ALVIN LEE - The Anthology, Disc Two (2002)

ALVIN LEE
''THE ANTHOLOGY, DISC TWO''
JAN 6 2002
REPERTOIRE RECORDS
121:58

DISC ONE
1/Keep On Rockin'
A. Lee/5:09
2/Wake Up Moma
A. Lee/3:58
3/On the Road to Freedom
A. Lee/4:16
4/Play It Like It Used to Be
Tim Hinkley / A. Lee/4:01
5/Real Life Blues
Tim Hinkley / A. Lee/4:35
6/Back in My Arms
A. Lee/3:47
7/Ain't Nobody's Business
S. Grant / A. Lee/4:11
8/Long Legs
A. Lee /6:16
9/Put It in a Box/8:05
10/Boogie All Day
A. Lee/3:53
11/Love Like a Man
A. Lee/5:33
12/Jenny, Jenny
A. Lee/4:25
13/Love the Way You Rock Me
A. Lee/3:18
14/The Bluest Blues
A. Lee/7:26

DISC TWO
1/Shot in the Dark
A. Lee/4:04
2/My Baby's Come Back to Me
A. Lee/4:58
3/You Told Me
A. Lee/3:55
4/Madness
A. Lee/1:52
5/Hear Me Calling
A. Lee/5:31
6/Let It Rock
A. Lee/3:01
7/I Don't Give a Damn
A. Lee/5:32
8/Midnight Special
Traditional/4:48
9/Help Me Baby
Ralph Bass / Sonny Boy Williamson/9:50
10/I'm Going Home
Alvin Lee/13:25

Boz Burrell /Bass, Guitar
Clarence Clemons /Sax (Tenor)
Steve Gould /Bass
Bryson Graham /Drums
Steve Grant /Keyboards
George Harrison /Guest Artist, Slide Guitar
Tim Hinkley /Brass Arrangement, Guitar, Keyboards, Organ
Alvin Lee /Arranger, Brass Arrangement, Guitar, Soloist, Vocals
Mylon LeFevre /Guitar, Vocals
Jon Lord /Organ (Hammond)
Zoot Money /Guest Artist
Richard Newman /Drums
Mick Ralphs /Guitar
John Susswell /Drums
Ian Wallace /Drums
Steve Winwood /Guest Artist, Keyboards
Alan Young /Drums

REVIEW
by Hal Horowitz
Because of his spotlight-hogging singer/songwriter/guitarist/frontman status in the popular Ten Years After, Alvin Lee seemed a natural for solo success. But, through a series of well meaning yet increasingly spotty albums released on a variety of labels -- none of which seemed to want to promote him -- Lee's career has been of interest to die-hard British boogie blues lovers only, which makes this 25-year double-disc summary of his dozen or so post-TYA albums so welcome. Typically, when artists choose selections for their own compilations, as is the case here, the tracks aren't those that fans might have picked. But Lee does an admirable job, not only in his mixture of undiscovered treats and some previously unreleased material, but in the non-chronological sequencing that helps this collection flow. Sure, the boogie quotient is evident, but after all, that is what Lee does best. So even when he's simply recycling a Chuck Berry riff on "Play It Like It Used to Be" or his own licks on some live Ten Years After material, he makes the best of a rather weak voice and the limitations that come with the genre. More problematic is the lack of specific track personnel, or even explicitly stating what album every tune is from, in the notes that Lee pens for each song. And why is disc two less than 50 minutes long when there was plenty more material to choose from? In fact, there are curiously no selections from his early effort In Flight, one of Lee's more popular releases. Of particular interest, though, are two tracks where friend and neighbor George Harrison adds his distinctive slide guitar ("Real Life Blues" and "The Bluest Blues"), which are obscure gems well worth rediscovering. Lee experienced a bit of a comeback in 2004 with the release of his In Tennessee project, in which the guitarist played with renewed vigor in the company of some Sun session men. This album closes with a fiery version of his most recognizable song, "I'm Going Home," from that disc. It is an appropriate way to conclude this generally excellent recap of Alvin Lee's inconsistent but surprisingly productive solo career through 2004

BIOGRAPHY
As with many of the other English beat groups of the '60s, Alvin Lee cut his musical teeth in Hamburg, Germany in a band called the Jaybirds. By 1966, back in England, he had changed the name of his band to Ten Years After and was rapidly becoming a major attraction because of the virtuosity of his solo work. Most Americans first became familiar with Alvin Lee through his appearance at Woodstock, although he remained active throughout the decades which followed; among his releases were 1974's In Flight, 1986's Detroit Diesel and 1996's Live in Vienna.

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2160 - ALVIN LEE - The Anthology, Disc One (2002)

ALVIN LEE
''THE ANTHOLOGY, DISC ONE''
JAN 6 2002
REPERTOIRE RECORDS
121:58

DISC ONE
1/Keep On Rockin'
A. Lee/5:09
2/Wake Up Moma
A. Lee/3:58
3/On the Road to Freedom
A. Lee/4:16
4/Play It Like It Used to Be
Tim Hinkley / A. Lee/4:01
5/Real Life Blues
Tim Hinkley / A. Lee/4:35
6/Back in My Arms
A. Lee/3:47
7/Ain't Nobody's Business
S. Grant / A. Lee/4:11
8/Long Legs
A. Lee /6:16
9/Put It in a Box/8:05
10/Boogie All Day
A. Lee/3:53
11/Love Like a Man
A. Lee/5:33
12/Jenny, Jenny
A. Lee/4:25
13/Love the Way You Rock Me
A. Lee/3:18
14/The Bluest Blues
A. Lee/7:26

DISC TWO
1/Shot in the Dark
A. Lee/4:04
2/My Baby's Come Back to Me
A. Lee/4:58
3/You Told Me
A. Lee/3:55
4/Madness
A. Lee/1:52
5/Hear Me Calling
A. Lee/5:31
6/Let It Rock
A. Lee/3:01
7/I Don't Give a Damn
A. Lee/5:32
8/Midnight Special
Traditional/4:48
9/Help Me Baby
Ralph Bass / Sonny Boy Williamson/9:50
10/I'm Going Home
Alvin Lee/13:25

Boz Burrell /Bass, Guitar
Clarence Clemons /Sax (Tenor)
Steve Gould /Bass
Bryson Graham /Drums
Steve Grant /Keyboards
George Harrison /Guest Artist, Slide Guitar
Tim Hinkley /Brass Arrangement, Guitar, Keyboards, Organ
Alvin Lee /Arranger, Brass Arrangement, Guitar, Soloist, Vocals
Mylon LeFevre /Guitar, Vocals
Jon Lord /Organ (Hammond)
Zoot Money /Guest Artist
Richard Newman /Drums
Mick Ralphs /Guitar
John Susswell /Drums
Ian Wallace /Drums
Steve Winwood /Guest Artist, Keyboards
Alan Young /Drums

REVIEW
by Hal Horowitz
Because of his spotlight-hogging singer/songwriter/guitarist/frontman status in the popular Ten Years After, Alvin Lee seemed a natural for solo success. But, through a series of well meaning yet increasingly spotty albums released on a variety of labels -- none of which seemed to want to promote him -- Lee's career has been of interest to die-hard British boogie blues lovers only, which makes this 25-year double-disc summary of his dozen or so post-TYA albums so welcome. Typically, when artists choose selections for their own compilations, as is the case here, the tracks aren't those that fans might have picked. But Lee does an admirable job, not only in his mixture of undiscovered treats and some previously unreleased material, but in the non-chronological sequencing that helps this collection flow. Sure, the boogie quotient is evident, but after all, that is what Lee does best. So even when he's simply recycling a Chuck Berry riff on "Play It Like It Used to Be" or his own licks on some live Ten Years After material, he makes the best of a rather weak voice and the limitations that come with the genre. More problematic is the lack of specific track personnel, or even explicitly stating what album every tune is from, in the notes that Lee pens for each song. And why is disc two less than 50 minutes long when there was plenty more material to choose from? In fact, there are curiously no selections from his early effort In Flight, one of Lee's more popular releases. Of particular interest, though, are two tracks where friend and neighbor George Harrison adds his distinctive slide guitar ("Real Life Blues" and "The Bluest Blues"), which are obscure gems well worth rediscovering. Lee experienced a bit of a comeback in 2004 with the release of his In Tennessee project, in which the guitarist played with renewed vigor in the company of some Sun session men. This album closes with a fiery version of his most recognizable song, "I'm Going Home," from that disc. It is an appropriate way to conclude this generally excellent recap of Alvin Lee's inconsistent but surprisingly productive solo career through 2004

BIOGRAPHY
As with many of the other English beat groups of the '60s, Alvin Lee cut his musical teeth in Hamburg, Germany in a band called the Jaybirds. By 1966, back in England, he had changed the name of his band to Ten Years After and was rapidly becoming a major attraction because of the virtuosity of his solo work. Most Americans first became familiar with Alvin Lee through his appearance at Woodstock, although he remained active throughout the decades which followed; among his releases were 1974's In Flight, 1986's Detroit Diesel and 1996's Live in Vienna.

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2159 - MARK COOK - Bluzin' It (2012)

MARK COOK
''BLUZIN' IT''
JUN 1 2012
WENDSTER RECORDS
57:34

1. Sweet Sound of Memphis/4:03
2. Cataract Woman/3:22
3. Lawn Service Specialist/5:45
4. Blues Shack/3:11
5. Take It or Leave It/4:04
6. Cool Man Cool/3:11
7. The Life I Love/4:29
8. Cook's Rag/1:15
9. Highway Miles/4:20
10. Hohner and Steel/3:35
11. Hillside Blues/2:43
12. Mine All Mine/3:26
13. Catfish Swimmin'/3:07
14. Cosmo Boogie/2:53
15. Dusty Dog/2:42
16. Blue Harp Special/2:11
17. Gypsy's Curse/3:17

Mark Cook/Guitars, Bass, Keys, Percussion
Andrew Black/Vocals
Steve Rusin/Harmonica
Sam Skelton/Sax
Bobby Mobley/Organ
JoJo Mojo/Drums
Eric Alexander/Trombone
Mike Barry/Trumpet
Wendy Cook, Linda Rusin Monroe, Carlos Garcia, Cosmo/Handclaps for Track 15
James Calvin/Vocals On Track 13
Cindy Simmons/Backing Vocals On Track 1

BIOGRAPHY
by Jason Birchmeier
Born into a musical family, multi-talented electric blues guitarist Mark Cook grew up on the road, touring North America with his parents, who billed themselves as the Dale & Vicki Duo. Cook inherited his parents' gift and passion for music, namely the blues, and set out to become a serious musician after settling in Indiana at age 15. Since then, Cook furthered his masterful command of the guitar and also taught himself bass, piano, and production. Over time, he constructed a professional recording studio in his home, where he engineered, produced, and recorded his debut CD, An Evening With the Blues, in 2000. The album won acclaim, particularly from Just Plain Folks, a large music-industry organization, who voted it Best Blues Album of the Year 2001. Cook released his second album, The Promise Highway, in 2002.

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2158 - LUTHER DICKINSON- Hambone’s Meditations (2012)

LUTHER DICKINSON
''HAMBONE'S MEDITATIONS''
MAY 8 2012
SONGS OF THE SOUTH RECORDS
39:15

1/Death Comes On Wings of Crepe
Luther Dickinson / Jimbo Mathus/4:01
2/Blind Lemon and the Hook Man
Luther Dickinson/6:44
3/Breckenridge Blues
Luther Dickinson/7:20
4/Arkabutla
Luther Dickinson/6:08
5/Tallahatchee (Birds of the Moon)
Luther Dickinson/4:11
6/Old Gospel Medley I
Traditional/6:10
7/Old Gospel Medley II
Traditional/4:41

REVIEW
by Thom Jurek
While Luther Dickinson claims the life-long influence of John Fahey and his Takoma Records catalog as the inspirational source for Hambone's Meditations, it is Jack Rose who is, in essence, the album's guiding muse. According to Dickinson, it was Rose who made him "realize that the medium of instrumental guitar was there for me to utilize. It had never occurred to me to try it myself." Dickinson wrote the album in 2009, shortly after the birth of his daughter, while still processing the passing of his father, Jim Dickinson. There is little of the hard-driving American primitive of Fahey here; it's one of the album's strengths. What is on offer is Dickinson's consideration of the guitar as a compositional method for instrumental music of harmonic and lyric earthiness, eeriness, and a simplicity that is quite deceptive. Opener "Death Comes On Wings of Crepe" (written with Jimbo Mathus) includes overdubs of mandolin and National Steel guitar atop his fingerpicked f-hole acoustic. The lyric line evokes the Civil War era as well as the French waltzes that have made their way, via the Mississippi River, into the Deep South over the last two centuries. While "Blind Lemon and the Hookman" suggests Fahey with its inventive turnarounds and drones; it also touches on various other Delta and Piedmont styles. "Arkabutla" recalls Rose's way of combining various rags, blues, and folk archetypes in a stretched repetition that falls away -- with little notice -- revealing dramatic interludes. The melody line, with its intricate bass picking and high-string warble, is gorgeous. The heart of the 39-minute set is in its last two selections: "Old Gospel Medley I" and "II." While many of these traditional tunes are easily recognizable, Dickinson's manner of shaping somber hymns and lighter fare into something wholly other, without losing either one's sources, opens up the notion of time. Inside these various and sometime obscure melodies, gentleness and tension come together, reflecting the worlds of flesh and spirit in what shouldn't be harmonious reconciliation, but somehow is. When Hambone's Meditations concludes, it is as if one has been lost inside its musical and historical reveries. Dickinson isn't showboating his considerable guitar skills here, but instead is offering a portrait of his heritage -- and his compositional and arranging chops -- inside a music that is every bit as haunted and mysterious as the north Mississippi hill country he calls home.

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2157 - CROSSROADS - Southern Strutter (1979)

CROSSROADS
''SOUTHERN STRUTTER''
1979
CROSSROAD PRODUCTIONS

1 - Sowin' Our Wild Oates/4:23
2 - Angel/3:55
3 - Which Way From Here/3:05
4 - Allison/3:51
5 - Southern Strutter/3:53
6 - Warm Day In The Winter/3:46
7 - Music On Our Mind/3:41
8 - Soul Searchin'/3:45
9 - Many Times/4:07

Ken Wheaton/Lead Guitar
Bobby Rodgers/Lead & Rhythm Guitars
John Echols/Vocals, Rhythm Guitar
Mike Taylor/Keyboards, Vocals
Wayne Winston/Bass
Joe Laster/Drums

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2156 - TOM HAMBRIDGE & THE RATTLESNAKES Live (2007)

TOM HAMBRIDGE AND THE RATTLESNAKES
''LIVE''
OCT 25 2007
BLACK ROSE
50:02

1/Rattlesnake Man
Tom Hambridge / Bob Stanton /4:00
2/Some Things Never Change
Tom Hambridge /3:15
3/Get Off
Tom Hambridge /4:24
4/Sweet Mama
Tom Hambridge / Donnie Van Zant /3:17
5/Shot Glass
Tom Hambridge / Jeffrey Steele /4:17
6/Hammer Slammer
Tom Hambridge /1:05
7/Rachel Fay
Tom Hambridge /4:14
8/Nineteen
Tom Hambridge / Gary Nicholson / Jeffrey Steele /3:30
9/Cadillac
Tom Hambridge /4:52
10/Lone Wolf
Tom Hambridge /3:12
11/Cut Way Back
Richard Fleming / Tom Hambridge /4:08
12/Rock Me Right
Tom Hambridge /4:35
13/Trouble in the Henhouse
Tom Hambridge /5:11

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2155 - ORLEANS - Let There Be Music (1975)

ORLEANS
''LET THERE BE MUSIC''
1975
ASYLUM
37:14

1/Fresh Wind
Johanna Hall /3:21
2/Dance With Me
Johanna Hall / John Hall /3:20
3/Time Passes On
Johanna Hall /3:35
4/Your Life My Friend
Johanna Hall /3:14
5/Let There Be Music
Johanna Hall / Larry Hoppen /4:04
6/Business as Usual
Johanna Hall /4:12
7/Cold Spell
Johanna Hall /4:18
8/Ending of a Song
Larry Hoppen /3:19
9/Give One Heart
Johanna Hall /4:03
10/You've Given Me Something
Johanna Hall /3:48

John Hall /Guitar, Mandolin, Percussion, Piano (Electric), Vocals
Lance Hoppen /Bass, Vocals
Larry Hoppen /Bass, Guitar, Keyboards, Melodica, Trumpet, Vocals
Wells Kelly /Drums, Keyboards, Percussion, Vocals

REVIEW
by David Cleary
The first Asylum release by Orleans is an earnestly engaging, though diffuse collection of pop tunes in many flavors. Both the title track and "You've Given Me Something" are pure power-pop numbers; the former is an agreeably forceful and hook-filled electric guitar-based selection featuring an especially ardent vocal, while the latter song is a bit breezier in feel, propelled along by a galloping drumbeat. "Fresh Wind" tosses mild funk and psychedelic touches into the pure pop formula. "Business as Usual" explores disco-oriented territory, "Cold Spell" sports a funky Stevie Wonder-style guitar hook, and "Give One Heart" exhibits strong reggae influences. "Time Passes On" is a loping, expressive number with an odd Joni Mitchell-like bridge section that features far-flung harmonic excursions, while "Ending of a Song" is a warmly emotive singer/songwriter-influenced selection. The big chart hit "Dance with Me" is a magically understated country-pop song that proves very memorable over repeated hearings. Vocal harmonies on this disc are generally full and vibrant; arrangements and production are more complex and intriguing than may be apparent on first listen. Definite demerits go for the often squarishly didactic and/or cliched verses (examples can be found on "Your Life My Friend," for instance); socially critical lyrics appear on some numbers, notably "Cold Spell" and "Business as Usual." Despite the blocky verses and lack of stylistic focus, this is an often engaging platter worth a listen.

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2154 - Louisiana's LE ROUX (1978)

LE ROUX
''LOUISIANA'S LE ROUX''
APR 1978
CAPITOL
39:07

1. Take A Ride On A Riverboat/3:34
2. Love Abductor/3:46
3. New Orleans Ladies/3:58
4. Crazy In Love/
5. Slow Burn/5:03
6. Snake Eyes/4:17
7. Backslider/3:48
8. Bridge Of Silence/4:32
9. Heavenly Days/3:34
10. I Can't Do One More Two-step/3:53

Bobby Campo /Congas, Drums, Flugelhorn, Flute, Percussion, Trumpet, Vocals
Tony Haselden /Guitar, Guitar (Electric), Vocals
Leon Medica /Bass, Producer, Vocals
David Peters /Drums, Percussion, Vocals
Jeff Pollard /Guitar, Vocals
Rod Roddy /Clavinet, Fender Rhodes, Keyboards, Oberheim Synthesizer, Piano, Vocals

REVIEW
by Lindsay Planer
Released in 1978, Louisiana's Le Roux is the self-titled debut long-player from Le Roux -- a sextet whose moniker is derived from a word describing a distinct gumbo. As it is traditionally extracted from several sources, the broth-like substance retains an extremely unique flavor. In much the same way, Bobby Campo (trumpet, flügelhorn, flute, congas, percussion, vocals), Tony Haselden (electric guitar, vocals), Leon Medica (bass), David Peters (drums, percussion), Jeff Pollard (electric and acoustic guitars, lead vocals), and Rod Roddy (Rhodes electric piano, acoustic piano, clavinet, Oberheim synthesizer, vocals) create a fusion drawing from pop, rock, blues, R&B, funk, jazz, and of course their Crescent City roots. Le Roux evolved from the Jeff Pollard Band out of Baton Rouge, and their initial notice grew out of supporting blues legend Clarence "Gatemouth" Brown (guitar, vocals) during a mid-'70s tour of North America and Africa. Leon Medica (bass, producer) brought them to the attention of Screen Gems-EMI exec Paul Tannen, which ultimately led to a three-disc deal recording for Capitol. For their audience, the platter was undoubtedly a welcome diversion from the pop music disco dregs and remained nowhere as angst-ridden as the ensuing punk movement. "Take a Ride on a Riverboat" is a propulsive midtempo rocker commencing the affair with both their penchant for tight well-arranged harmonies and an ability to kick out the jams -- especially Roddy's effusive piano fills, Campo's bluesy solo, and Medica's thick and hearty bassline holding it all together. Pollard's fretwork alternately shines and grinds throughout the slinky and satisfying "Love Abductor." The compact vocals during the chorus stand as a perfect correlation against Pollard's chiming jazzy-inspired progressions. "New Orleans Ladies" is their ode to the bayou's steel magnolias, and became not only the best-known track from this album, but arguably of Le Roux's entire repertoire. That honor was solidified when the prestigious Creole-based Gambit Weekly magazine named "New Orleans Ladies" as Song of the Century. The driving rocker "Slow Burn" allows the band -- especially Campo, Medica, and Pollard -- a chance to wail. Not surprisingly, it also became an outlet for extended improvisations during live performances. "Snake Eyes" is a bouncy foreboding tale with some tasty phrases recalling Steely Dan's "Haitian Divorce." "Bridge of Silence" is a lyrical love song that again shows the combo's blend and Pollard's considerable skills as a composer, while "I Can't Do One More Two-Step" is freewheeling, offering a groove that isn't too far removed from the Meters. Louisiana's Le Roux made a brief entry onto the Pop Album survey, although outside the prestigious Top 100.

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2153 - WIDESPREAD PANIC - Live Wood (2012)

WIDESPREAD PANIC
''LIVE WOOD''
APR 21 2012
WIDESPREAD

1 - Blue Indian/4:57
2 - Degenerate/5:46
3 - Tall Boy/6:51
4 - Ballad Of John And Yoko/4:10
5 - Tail Dragger/4:25
6 - Fishing/5:53
7 - Many Rivers To Cross/4:22

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2152 - MOJO JUJU & THE SNAKE-OIL MERCHANTS - Sellin' You Salvation (2010)

MOJO JUJU AND THE SNAKE-OIL MERCHANTS
''SELLIN YOU SALVATION''
2010
THE HOODOO EMPORIUM
50:28

1 - Catch Afire/4:56
2 - Here Is The Sea (Sailor Song)/6:08
3 - Whistle In The Dark/4:14
4 - Fisherman's Daughter/2:20
4 - Scat Song/3:50
5 - But I Do/6:44
6 - God And The Devil/4:45
7 - My Home/4:51
8 - Dance With You/4:34
9 - Feel It All/6:11
10 - Sacred Heart Of Mary/3:40
11 - Lullaby/4:40

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2151 - MOJO JUJU & THE SNAKE-OIL MERCHANTS (2007)

MOJO JUJU AND THE SNAKE-OIL MERCHANTS
''MOJO JUJU AND THE SNAKE-OIL MERCHANTS''
2007

1 - Dear Darlin'/3:42
2 - Tonight/6:11
3 - Transient Being/4:56
5 - Cookin' Song/5:12
6 - Mr. McGorgly/6:13
7 - Public Announcement/3:27
8 - The Warning/6:58
9 - We All Bleed/6:12
10 - Theme From Znitzki/6:45

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2150 - CROSSRODE (1980)(2008)

CROSSRODE
''CROSSRODE''
1980
STRAWBERRY JAMMM

1 - Don't Want You No More/4:05
2 - Live And Let Live/3:40
3 - Done Me Wrong/4:00
4 - Maddog/3:48
5 - Win Or Lose (You Lose)/5:36
6 - Rock And Roll Good News/3:07
7 - Travelin' Man/4:46
8 - Good Lovin' (Is Hard To Find)/9:30

Ken "Bull" Bolen/Bass
Jay Devine/Drums, Percussion, Lead & Backing Vocals
Barry Keel/Lead Guitar, Rhythm Guitar, Slide Guitar
Ricky Turner/Lead Guitar, Rhythm Guitar, Lead & Backing Vocals

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2149 - TRUCKERS - Leave Me Alone (1995)

THE TRUCKERS
''LEAVE ME ALONE''
1995
TRUCKERS

1 - Leave Me Alone/5:21
2 - Next Station/6:29
3 - Takapoom/3:37
4 - Barstool Blues/4:47
5 - Far Away/4:12
6 - Southen Boys/3:45
7 - Truckers/4:18
8 - Mr. Big Jack/3:46
9 - New Orleans/2:54
10 - La Grange/4:03
Tracks By Leroux, Pribilski, Except 10 by Gibbons, Hill, Beard

Chico/Lead Vocal
Quich/Backing Vocals
Gilles/Harmonica
Prib/Guitar
Pain sec/Guitar
Michel/Drums
Jippe/Bass

BIOGRAPHY
The TRUCKERS are therefore part of the history of the rock in Franche-Comté.
Together Chico, Christian, Jean Pierre, Michel and Pascal who has joined the band recently,have been travelling on the roads of France for 18 years.
Fans of a well structured rock music, the TRUCKERS mix happily their original compositionsand songs of singers who have influenced them (Lynyrd, the Stones, Fogerty, etc.), in their concerts.
The TRUCKERS decided to produce themselves their first album « Leave me Alone »,
which was sold in 1,600 copies during their concert, after having met Gaby Dujardin (called wild) when they were in the Free-Weels in Clermont-Ferrand (63). Thanks to this experience,
they produced a second album " Hurricane’s Road " in 1996.
Laurent Baffie gave them a great help introducing their opus as the rock album of the year in the TV show Nul Par Ailleurs (on the channel Canal+).
Then, they made a series of concerts and they shared the stage with Rory Gallagher, Calvin Russel,Fabulous Thunderbirds, Charly McCoy…
Their third album led them to the TV show Rock Press Club of the channel Canal Jimmy, they were invited by Philippe Manœuvre.
The least we can sayn is that the band has managed to create their own identity.
The TRUCKERS have outshined their influences, they play TRUCKERS’ music, that is to say a sturdy rock.
No doubt, this band was created for the scene (Bands of Dixie). They have inherited this from their masters.
Chico and his group are dazzling by their skills and their professionalism .
We are not the same as before when we leave one of the concerts (newspaper Est Républicain).
Listening to a French band which plays this kind of music with such an inspiration is a miracle (Rock Hard).
If there is a group in French which deserves to be in a good place in the newspaper Cross Road that’s the TRUCKERS who have spent their time on the French roads for so many years to spread the good words of the rock.
A real rocker, the one for whom music is somethingelse than a carreer plan, knows to play ballads making the wiliest Biker break down.
The TRUCKERS are therefore part of this brotherhood of Rock (Cross Road).
Their fourth album " Wonder of Spirit " is first of all a rich album with a lot of energy and we can feel the hard work,
difficulties, good and bad moments spent on the roads, it is an album played with the heart by simple men.
That’s the secret of the true rock ‘n roll like the one played by the TRUCKERS.
That’s the music which has to be played with the heart and soul by simple men, but not necessarily ordinary people.
We are pleased with this band (Wild).

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2148 - JOE BONAMASSA - Unplugged@LooneyTunes (EP) (2003)

JOE BONAMASSA
''UNPLUGGED@LOONEYTUNES (EP)''
2003
GIBZY RECORDS

1 - So, It's Like That/2:38
2 - Miss You, Hate You/3:58
3 - Cradle Rock/4:50
4 - Waiting For Me/4:13

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