6966 - LARRY YOUNG - Lawrence Of Newark (1973)

LARRY YOUNG
''LAWRENCE OF NEWARK''
1973
37:36

1 /Sunshine Fly Away
Larry Young/8:38
2 /Khalid of Space, Pt. 2 Welcome
Larry Young/12:29
3 /Saudia
Larry Young/4:30
4 /Alive
Larry Young/1:54
5 /Hello Your Quietness (Islands)
Larry Young/10:05

Joony Booth /Bass
Stacey Edwards /Congas, Percussion
James Flores /Drums
Art Gore /Drums, Piano (Electric)
Abdul Hakim /Bongos, Percussion
Armen Halburian /Bells, Congas, Percussion
Diedre Johnson /Cello
Howard King /Drums
Poppy LaBoy /Percussion
Cedric Lawson /Piano (Electric)
Charles Magee /Electric Trumpet, Trumpet
Dennis Mourouse /Electric Saxophone, Sax (Tenor), Saxophone
Umar Abdul Muizz /Congas, Percussion
Don Pate /Bass
Abdul Sahid /Drums
Pharoah Sanders /Sax (Tenor)
Jumma Santos /Congas, Cowbell, Hi Hat, Percussion, Tambourine, Tom-Tom, Whistle (Human)
James Blood Ulmer /Guest Artist, Guitar
Larry Young /Bongos, Keyboards, Organ, Percussion, Vocals

Review
by Thom Jurek
The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 -- his first non-Blue Note date as a leader and post-Lifetime -- as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes -- James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew. Made up of only five tracks, rhythm is the hallmark of the date as evidenced by the conga and contrabass intro to "Sunshine Fly Away." Deirdre Johnson's cello opens up a droning modal line for Young to slide his organ over in what passes for a melody but is more of an idea for a theme and a trio of variations. Armen Halburian's congas echo the accents at the end of the drum kit and Young's own tapering pronouncements moving back and forth between two and four chords with a host of improvisers inducing a transcendent harmonic hypnosis. The centerpiece of the album is "Khalid of Space Pt. 2: Welcome." Sun Ra's edict about all of his musicians being percussionists holds almost literally true in Young's case. The soprano saxophonist sounds as if it could be Sonny Fortune (billed as "mystery guest"), but he's way out on an Eastern modal limb. Young's right hand is punching home the counterpoint rhythm as Abdul Shadi runs all over his kit. Blood Ulmer is accenting the end of each line with overdriven power chords, and various bells, drums, congas, and djembes enter and depart the mix mysteriously. Young is digging deep into the minor and open drone chords, signaling -- à la Miles -- changes in intonation, tempo, and frequency of rhythmic attack. And the cut never loses its pocket funk for all that improvisation. It's steamy, dark, brooding, and saturated with groove. The CD reissue has fine sound and sells for a budget price; it should not be overlooked. The DJs just haven't discovered this one yet. Awesome.

Biography
by Alex Henderson
If Jimmy Smith was "the Charlie Parker of the organ," Larry Young was its John Coltrane. One of the great innovators of the mid- to late '60s, Young fashioned a distinctive modal approach to the Hammond B-3 at a time when Smith's earthy, blues-drenched soul-jazz style was the instrument's dominant voice. Initially, Young was very much a Smith admirer himself. After playing with various R&B bands in the 1950s and being featured as a sideman with tenor saxman Jimmy Forrest in 1960, Young debuted as a leader that year with Testifying, which, like his subsequent soul-jazz efforts for Prestige, Young Blues (1960), and Groove Street, (1962), left no doubt that Smith was his primary inspiration. But when Young went to Blue Note in 1964, he was well on his way to becoming a major innovator. Coltrane's post-bop influence asserted itself more and more in Young's playing and composing, and his work grew much more cerebral and exploratory. Unity, recorded in 1965, remains his best-known album. Quick to embrace fusion, Young played with Miles Davis in 1969, John McLaughlin in 1970, and Tony Williams' groundbreaking Lifetime in the early '70s. Unfortunately, his work turned uneven and erratic as the '70s progressed. Young was only 38 when, in 1978, he checked into the hospital suffering from stomach pains, and died from untreated pneumonia. The Hammond hero's work for Blue Note (as both a leader and a sideman) was united for Mosaic's limited-edition six-CD box set The Complete Blue Note Recordings.

6965 - LARRY YOUNG - Unity (1965)

LARRY YOUNG
''UNITY''
NOVEMBER 10 1965
39:41

1 /Zoltan
Woody Shaw/7:36
2 /Monk's Dream
Thelonious Monk/5:45
3 /If
Joe Henderson/6:42
4 /The Moontrane
Woody Shaw/7:18
5 /Softly, As in a Morning Sunrise
Oscar Hammerstein II / Sigmund Romberg/6:20
6 /Beyond All Limits
Woody Shaw/6:00
All Tracks feat: Joe Henderson / Elvin Jones / Woody Shaw

Joe Henderson /Guest Artist, Sax (Tenor)
Elvin Jones /Drums, Guest Artist
Woody Shaw /Drums, Guest Artist, Trumpet
Larry Young /Organ, Organ (Hammond)

Review
by Thom Jurek
On Unity, jazz organist Larry Young began to display some of the angular drive that made him a natural for the jazz-rock explosion to come barely four years later. While about as far from the groove jazz of Jimmy Smith as you could get, Young hadn't made the complete leap into freeform jazz-rock either. Here he finds himself in very distinguished company: drummer Elvin Jones, trumpeter Woody Shaw, and saxman Joe Henderson. Young was clearly taken by the explorations of saxophonists Coleman and Coltrane, as well as the tonal expressionism put in place by Sonny Rollins and the hard-edged modal music of Miles Davis and his young quintet. But the sound here is all Young: the rhythmic thrusting pulses shoved up against Henderson and Shaw as the framework for a melody that never actually emerges ("Zoltan" -- one of three Shaw tunes here), the skipping chords he uses to supplant the harmony in "Monk's Dream," and also the reiterating of front-line phrases a half step behind the beat to create an echo effect and leave a tonal trace on the soloists as they emerge into the tunes (Henderson's "If" and Shaw's "The Moontrane"). All of these are Young trademarks, displayed when he was still very young, yet enough of a wiseacre to try to drive a group of musicians as seasoned as this -- and he succeeded each and every time. As a soloist, Young is at his best on Shaw's "Beyond All Limits" and the classic nugget "Softly as in a Morning Sunrise." In his breaks, Young uses the middle register as a place of departure, staggering arpeggios against chords against harmonic inversions that swing plenty and still comes out at all angles. Unity proved that Young's debut, Into Somethin', was no fluke, and that he could play with the lions. And as an album, it holds up even better than some of the work by his sidemen here.

Biography
by Alex Henderson
If Jimmy Smith was "the Charlie Parker of the organ," Larry Young was its John Coltrane. One of the great innovators of the mid- to late '60s, Young fashioned a distinctive modal approach to the Hammond B-3 at a time when Smith's earthy, blues-drenched soul-jazz style was the instrument's dominant voice. Initially, Young was very much a Smith admirer himself. After playing with various R&B bands in the 1950s and being featured as a sideman with tenor saxman Jimmy Forrest in 1960, Young debuted as a leader that year with Testifying, which, like his subsequent soul-jazz efforts for Prestige, Young Blues (1960), and Groove Street, (1962), left no doubt that Smith was his primary inspiration. But when Young went to Blue Note in 1964, he was well on his way to becoming a major innovator. Coltrane's post-bop influence asserted itself more and more in Young's playing and composing, and his work grew much more cerebral and exploratory. Unity, recorded in 1965, remains his best-known album. Quick to embrace fusion, Young played with Miles Davis in 1969, John McLaughlin in 1970, and Tony Williams' groundbreaking Lifetime in the early '70s. Unfortunately, his work turned uneven and erratic as the '70s progressed. Young was only 38 when, in 1978, he checked into the hospital suffering from stomach pains, and died from untreated pneumonia. The Hammond hero's work for Blue Note (as both a leader and a sideman) was united for Mosaic's limited-edition six-CD box set The Complete Blue Note Recordings.

6964 - BARE BONES BOOGIE BAND - Tattered & Torn (2013)

BARE BONES BOOGIE BAND
''TATTERED & TORN''
SEPTEMBER 23 2013
52:12

1 /Love Like Leather /4:50
2 /Springtime /5:22
3 /Black Coffee /4:23
4 /Cheatin' Again /4:29
5 /Passion and Pain /4:28
6 /Appreciation /3:32
7 /Dig a Little Deeper /4:08
8 /Meet Me in the Morning /5:46
9 /Sweet Release /5:09
10 /Time to Be Free /3:11
11 /Son of a King /3:06
12 /Seven Miles to the Station /3:48

On this, their third release, the band’s claim that it ‘focuses heavily on the song-based approach with the band showing their considerable song writing skills throughout’, is borne out by a worthy album of splendid soulful blues.
Predecessors, such as Humble Pie and Stone The Crows were fronted by outstanding singers, often to the reputational detriment of their instrumental co-conspirators. Not so here. Helen Turner’s dynamic, mature and soulful voice is a fitting lead instrument, but the
sympathetic, never obtrusive accompaniment allows her to breathe intense emotion and wholly credible soul into Tattered & Torn.
‘Love Like Leather’ opens, with principal songwriter Iain Black’s bright arpeggiated acoustic guitar morphing into a pulsing, medium-paced rocker. ‘Black Coffee’ sees Turner in strident and delightfully coquettish in turn. ‘Cheatin’ Again’ is exemplary three-piece
instrumental playing, with even bassist Trev Turley given a tasteful single verse solo. ‘Passion And Pain’ and ‘Dig A Little Deeper’ recall

OFFICIAL SITE

6963 - BARE BONES BOOGIE BAND (2012)

BARE BONES BOOGIE BAND
''BARE BONES BOOGIE BAND''
2012
48:26

1 /Fallin' for Foolin' /6:55
2 /Midnight O2 /4:21
3 /Sittin' Here Sewin' /3:59
4 /Mean Old Man /4:33
5 /Wings /5:54
6 /Second-Hand Hand-Me-Down /6:28
7 /Love in Vain /4:44
8 /A Little Bit More /3:00
9 /Travellin' Light /3:55
10 /My Man Loves My Van /4:54

Review
By Rex Bartholomew
I have the good fortune to listen to blues CDs from all over the world, and this week I had the pleasure of hearing the latest release from London’s Bare Bones Boogie Band. And true to their name, this foursome plays a stripped-down no-nonsense power blues that is held together by their prodigious talent. Vocalist Helen Turner has worked with guitarist (and fellow Scot) Iain Black since 1990, and Trev Turley from Birmingham joined them on bass in 2003. The Bare Bones Boogie Band came together as a whole in 2008 when Andy Jones, a drummer from Manchester, came into the fold. In 2010 they gave us their well-reviewed eponymous debut CD and supported it with endless touring.

This is a review of their second CD, which is also self-titled, but it is being called the Blue CD because the logo is blue, differentiating it from their first release that had a red logo. In their catalog they refer to it as “BBBBCD2.” The Blue CD sounds a bit better, doesn’t it? This album includes ten tracks: eight of which were written by Black, one from Andy Jones, and a touching cover of Robert Johnson's "Love In Vain.” You will find that all of the touring they did has been put to good use, as all four members of the band are in top form for this project.

“Fallin’ for Foolin’” is the first track on this release, and the listener will find that although these four folks came from different parts of the UK, there is no Scottish or English accent or tone to the music, it is just the blues. This is a long and slow song for an opener (almost seven minutes), but it is cleverly-written and well-produced with up front guitar, drums and bass and of course Helen Turner’s vocals. Everybody has a chance to show what they can do on this track, and Helen really stands out: her vocal style is brilliant and shows that she has learned a lot about her craft over the past few decades.

The next two tracks “Midnight O2” and “Sittin’ Here Sewin’” evoke a 1970s blues/rock mood with round and lively bass lines and fat guitar over the tight drumming of Jones. But there is plenty of variety to be found on this album as it segues into a lovely ballad, “Mean Old Man,” which is not a conventional love story. This song shows tremendous restraint on the part of all that were involved, and there is just enough of a contribution from everybody to assemble a really good song, which is a sign of how this band has matured.

One of my favorite tracks on this release is “Wings” which is a fabulous showcase of Helen Turner’s vocal range and the soul she puts into the music. These same qualities carry over to “Love in Vain” which was written by Robert Johnson, but made famous for us mainstream folks by the Rolling Stones. Her sweet voice helps the Bare Bones Boogie Band make this version their own. It appears that there is no shortage of soulful blues ballads on this album, which is a good thing in my book.

After a couple of more blues rock tunes (“A Little Bit More” and “Travellin’ Light”), the band chose to close out the album with the end of the album with “My Man Loves my Van.” This is a fun beer joint 8-bar blues song that shows that the band does not feel like they have to take themselves too seriously. This is a fabulous quality in any band, if you ask me.

The Bare Bones Boogie Band have avoided the sophomore jinx with this CD, and I have to say that I think this work outshines their debut album in every way (by the way, I really like the Red CD). The whole production sounds more full and rich, and each of the artists have grown and improved on their performances since we last heard from them. This is helped along by the fact that the songwriting is much more consistent throughout this release. This is a great CD, and I highly recommend that you check it out when you get a chance.

OFFICIAL SITE

6962 - BARE BONES BOOGIE BAND (2010)

BARE BONES BOOGIE BAND
''BARE BONES BOOGIE BAND''
2010
45:28

01. Baby, Baby Be Mine/6:10
02. Black Cat Strikes Back/4:44
03. Full Tilt Boogie Man/3:24
04. One Good Man/6:09
05. Sister Sunshine/3:47
06. I'd Rather Go Blind/5:46
07. Live With Me/3:26
08. Simple Suggestion/4:00
09. Throw Me A Line/4:20
10. Early Monday Morning/3:39

Helen Turner/vocals
Iain Black/guitar
Trev Turley/bass
Andy Jones/drums

OFFICIAL SITE

6961 - JOHN DENVER - Definitive All Time Greatest Hits, Disc Two (2004)

JOHN DENVER
''DEFINITIVE ALL-TIME GREATEST HITS, DISC TWO''
OCTOBER 5 2004
91:30

DISC ONE
1 /Leaving on a Jet Plane
John Denver/3:38
2 /Take Me Home, Country Roads
Bill Danoff / John Denver / Taffy Nivert/3:10
3 /Sunshine on My Shoulders
John Denver / Dick Kniss / Michael Taylor/5:12
4 /Poems, Prayers and Promises
John Denver/4:06
5 /The Eagle and the Hawk
John Denver / Mike Taylor/2:07
6 /Rocky Mountain High
John Denver / Mike Taylor/4:44
7 /Farewell Andromeda (Welcome to My Morning)
John Denver/4:03
8 /Annie's Song
John Denver/3:00
9 /Back Home Again
John Denver/4:45
10 /Sweet Surrender
John Denver/5:29
11 /Thank God I'm a Country Boy
John Sommers/3:21
12 /I'm Sorry
John Denver/3:32
13 /Calypso
John Denver/3:37
14 /Fly Away
John Denver/4:10
15 /Looking for Space
John Denver/3:59
16 /Like a Sad Song
John Denver/3:43
17 /My Sweet Lady
John Denver/4:24
18 /Perhaps Love feat: Plácido Domingo
John Denver/2:57
19 /Shanghai Breezes
John Denver/3:12
20 /Wild Montana Skies feat: Emmylou Harris
John Denver/4:03

DISC TWO
1 /Leaving on a Jet Plane
John Denver/3:13
2 /The Weight
Robbie Robertson/4:30
3 /Annie's Song
John Denver/3:00
4 /Calypso
John Denver/3:35

Review
by James Christopher Monger
Placing the word definitive on a best-of collection is usually a panicked label attempt to fill last-minute Christmas stockings, but in the case of RCA's Definitive All-Time Greatest Hits John Denver retrospective, it's a truly apt description. Coinciding with the 35th anniversary of Denver's first album release on RCA, the two-disc, 24-track overview of the country-pop singer's storied career is the most concise and nuanced yet. Digitally remastered from the original master tapes, road-trip classics like "Take Me Home, Country Roads," "Rocky Mountain High," and "Back Home Again" are as warm as the singer's lauded tenor. There are no gimmicky re-recorded cuts or disappointing live tracks -- "Thank God I'm a Country Boy" spent its time on the charts in its live incarnation -- and his spotty '80s material is only briefly covered ("Perhaps Love" and "Shanghai Breezes"). The only real omission is "Grandma's Feather Bed," but the 20-page booklet and song-by-song commentary by longtime friend Milt Okun more than suffice. The bonus disc, maddeningly sparse at just four tracks, makes up for its brevity by including a goose bump-inducing 1975 acoustic version of "Calypso." With the pompous string section, clanging ship bell, and unnecessary drum fills removed, his ode to Jacques Cousteau's tenacious vessel is a wonder of emotion and nautical kinsmenship that inarguably exhibits Denver as one of the greatest vocalists of his time. For those unwilling to sift through the exhaustive four-CD Country Roads Collection, this Definitive package is a good buy and a rewarding visit with an old friend.

Biography
by Jason Ankeny
One of the most popular recording artists of the 1970s, country-folk singer/songwriter John Denver's gentle, environmentally conscious music established him among the most beloved entertainers of his era; wholesome and clean-cut, his appeal extended to fans of all ages and backgrounds, and led to parallel careers as both an actor and a humanitarian.

Born Henry John Deutschendorf in Roswell, NM, on December 31, 1943, he was raised in an Air Force family, and grew up in various regions of the southwestern U.S. As a teen, his grandmother presented him with a 1910 Gibson acoustic guitar, and while attending Texas Tech University he began performing local clubs. Adopting the stage surname "Denver" in tribute to the Rocky Mountain area he so cherished, he dropped out of college in 1964 to relocate to Los Angeles; there he joined the Chad Mitchell Trio, a major draw on the hootenanny circuit of the early '60s but in the twilight of their career at the time of Denver's arrival. Over time, however, Denver helped resuscitate the group on the strength of his songwriting skills; signed to Mercury, the Trio recorded a number of tracks, which the label repackaged in 1974 as Beginnings With the Chad Mitchell Trio.

Upon the departure of the last remaining founding member, the Chad Mitchell Trio became known as Denver, Boise and Johnson; the new group proved short-lived, however, when Denver exited in 1969 to pursue a solo career. That same year he recorded his debut LP, Rhymes and Reasons; while not a hit, it contained one of his best-loved compositions, "Leaving on a Jet Plane," an international chart-topper for Peter, Paul & Mary. Still, neither of Denver's follow-up albums, 1970's Whose Garden Was This and Take Me to Tomorrow, launched him as a solo performer; finally, with 1971's Poems, Prayers & Promises, he achieved superstardom, thanks to the million-selling hits "Take Me Home, Country Roads" and "Sunshine on My Shoulders." In the years to follow, Denver also scored with "Annie's Song" (penned for his wife) and "Back Home Again," and by 1974 was firmly established as America's best-selling performer; albums like 1975's An Evening With John Denver and Windsong were phenomenally popular, and he continued to top the singles charts with efforts including "Thank God I'm a Country Boy" and "I'm Sorry." Additionally, his 1974 best-of collection sold over ten million copies worldwide, and remained on the charts for over two years.

At the peak of his success, Denver was everywhere -- the governor of Colorado proclaimed him the state's poet laureate, his label Windsong was responsible for hits like the Starland Vocal Band's mammoth "Afternoon Delight," and he appeared in a number of ratings-grabbing television specials. In 1977, he even moved into film, co-starring with George Burns in the comedy hit Oh, God! During this time, however, he dramatically curtailed his recording output, and after 1977's I Want to Live, issued no new material until 1980's Autograph. The following year, he performed with opera star Placido Domingo, but as the decade progressed, Denver's popularity waned as he turned his focus more toward humanitarian work, focusing primarily on ecological concerns and space exploration; he also toured Communist-led Russia and China, and in 1987 performed in Chernobyl in the wake of that city's nuclear disaster. While maintaining a solid cult following, by the 1990s Denver had largely fallen off the radar, and he made more news for a 1993 drunk-driving arrest than he did for records like 1991's Different Directions. In 1994, he published an autobiography, Take Me Home. Tragedy struck on October 12, 1997, when his experimental aircraft suddenly crashed, killing him instantly. Denver was 53.

OFFICIAL SITE

6960 - JOHN DENVER - Definitive All Time Greatest Hits, Disc One (2004)

JOHN DENVER
''DEFINITIVE ALL-TIME GREATEST HITS, DISC ONE''
OCTOBER 5 2004
91:30

DISC ONE
1 /Leaving on a Jet Plane
John Denver/3:38
2 /Take Me Home, Country Roads
Bill Danoff / John Denver / Taffy Nivert/3:10
3 /Sunshine on My Shoulders
John Denver / Dick Kniss / Michael Taylor/5:12
4 /Poems, Prayers and Promises
John Denver/4:06
5 /The Eagle and the Hawk
John Denver / Mike Taylor/2:07
6 /Rocky Mountain High
John Denver / Mike Taylor/4:44
7 /Farewell Andromeda (Welcome to My Morning)
John Denver/4:03
8 /Annie's Song
John Denver/3:00
9 /Back Home Again
John Denver/4:45
10 /Sweet Surrender
John Denver/5:29
11 /Thank God I'm a Country Boy
John Sommers/3:21
12 /I'm Sorry
John Denver/3:32
13 /Calypso
John Denver/3:37
14 /Fly Away
John Denver/4:10
15 /Looking for Space
John Denver/3:59
16 /Like a Sad Song
John Denver/3:43
17 /My Sweet Lady
John Denver/4:24
18 /Perhaps Love feat: Plácido Domingo
John Denver/2:57
19 /Shanghai Breezes
John Denver/3:12
20 /Wild Montana Skies feat: Emmylou Harris
John Denver/4:03

DISC TWO
1 /Leaving on a Jet Plane
John Denver/3:13
2 /The Weight
Robbie Robertson/4:30
3 /Annie's Song
John Denver/3:00
4 /Calypso
John Denver/3:35

Review
by James Christopher Monger
Placing the word definitive on a best-of collection is usually a panicked label attempt to fill last-minute Christmas stockings, but in the case of RCA's Definitive All-Time Greatest Hits John Denver retrospective, it's a truly apt description. Coinciding with the 35th anniversary of Denver's first album release on RCA, the two-disc, 24-track overview of the country-pop singer's storied career is the most concise and nuanced yet. Digitally remastered from the original master tapes, road-trip classics like "Take Me Home, Country Roads," "Rocky Mountain High," and "Back Home Again" are as warm as the singer's lauded tenor. There are no gimmicky re-recorded cuts or disappointing live tracks -- "Thank God I'm a Country Boy" spent its time on the charts in its live incarnation -- and his spotty '80s material is only briefly covered ("Perhaps Love" and "Shanghai Breezes"). The only real omission is "Grandma's Feather Bed," but the 20-page booklet and song-by-song commentary by longtime friend Milt Okun more than suffice. The bonus disc, maddeningly sparse at just four tracks, makes up for its brevity by including a goose bump-inducing 1975 acoustic version of "Calypso." With the pompous string section, clanging ship bell, and unnecessary drum fills removed, his ode to Jacques Cousteau's tenacious vessel is a wonder of emotion and nautical kinsmenship that inarguably exhibits Denver as one of the greatest vocalists of his time. For those unwilling to sift through the exhaustive four-CD Country Roads Collection, this Definitive package is a good buy and a rewarding visit with an old friend.

Biography
by Jason Ankeny
One of the most popular recording artists of the 1970s, country-folk singer/songwriter John Denver's gentle, environmentally conscious music established him among the most beloved entertainers of his era; wholesome and clean-cut, his appeal extended to fans of all ages and backgrounds, and led to parallel careers as both an actor and a humanitarian.

Born Henry John Deutschendorf in Roswell, NM, on December 31, 1943, he was raised in an Air Force family, and grew up in various regions of the southwestern U.S. As a teen, his grandmother presented him with a 1910 Gibson acoustic guitar, and while attending Texas Tech University he began performing local clubs. Adopting the stage surname "Denver" in tribute to the Rocky Mountain area he so cherished, he dropped out of college in 1964 to relocate to Los Angeles; there he joined the Chad Mitchell Trio, a major draw on the hootenanny circuit of the early '60s but in the twilight of their career at the time of Denver's arrival. Over time, however, Denver helped resuscitate the group on the strength of his songwriting skills; signed to Mercury, the Trio recorded a number of tracks, which the label repackaged in 1974 as Beginnings With the Chad Mitchell Trio.

Upon the departure of the last remaining founding member, the Chad Mitchell Trio became known as Denver, Boise and Johnson; the new group proved short-lived, however, when Denver exited in 1969 to pursue a solo career. That same year he recorded his debut LP, Rhymes and Reasons; while not a hit, it contained one of his best-loved compositions, "Leaving on a Jet Plane," an international chart-topper for Peter, Paul & Mary. Still, neither of Denver's follow-up albums, 1970's Whose Garden Was This and Take Me to Tomorrow, launched him as a solo performer; finally, with 1971's Poems, Prayers & Promises, he achieved superstardom, thanks to the million-selling hits "Take Me Home, Country Roads" and "Sunshine on My Shoulders." In the years to follow, Denver also scored with "Annie's Song" (penned for his wife) and "Back Home Again," and by 1974 was firmly established as America's best-selling performer; albums like 1975's An Evening With John Denver and Windsong were phenomenally popular, and he continued to top the singles charts with efforts including "Thank God I'm a Country Boy" and "I'm Sorry." Additionally, his 1974 best-of collection sold over ten million copies worldwide, and remained on the charts for over two years.

At the peak of his success, Denver was everywhere -- the governor of Colorado proclaimed him the state's poet laureate, his label Windsong was responsible for hits like the Starland Vocal Band's mammoth "Afternoon Delight," and he appeared in a number of ratings-grabbing television specials. In 1977, he even moved into film, co-starring with George Burns in the comedy hit Oh, God! During this time, however, he dramatically curtailed his recording output, and after 1977's I Want to Live, issued no new material until 1980's Autograph. The following year, he performed with opera star Placido Domingo, but as the decade progressed, Denver's popularity waned as he turned his focus more toward humanitarian work, focusing primarily on ecological concerns and space exploration; he also toured Communist-led Russia and China, and in 1987 performed in Chernobyl in the wake of that city's nuclear disaster. While maintaining a solid cult following, by the 1990s Denver had largely fallen off the radar, and he made more news for a 1993 drunk-driving arrest than he did for records like 1991's Different Directions. In 1994, he published an autobiography, Take Me Home. Tragedy struck on October 12, 1997, when his experimental aircraft suddenly crashed, killing him instantly. Denver was 53.

OFFICIAL SITE

6959 - MOE. - NO GUTS, NO GLORY (2014)

moe.
''NO GUTS, NO GLORY''
MAY 27 2014
60:22

1 /Annihilation Blues
Chuck Garvey / moe./4:21
2 /White Lightning Turpentine
Rob Derhak / moe./4:42
3 /This I Know
Al Schnier / moe./4:25
4 /Same Old Story
Rob Derhak / moe./4:23
5 /Silver Sun
Al Schnier / moe./9:41
6 /Calyphornya
Rob Derhak / moe./5:12
7 /Little Miss Cup Half Empty
Al Schnier / moe./5:19
8 /Blond Hair and Blue Eyes
Rob Derhak / moe./4:59
9 /Do or Die
Al Schnier / moe./3:50
10 /The Pines and the Apple Tree
Rob Derhak / moe./3:52
11 /Billy Goat
Rob Derhak / moe./9:38

Vinnie Amico /Drums
Dave Aron /Clarinet
Rob Derhak /Bass, Vocals
Chuck Garvey /Guitar, Guitar (Acoustic), Vocals
James Loughlin /Mallets, Percussion
Lukky Martin /Trombone
Al Schnier /Guitar, Guitar (Acoustic), Hammond B3, Mandolin, Piano, Vocals
Willie Waldman /Trumpet

Review
by Stephen Thomas Erlewine
Originally planned as an acoustic album, the 11th moe. album No Guts, No Glory experienced a transformation during the recording process with Dave Aron. A producer best known for hip-hop, Aron didn't move the jam band in that direction but he encouraged moe. to do what they do best: to play with themselves. This is a group where interplay trumps all, which sometimes means they ride a groove, sometimes they lay back and solo, sometimes they cluster around a microphone and harmonize, sometimes they just enjoy the ruckus they cause. All of this can be heard on No Guts, No Glory, as can the album's acoustic roots; many of the songs begin with an acoustic intro -- or something spare enough to suggest an acoustic intro, like the bluegrass "Do or Die," which is on electrics but surely feels like it originated on a back porch -- and then build into something else, something a bit more full-blooded. This nimbleness, along with little bits of color like the sly marimba on "Calyphornya," is why No Guts, No Glory can seem simultaneously fresh and familiar. moe. aren't explicitly pioneering into new territory but they're digging deep into their surroundings, still finding something to explore within themselves.

Biography
by Jesse Jarnow
Rising from the dingy college bars of upstate New York, moe. carved a niche for themselves with a distinct blend of Americana, melodic turns, clever songwriting, and jam band ethics. The bandmates were born and raised in the industrial town of Utica, but it took matriculation at the University of Buffalo for moe. to finally coalesce. Founded in 1990 by bassist/vocalist Rob Derhak, guitarist/vocalist Chuck Garvey, and original drummer Ray Schwartz, the band toured the university's party circuit under the name Five Guys Named Moe with several rotating members. Although they covered both contemporary pop and classic rock songs in concert, they also recorded two demo tapes of original material -- Codename: Weaselshark and Spine of a Dog -- in 1991. Guitarist Al Schnier was added that same year.

While playing Buffalo bars like Broadway Joe's, they refined their cartoonishly offbeat sound, a slaphappy mix of Primus-like dementia and focused rhythms. By the time Fatboy was released in 1992, improvisation had begun to creep into the band's sets. Schwartz was soon replaced by Jim Loughlin. As Schnier began to develop his trademark psychedelic oscillating guitar sound, the quartet recorded HeadSeed in Buffalo and migrated east to Albany, which served as the band's home base for the next three years. In early 1995, the band began to tour nationally; by mid-July, Loughlin had left to join Yolk and was replaced by Mike Strazza, a meticulously precise player. The band recorded Loaf over a two-night stand at New York City's Wetlands Preserve. By December, Strazza, too, was gone, replaced by Chris Mazur.

Mazur's playing, infinitely looser than Strazza's, opened the band up to wider improvisation, though it was a step back in terms of musical maturity. In the spring of 1996, moe. signed to Sony/550 Music, for whom they recorded No Doy in the summer. For their first single release, they chose a 46-minute cut of "Meat," recorded in the studio over the summer. In November, Mazur was fired, replaced by Vinnie Amico of Buffalo's Sonic Garden.

Following an opening slot on the Furthur Tour in the summer of 1997, moe. recorded Tin Cans and Car Tires as they began to place increasing importance on the traditional song form. Loughlin rejoined as an auxiliary percussionist in 1999, and the band was dropped from Sony's roster. That fall, the expanded lineup recorded and released the double-live album L on the band's own Fatboy Records, showcasing the new textures of the quintet. This was followed in early 2000 with Dither, an experimental effort that was co-produced with John Siket. Three years later, moe. highlighted their studio and live brilliance with the release of Wormwood. A parade of concert albums followed during the 2000s, including volumes in the Instant Live and Warts and All series.

moe. have been a staple for years at music festivals nationwide -- especially at Bonnaroo in the Southeast. In addition to headlining festivals, moe. host two of their own: moe.down and snoe.down, both held in upstate New York in the late summer and late winter, respectively. Amid all this live activity, the band released a compilation of two earlier releases, No Doy/Tin Cans and Car Tires, in 2006. They followed it up with their first studio effort in four years, 2007's The Conch, and returned in 2008 with Sticks and Stones and Dr. Stan's Prescription, Vol. 1. For 2012's What Happened to the La Las, the band refined and shaped its trademark jam sound into more compact, structured melodies, many of which were developed at live shows. Two years later, the group delivered their eleventh studio album, No Guts, No Glory!, which was helmed by Dave Aron, primarily known for his work with hip-hop acts.

OFFICIAL SITE

6958 - INDIGENOUS FEATURING MATO NANJI - Time Is Coming (2014)

INDIGENOUS FEATURING MATO NANJI
''TIME IS COMING''
MAY 27 2014
73:09

1 /Grey Skies
Leah Nanji / Mato Nanji / Mike Varney/5:02
2 /I'm Telling You
Leah Nanji / Mato Nanji / Mike Varney/4:12
3 /Good At Feelin' Bad
Rick Hollister / Bruce McCabe/3:48
4 /Time is Coming
Leah Nanji / Mato Nanji/5:17
5 /Sun Up, Sun Down
Leah Nanji / Mato Nanji/5:56
6 /Around the World
Leah Nanji / Mato Nanji/5:29
7 /Won't Be Around No More
Leah Nanji / Mato Nanji/7:44
8 /You're What I'm Living For
Leah Nanji / Mato Nanji/5:44
9 /Day By Day
Leah Nanji / Mato Nanji/6:30
10 /So Far Gone
Leah Nanji / Mato Nanji/5:37
11 /Give Me A Reason
Leah Nanji / Mato Nanji / Mike Varney/4:53
12 /Something's Gotta Change
Leah Nanji / Mato Nanji/4:28
13 /Don't Know What To Do
Leah Nanji / Mato Nanji/8:29

Mato Nanji - All Guitars, Lead & Background Vocals
Jeff Martin - Drums
Steve Evans - Bass
Jesse Bradman - Keyboards & Background Vocals

Biography
by Heather Phares
The Native American blues-rock group Indigenous consists of three brothers, Mato Nanji (vocals and guitar), Pte (bass), and Horse (percussion), and their sister, Wanbdi (drums, vocals). The Nakota Nation members grew up on South Dakota's Yankton Indian Reservation and were inspired by their father, Greg Zephier, who had been a musician in the '60s and '70s and later became a spokesperson for Native American rights. The group released its 1998 debut album, Things We Do, on Pachyderm Records; the video for the title track was directed by Chris Eyre, who also directed the award-winning Native American film Smoke Signals. The group released the Blues This Morning EP and Live at Pachyderm Studios in 1999, while winning acclaim from critics and artists like Bonnie Raitt, the Indigo Girls, and Jackson Browne. The Circle followed in 2000.

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6957 - JACKSON BROWNE - Running On Empty (1977)

JACKSON BROWNE
''RUNNING ON EMPTY''
1977
41:49

1 /Running on Empty
Jackson Browne/5:20
2 /The Road
Danny O'Keefe/4:50
3 /Rosie
Jackson Browne / Donald Miller/3:37
4 /You Love the Thunder
Jackson Browne/3:52
5 /Cocaine
T. J. Amall / Jackson Browne / Rev. Gary Davis / Glenn Frey / Traditional/4:55
6 /Shaky Town
Danny Kortchmar/3:36
7 /Love Needs a Heart
Jackson Browne / Valerie Carter / Lowell George/3:28
8 /Nothing But Time
Jackson Browne / Howard Burke/3:05
9 /The Load-Out
Jackson Browne / Bryan Garofalo/5:38
10 /Stay
Maurice Williams/3:28

Joel Bernstein /Vocals
Jackson Browne /Guitar, Keyboards, Piano, Vocals
Rosemary Butler /Guest Artist, Vocals
Craig Doerge /Guest Artist, Keyboards
Doug Haywood /Guest Artist, Vocals
Jon Douglas Haywood /Bass, Vocals
Danny Kortchmar /Guest Artist, Guitar, Percussion, Vocal Harmony, Vocals
Russ Kunkel /Cardboard Box, Drums, Drums (Snare), Guest Artist, Hi Hat
David Lindley /Fiddle, Guest Artist, Guitar, Guitar (Steel), Lap Steel Guitar, Violin, Vocals
Leland Sklar /Bass, Guest Artist

Review
by William Ruhlmann
Having acknowledged a certain creative desperation on The Pretender, Jackson Browne lowered his sights (and raised his commercial appeal) considerably with Running on Empty, which was more a concept album about the road than an actual live album, even though its songs were sometimes recorded on-stage (and sometimes on the bus or in the hotel). Unlike most live albums, though, it consisted of previously unrecorded songs. Browne had less creative participation on this album than on any he ever made, solely composing only two songs, co-writing four others, and covering another four. And he had less to say -- the title song and leadoff track neatly conjoined his artistic and escapist themes. Figuratively and creatively, he was out of gas, but like "the pretender," he still had to make a living. The songs covered all aspects of touring, from Danny O'Keefe's "The Road," which detailed romantic encounters, and "Rosie" (co-written by Browne and his manager Donald Miller), in which a soundman pays tribute to auto-eroticism, to, well, "Cocaine," to the travails of being a roadie ("The Load-Out"). Audience noises, humorous asides, loose playing -- they were all part of a rough-around-the-edges musical evocation of the rock & roll touring life. It was not what fans had come to expect from Browne, of course, but the disaffected were more than outnumbered by the newly converted. (It didn't hurt that "Running on Empty" and "The Load-Out"/"Stay" both became Top 40 hits.) As a result, Browne's least ambitious, but perhaps most accessible, album ironically became his biggest seller. But it is not characteristic of his other work: for many, it will be the only Browne album they will want to own, just as others always will regard it disdainfully as "Jackson Browne lite."

Biography
by Stephen Thomas Erlewine
In many ways, Jackson Browne was the quintessential sensitive Californian singer/songwriter of the early '70s. Only Joni Mitchell and James Taylor ranked alongside him in terms of influence, but neither artist tapped into the post-'60s Zeitgeist like Browne. While the majority of his classic '70s work was unflinchingly personal, it nevertheless provided a touchstone for a generation of maturing baby boomers coming to terms with adulthood. Not only did his introspective, literate lyrics strike a nerve, but his laid-back folk-rock set the template for much of the music to come out of California during the '70s. With his first four albums, Browne built a loyal following that helped him break into the mainstream with 1976's The Pretender. During the late '70s and early '80s, he was at the height of his popularity, as each of his albums charted in the Top Ten. Midway through the '80s, Browne made a series of political protest records that caused his audience to gradually shrink, but when he returned to introspective songwriting with 1993's I'm Alive, he made a modest comeback.

Born in Heidelberg, West Germany, Jackson Browne and his family moved to Los Angeles when he was three years old, and by the time he was a teenager, Browne had developed an interest in folk music. He began playing guitar and writing songs, which he sang at local folk clubs. Early in 1966, he was invited to join the Nitty Gritty Dirt Band, whom he had met through the L.A. folk circuit. While he was only with the band for a few months, the group recorded a handful of his songs on its first two records. By the beginning of 1967, he had signed a publishing deal with Nina Music, a division of Elektra Records; Nina helped Browne secure songs on albums by Tom Rush and Steve Noonan in 1968. During 1967 and 1968, he lived in New York's Greenwich Village, where he played in Tim Buckley's backing band. Browne also began working with Nico, who recorded three of his songs on her Chelsea Girl album. When their relationship disintegrated in 1968, he returned to Los Angeles, where he unsuccessfully tried to record a solo album and form a folk group with Ned Doheney and Jack Wilce. Browne continued to play local clubs and his reputation as a songwriter continued to grow, with Linda Ronstadt and the Byrds recording his songs. By the end of 1971, he had signed with David Geffen's fledgling Asylum Records on the strength of his widely circulated demo tape.

Jackson Browne was released in the spring of 1972, spawning the Top Ten hit single "Doctor My Eyes." Shortly after "Doctor My Eyes" reached its peak position, "Take It Easy," a song Browne co-wrote with Glenn Frey, became the Eagles' breakthrough hit. Many songs from his debut, including "Rock Me on the Water" and "Jamaica Say You Will," became singer/songwriter standards, but the album itself didn't establish Browne as a pop star, despite its hit single. On his second album, 1973's For Everyman, he began a long-term collaboration with instrumentalist David Lindley. For Everyman was a commercial disappointment, yet it consolidated his cult following.

Released in the fall of 1974, Late for the Sky expanded Browne's audience significantly, peaking at number 14 on the charts and going gold by the beginning of the following year. Browne's first wife, Phyllis, committed suicide in the spring of 1976, but in the wake of the tragedy he recorded his commercial breakthrough album, The Pretender. The record climbed into the Top Ten upon its fall 1976 release, going platinum in the spring of 1977. In the summer, Browne launched an extensive tour, recording a new album while he was on the road. The resulting record, Running on Empty (1977), was a bigger success than its predecessor, peaking at number three and launching the hit singles "Running on Empty" and "Stay/The Load-Out." With his career riding high, Browne began to pursue political and social causes, most notably protesting the use of nuclear energy.

The success of Hold Out, the 1980 follow-up to Running on Empty, was evidence of Jackson Browne's popularity. Though the album wasn't as well crafted as its predecessors, it became his only number one album upon its summer release. In the summer of 1982, "Somebody's Baby," from the soundtrack of Fast Times at Ridgemont High, became Browne's biggest hit, climbing to number seven on the U.S. charts. Divided between love songs and political protests, Lawyers in Love was another hit due to success of the hit singles "Lawyers in Love," "Tender Is the Night," and "For a Rocker." Nevertheless, the album also showcased a newly found social consciousness, which dominated 1986's Lives in the Balance. The album lacked any hit singles, yet its fiery condemnation of the Reagan era won an audience -- the album stayed on the charts for over six months and went gold.

Jackson Browne continued to write primarily political songs on 1989's World in Motion, but the record became his first album to not go gold. Browne was quiet for the next four years, working on a variety of social causes and suffering a painful public breakup with his girlfriend, actress Daryl Hannah. He finally returned with a comeback effort in the fall of 1993 entitled I'm Alive. Comprised of personal songs, I'm Alive received his best reviews since the late '70s and the record went gold without producing any major hits. In the spring of 1996, Browne released Looking East, which failed to gain the same attention as I'm Alive. In 2002, he released The Naked Ride Home. Two years later the two-disc The Very Best of Jackson Browne hit the shelves as Browne was being inducted into the Rock and Roll Hall of Fame by fellow Hall of Famer Bruce Springsteen. Around this time Browne took to the road and played intimate acoustic shows around the globe. The 2005 release Solo Acoustic, Vol. 1 was compiled from these concerts and appeared on Inside Recordings, an independent label founded by Browne. Solo Acoustic, Vol. 2 appeared in 2008, while an album of new material, Time the Conqueror, followed later in the year. Spring 2010 saw the release of Love Is Strange.

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6956 - FRED CHAPELLIER - Electric Communion, Disc Two (2014)

FRED CHAPELLIER
''ELECTRIC COMMUNION, DISC TWO''
MAY 5 2014
88:04

DISC ONE (LIVE)
1 /Night Work/3:11
2 /He's Walking/3:55
3 /Living In A Dream/6:02
4 /Cold As Ice/4:47
5 /Sweet Soul Music/4:33
6 /As The Years Go Passing By/7:18
7 /B Shuffle/5:08
8 /I Loved Another Woman/3:57
9 /Gary's Gone/6:38
10 /Can't You See What You're Doing To Me/4:48
11 /Under The Influence/7:14
12 /Blues For Roy/8:58

DISC TWO
1 /Ain't No Love In The Heart Of The City /3:33
2 /Bet On The Blues/3:33
3 /Beyond The Moon/5:30
4 /Under The Influence/3:49
5 /Better Off Lonely/5:14

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6955 - FRED CHAPELLIER - Electric Communion, Disc One (2014)

FRED CHAPELLIER
''ELECTRIC COMMUNION, DISC ONE''
MAY 5 2014
88:04

DISC ONE (LIVE)
1 /Night Work/3:11
2 /He's Walking/3:55
3 /Living In A Dream/6:02
4 /Cold As Ice/4:47
5 /Sweet Soul Music/4:33
6 /As The Years Go Passing By/7:18
7 /B Shuffle/5:08
8 /I Loved Another Woman/3:57
9 /Gary's Gone/6:38
10 /Can't You See What You're Doing To Me/4:48
11 /Under The Influence/7:14
12 /Blues For Roy/8:58

DISC TWO
1 /Ain't No Love In The Heart Of The City /3:33
2 /Bet On The Blues/3:33
3 /Beyond The Moon/5:30
4 /Under The Influence/3:49
5 /Better Off Lonely/5:14

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6954 - FRED CHAPELLIER - Electric Fingers (2012)

FRED CHAPELLIER
''ELECTRIC FINGERS''
2012
52:10

01. Hot Rod Cadillac Automobile/2:06
02. He's Walking/3:36
03. Something About You/3:58
04. Yield Not To Temptation/3:09
05. Cold As Ice/3:11
06. Marie Laveaux/5:39
07. Sweet Soul Music/4:05
08. Gary's Gone/4:18
09. Living In A Dream/3:41
10. I Found You/3:49
11. Memphis Connection Part 2/3:25
12. I Wouldn't Treat A Dog/4:28
13. Blues For Roy (Bonus Track)/6:39

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6953 - FRED CHAPELLIER & TOM PRINCIPATO - Guitars On Fire (Live At Chez Paulette) (2011)

FRED CHAPELLIER & TOM PRINCIPATO
''GUITARS ON FIRE: LIVE AT CHEZ PAULETTE''
2011
54:42

1 - If Love Is Blind/3:15
2 - O.V. Wright/7:12
3 - Don't Wanna Do It/6:29
4 - My Love Comes Tumblin' Down/5:23
5 - Part Of Me/5:16
6 - Beer Drinking Woman/5:01
7 - Call The Law/4:34
8 - Night Work/4:57
9 - I Hear You Knockin'/6:26
10 - Done Your Daddy Dirty/6:02

Review
By Denis (Amazon)
"Guitars on Fire" is an outstanding live recording from Tom Principato and his French cohort Fred Chapellier. Recorded in France during one of Tom Principato's regular visits to Europe, "Guitars on Fire" really lives up to its name. I must say both musicians deserve high praise for their talent, skill, and execution, and having been to a few of Tom Principato's live shows, I am not surprised!

Although I was not previously familiar with Fred Chapellier's work, I know Tom Principato is a world-class guitar player and just an outstanding musician overall. With this live CD release, Tom further reinforces his stellar reputation as both an accomplished guitarist and an expressful singer. At the same time, I have been very impressed with Fred Chapellier: he has some great chords up his sleeve, he's got great passion for what he does, and he really holds his own well against Tom Principato. The two men are actually very well matched in their guitar stylings and singing voices: I think their on-stage chemistry, in addition to skill, is what really sets their joint performance on fire.

About 6 songs from this live recording are familiar to me from Tom's previously released albums (and there are many, and you should check them out, too!). The other 4 songs probably came from Fred's playlist. The song sequence is great, I must say - it really helps to change up the mood of the concert and gives good variety to the intensity and the style of the guitar playing and singing.

I've been a huge fan of Tom Principato for a few years now, since I first discovered his music: I have almost every record he ever released, and I've played them often enough to recognize (or even sing along with) the chord sequences of lot of his songs' studio versions.

That said, I was very pleasantly surprised with how fresh and versatile Tom's playing is on "Guitars on Fire." While he stuck close to the studio versions of "Dont Wanna Do It" and "Part Of Me" (from his 2011 album), he let loose on most other songs the way he does in his live shows, and it's particularly gratifying listening to him do things on the guitar that I've never heard him do before.

Tom and Fred alternate lead and rhythm roles for parts of the songs, but when they get into improv solos and start trading licks, that's when this recording really gives you goosebumps. It's hard not to imagine them smiling at each other while they pluck their Fenders for some fine chicken-style pickings or tug on their tremolo arms while unleashing torrents of fiery blues rock on each other and on their audience.

The recording of this album succeeded in capturing an outstanding live show, and you get to hear it in full glory - all the passion, all the talent, all the skill, and all the hard work. This CD has been in my CD player non-stop for a while now, and I love it.

Check out this album and support this great independent music!

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6952 - FRED CHAPELLIER & FRIENDS - A Tribute To Roy Buchanan (2007)

FRED CHAPELLIER & FRIENDS
''A TRIBUTE TO ROY BUCHANAN''
NOVEMBER 15 2007
56:28

1 /High Wire /3:17
2 /I Can't Lose The Blues /5:03
3 /My Baby Says She's Gonna Leave Me /4:36
4 /After Hours /4:37
5 /Blues For Roy /6:12
6 /Further On Up The Road /3:48
7 /A Nickle And A Nail /5:02
8 /Reelin' And A Rockin' /1:56
9 /Beer Drinking Woman /4:18
10 /The Chokin' Kind /4:04
11 /That's What I'm Here For /3:52
12 /The Messiah Will Come Again /4:26
13 /Rockin' Roy /2:31
14 /That's What I'm Here For (Instrumental) /3:47

Fred Chapellier - Guitar
Billy Price - Vocals
Neal Black - Guitar
Tom Principato - Guitar
Gib Wharton - Pedal Steel Guitar
Jean Alain Roussel - Keyboards
Miguel M
Lightfoot Rivet

Review
By Vasja Ivanovski
Finally an tribute project that was due a long time. We have witnessed plenty of various tribute albums dedicated to different music people, but it took a relatively unknown musician (at least in this part of Europe!) to do a tribute to one of the most important blues and rock guitarists in music history, Roy Buchanan. And what a fine tribute it is! Fred Chapellier is an excellent guitarist who emphasizes big influence Roy Buchanan has on his music and this tribute is almost perfect homage to guitar great. Fred has managed to intrigue some very interesting people to take part in this project, some of them were directly connected with Buchanan (producer, arranger and keyboard player Jean Roussel and Billy Price, vocalist in Roy's band for years). They all did justice to Buchanan's material whose legend will live on through Fred's project. This is one class product which is heartily recommended to all fans of Roy Buchanan and music fans in general. All tracks are great, but my personal favorites are "After Hours", "The Chokin' Kind", "Blues for Roy" and "A Nickel and a Nail".

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6951 - ERIC BURDON - No More War (2008)

ERIC BURDON
''NO MORE WAR''
2008
61:49

01. No more war (4:08)
02. It.s too Late (4:01)
03. Love is for all time (3:44)
04. The night (4:42)
05. Heart attack (3:51)
06. Tango (4:22)
07. Young girls (4:14)
08. Devil.s daughter (2:46)
09. 16 tons (3:50)
10. Hook from Holland (6:22)
11. Tobacco Road (10:35)
12. For your love (9:14)

Eric Burdon - vocals
Red Young, Alan Price - keyboards
Terry Wilson, Chas Chandler - bass
Don Evans, Hilton Valentine, Steve Grant - guitar
Dennis Edwards, John Steel - drums
Skip Van Winkle - organ

Eric Victor Burdon (born 11 May 1941) is an English singer-songwriter best known as a member and vocalist of rock band The Animals, and the funk band War and for his aggressive stage performance. He was ranked 57th in Rolling Stone's list – The 100 Greatest Singers of All Time.
This CD the part of the 'Spirits of Eric Burdon series', recorded between 1982 and 1984, Los Angeles, London and Berlin.

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6950 - BOOGIE BONE - Pro-Bone-O (2011)

BOOGIE BONE
''PRO-BONE-O''
2011
46:21

1. Deep Black Water/4:07
2. Got It Made/4:45
3. The Preacher/3:25
4. Stranded/4:02
5. Why/3:50
6. How Blue Are You/3:55
7. Too Old To Die Young/3:07
8. Good Times/4:06
9. Inside Out/3:20
10. Serves Me Right/4:37
11. It Don't Matter/4:00
12. One Day/3:06

Review
By Greg Johnson
Recently while talking to Boogie Bone's Steven Dee Williams and Howlin' Jake Johnson, they explained to me that their new CD Pro-Bone-O was going to be a bit toned down, aiming to appease the more traditional blues lovers. Well, before all of you die-hard Bone Heads start to bemoan what will befall your beloved band, let me tell you that there is no need to worry. Boogie Bone may have taken what they term as a toned down approach, but this new album still kicks things out in high gear.
I do have to say that the band is certainly all over the map with musical approaches for what has to be their most eclectic release to date. But though it may take a variety of paths, it all sounds great. These guys write exceptional lyrics and Johnson is the perfect front man to deliver those words. They're all splendid musicians that have a feel as if they were hand-crafted to fit together. Henry Gavaldon and Todd "Spud" Stevens are a solid rhythm section, putting the spark behind whatever direction that Williams' guitar and the hodge-podge of instrumentation offered by Steve Snyder travel. And those two travel extensively, playing off from one another brilliantly throughout the disc..
Right off the get-go, you have the two Steves open with a train-like rhythm of guitar and harmonica on "Deep Black Water," that paces its way right into a rocker number on "Got It Made." That second track is more of the type of song you may be used to from Boogie Bone, but they quickly change pace into perhaps the most traditional sounding acoustic blues piece they've done to date on "The Preacher," as the basic acoustic guitar and harp are highlighted with handclaps and footstomps holding the beat.
The album continues with its diverse patterns with funky-paced "Stranded" that offers a bit of a James Brown feel on Snyder's sax work; a little psychedelic break between guitar and keys midway through "How Blue Are You"; and even bringing on an Eastern flavor with Williams' guitar achieving a little sitar-like tone on "Too Old To Die Young" (now if that isn't your expected Boogie Bone title for a song, what is?). Plus there's the feel-good number recalling hanging out with your buddies on "Good Times" where you spend the night drinking, possibly getting into a little fight, while "making jokes about your sisters and mothers."
Pro-Bone-O may not be the type of fare that you've heard from them before, but this album works. It offers new directions for the band and they have what it takes to bring them all across in the grandest manner. Another winning release from Boogie Bone. Can they do no wrong? Not with material like they've given us so far. Pro-Bone-O follows suit!

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