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November 7, 2014
7954 - THE STANLEY CLARKE BAND - UP (2014)
THE STANLEY CLARKE BAND
''UP''
SEPTEMBER 30 2014
44:50
1. Pop Virgil 3:18
2. Last Train To Sanity 3:33
3. Up 3:17
4. Brazilian Love Affair (Dedicated To George Duke) 6:36
5. Bass Folk Song #13: Mingus 0:57
6. I Have Something To Tell You Tonight 6:24
7. Trust (Dedicated To Nana) 3:38
8. Bass Folk Song #7: Tradition 1:51
9. Gotham City 3:43
10. Bass Folk Song #14: Dance Of The Giant Hummingbird/Bass Folk Song #15: Eleuthera Island 2:04
11. School Days 5:31
12. La Cancion De Sofia 4:09
All Tracks By Clarke
Stanley Clarke - electric and acoustic basses, synth bass, vocals
Paul Jackson, Jr. - guitar
Chick Corea - acoustic piano on track 12
Greg Phillinganes - keyboards
John Robinson - drums
Lenny Castro - percussion
Ronald Bruner, Jr. - drums
Stewart Copeland - drums
Gary Grant - trumpet
Andy Martin - trombone
Dan Higgins - tenor and baritone saxes
Jerry Hey - horn arrangements
Ruslan Sirota - acoustic piano, Fender Rhodes
Nick Mancini - marimba
Natasha Agrama - background vocals
Mariela Arredondo - background vocals
Harlem String Quartet
Kamasi Washington - sax
Joe Walsh - guitar
Beka Gochiashvili - acoustic piano
Phil Davis - keyboards, sythns
Jessica Vautor - vocal on track 4
Michael Mitchel - drums
Patrice Quinn - background vocals
Felipe Fraga - percussion
Doug Webb - sax
Jimmy Herring - guitar
Gerry Brown - drums
REVIEW
By Mack Avenue
Legendary bassist Stanley Clarke considers his upcoming Mack Avenue Records release, The Stanley Clarke Band’s UP, to be the most energetic, rhythmic and upbeat album that he has ever done—and with more than 40 solo albums under his belt, that’s saying quite a lot. Clarke’s signature bass virtuosity and technical acumen is present throughout, but the enjoyment he had in making this album is also apparent. Unlike his predominantly acoustic bass work on the last few albums, UP is almost equal parts electric and acoustic bass.
“My aim here was to make a record with my friends. Every single recording session was nothing but fun,” says Clarke. “Surrounding myself with people I enjoy being with made the sessions effortless. Everyone came prepared and ready to play. All were great musicians and they came to the studio to give everything they had.”
Much like his last Grammy® Award-winning album, Stanley Clarke Band, this new release features the inclusion of former bandmates pianist/keyboardist Ruslan Sirota and drummer Ronald Bruner, Jr., who toured with him for seven years and were Clarke’s co-Grammy Award winners for the Best Contemporary Jazz Album of 2011. Two of Clarke’s current touring band members, acoustic pianist Beka Gochiashvili and drummer Mike Mitchell, are also represented on the album. Both are quite young, in their teens, and talented way beyond their years.
Among these other friends Clarke invites to shine on UP are: guitarists Joe Walsh, Jimmy Herring and Paul Jackson, Jr.; drummers Stewart Copeland, Gerry Brown and John Robinson; keyboardist Greg Phillinganes; Phil Davis on synthesizer and keyboards; Chick Corea on acoustic piano; saxophonists Kamasi Washington, Doug Webb and Dan Higgins; vocalists Jessica Vautor, Natasha Agrama and Patrice Quinn; trumpeter Gary Grant and trombonist Andy Martin on horns; percussionist Lenny Castro; Nick Mancini on marimba; and the Harlem String Quartet with violinists Ilmar Gavilán and Melissa White, Jaime Amador on viola and cellist Matthew Zalkind.
The first track on the album, a song with a warm funky and bluesy feel that reminds Clarke of his grandfather, is “Pop Virgil,” featuring Michael Jackson’s session rhythm section: Robinson, Jackson, Jr. and Phillinganes. Clarke considers “Last Train To Sanity” one of the best pieces he has ever written and it is the only track on the album that deals with the music as a film composition. “I’m so glad that the Harlem String Quartet, who I’ve toured with a bit over the last year, was willing to be part of this recording,” says Clarke.
The title track “UP,” is the essence of the album’s sensibilities. “Drummer Stewart Copeland was on my mind with this song,” says Clarke. “His vibe is one of the most upbeat and positive that I know, and that consciousness carries throughout the song.” The bassist also pays homage to George Duke with “Brazilian Love Affair – Dedicated To George Duke,” one of his favorite compositions. A tremendous arrangement augmented by robust rhythms and a vigorous samba predominate the song.
As in previous recordings, Clarke unveils more bass compositions in UP that he has dubbed “Bass Folk Songs.” Clarke says, “They’re very specific compositions. I started writing them when I was much younger and have about 20 now. They are specifically written for a solo bass.” “Bass Folk Song #13: Mingus” is a homage to Charles Mingus done on acoustic bass. “Bass Folk Song #7: Tradition” evolved from thoughts on musicians Clarke played with early in his career including Horace Silver, Art Blakey, Joe Henderson and Stan Getz; ironically it’s an Alembic electric tenor bass solo. And “Bass Folk Song #14: Dance Of The Giant Hummingbird/Bass Song #15: Eleuthera Island” are two Bass Folk Songs put together for solo acoustic bass.
The collaboration is intuitive with former bandmates Sirota and Bruner, Jr. on “I Have Something To Tell You Tonight,” with Washington on sax creating a dreamy improvisational jam. “Trust – Dedicated To Nana” is a straight ahead jazz piece dedicated to Clarke’s daughter Nana (Natasha). It arose from a family discussion one evening, and though lyrics would seem appropriate to convey the conversation, here Clarke captures the feel and emotion of the exchange instrumentally. Ramping up the album’s ambiance again, Clarke and the musicians have fun with “Gotham City.” A fan of superheroes in films and comics since childhood, this is Clarke’s homage to the genre.
“I knew the idea of re-recording ‘School Days’ was potentially dangerous, but just because a song is good and deemed to be a classic doesn’t mean you can’t record it again,” Clarke states. The legendary Jimmy Herring does the dynamic guitar lead on this version and is joined by Gerry Brown, who was the original “School Days” drummer in 1975.
The album concludes with “La Canción de Sofia.” Written for Clarke’s wife Sofia, who is from Chile, this track is a live performance of an acoustic duet with Chick Corea recorded in 2013 at the Kitara Hall in Sapporo, Japan.
OFFICIAL BIOGRAPHY
By Ivan Bodley, New York City
Four-time Grammy™ winner Stanley Clarke is quite possibly the most celebrated acoustic and electric bassist in the world. As a performer, composer, conductor, arranger, recording artist, producer, and film scorer known for his ferocious dexterity and consummate musicality, Clarke is a true pioneer in jazz and of the bass itself. Unquestionably he is a “living legend,” lauded with every conceivable award available to a musician in his over 40-year career as a bass virtuoso.
Clarke’s incredible proficiency has been rewarded with: four Grammys, gold and platinum records, Emmy nominations, an honorary Doctorate from Philadelphia’s University of the Arts, and much more. He was Rolling Stone’s very first Jazzman of the Year and bassist winner of Playboy’s Music Award for ten straight years. Clarke was honored with Bass Player Magazine’s Lifetime Achievement Award and is a member of Guitar Player Magazine’s “Gallery of Greats.” He was even given the key to the city of Philadelphia.
Digging through the great multitude of accolades bestowed upon Stanley reveals an interesting phenomenon. It is difficult to remember how limited the potential career path of a bass player was before he came on the scene. Stanley almost single-handedly took the bass out of the shadows and brought it to the very front of the stage, literally and figuratively.
The traditional role of the bass was largely one of time-keeping that sonically filled out the spectrum. Clarke says: “Before I came along a lot of bass players stood in the back. They were very quiet kind of guys who didn’t appear to write music. But many of those bass players were serious musicians. All that I did was just take the step and create my own band.”
Certainly there were great and celebrated bass players before Stanley like Ron Carter, Scott LaFaro, and the pioneering composer Charles Mingus. But Clarke became the first bassist in history to headline sold-out world tours and have gold albums. He was also the first to double on acoustic and electric bass with equal virtuosity, power, and fire. By the time he was 25 years old, he was already regarded as a pioneer in the jazz fusion movement.
Clarke cites Mingus as a great influence personally and professionally. “The greatest moment in my life that changed me was having dinner with the great Charlie Mingus. He had the personality of a revolutionary that could have run a paramilitary group. He was very intense, heavy! That’s when I realized exactly what I wanted to do with the bass. I was going to approach my career completely like a revolutionary. Whatever was there, I was going to do the opposite.” The rest, as they say, literally is history.
Interestingly electric bass, for which Stanley is most renowned, is not his principal instrumental. His first passion, which carries to this day, is for the acoustic bass. “Electric bass is my secondary instrument. When I first started playing electric it was at parties and just for having fun. But I made records and got famous more as an electric bass player than as an acoustic bass player.”
In 1971, 20-year-old Stanley Clarke exploded into the jazz world, fresh out of the Philadelphia Academy of Music. Arriving in New York City, he immediately landed jobs with bandleaders such as Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Pharaoh Saunders, Gil Evans, Stan Getz, and a budding young pianist-composer named Chick Corea. Stanley says: “my original goal was to be a classical bassist. I wanted to be one of the first black musicians in the Philadelphia orchestra. Chick Corea changed my mind about that.”
Clarke and Corea formed the wildly influential jazz fusion band Return to Forever, a showcase for each of the quartet’s strong musical personalities, composing prowess, and instrumental voices. They recorded eight albums, two of which are certified gold (Return to Forever and Romantic Warrior). They also won a Grammy (No Mystery) and received numerous nominations while touring incessantly.
Clarke then fired the “shot heard ‘round the world” that started the 1970s bass revolution and paved the way for all bassist/soloist/bandleaders to follow. In 1974, he released the eponymous Stanley Clarke album which featured the hit single, “Lopsy Lu.” Two years later, he released School Days, an album whose title track is now a bona fide bass anthem, a must-learn for nearly every up-and-coming bassist, regardless of genre.
Aspiring bassists must also master the percussive slap funk technique that Clarke pioneered as well. Sly and the Family Stone’s Larry Graham first developed the rudimentary slap technique. Stanley took the idea and ran with it, adapting it to complex jazz harmonies.
Always in search of new challenges, Clarke turned his boundless creative energy to film and television scoring in the mid-1980s. He is now an elite in-demand composer in Hollywood. Starting in television with an Emmy-nominated score for Pee Wee’s Playhouse, he transitioned to the silver screen and now has over 65 credits to his name.
As composer, orchestrator, conductor, and performer he has scored blockbuster films: Boyz ‘N the Hood, What’s Love Got To Do With It?, The Transporter, Romeo Must Die, Passenger 57, Poetic Justice, and The Five Heartbeats. He also scored the Michael Jackson video Remember the Time, directed by Jon Singleton. More recently he scored the 2013 box-office hit, Best Man Holliday. He has been nominated for three Emmys and won a BMI Award for Boyz ‘N the Hood.
“Film has given me the opportunity to write large orchestral scores and compose music I’m not normally associated with,” says Clarke. “It has given me the chance to conduct orchestras and arrange music for various types of ensembles. It has focused my skills and made me a more complete musician.” His 1995 CD release, Stanley Clarke at the Movies, is a testament to this. Stanley promises that he will find time to release At the Movies Two compiled from the 20 additional years of film scores since then.
In addition to his own band, Clarke has always enjoyed collaborating with other artists. Stanley teamed up with keyboardist George Duke in 1981 to form the Clarke/Duke Project. Together they scored a top 20 pop hit, “Sweet Baby,” and recorded three albums. Stanley worked with George in various situations for over 40 years until George’s untimely passing in 2013.
Some of Stanley’s other notable projects as band member or co-leader include: Jeff Beck, Keith Richards’ New Barbarians, Animal Logic (with Stewart Copeland), Superband (with Larry Carlton, Billy Cobham, Najee, and Deron Johnson), Rite of Strings (with Jean-Luc Ponty and Al Di Meola), Vertu’ (with Lenny White), Trio! (with Bela Fleck and Jean Luc Ponty), and SMV (with Marcus Miller and Victor Wooten).
Clarke passionately believes in helping young worthy musicians. He and his wife Sofia established The Stanley Clarke Foundation in 2000, a charitable organization which offers music scholarships. In 2007 Clarke released a critically-lauded DVD entitled Night School: An Evening with Stanley Clarke and Friends chronicling the third annual Stanley Clarke Scholarship Concert with proceeds going to the fund. The concert features Stevie Wonder, Wallace Roney, Bela Fleck, Sheila E., Stewart Copeland, Flea from The Red Hot Chili Peppers, Wayman Tisdale, and Marcus Miller.
To this day Stanley Clarke remains as passionate about music as that young prodigy from Philadelphia with big dreams. His journey has already been epic and storied. Yet it is far from over.
OFFICIAL SITE
''UP''
SEPTEMBER 30 2014
44:50
1. Pop Virgil 3:18
2. Last Train To Sanity 3:33
3. Up 3:17
4. Brazilian Love Affair (Dedicated To George Duke) 6:36
5. Bass Folk Song #13: Mingus 0:57
6. I Have Something To Tell You Tonight 6:24
7. Trust (Dedicated To Nana) 3:38
8. Bass Folk Song #7: Tradition 1:51
9. Gotham City 3:43
10. Bass Folk Song #14: Dance Of The Giant Hummingbird/Bass Folk Song #15: Eleuthera Island 2:04
11. School Days 5:31
12. La Cancion De Sofia 4:09
All Tracks By Clarke
Stanley Clarke - electric and acoustic basses, synth bass, vocals
Paul Jackson, Jr. - guitar
Chick Corea - acoustic piano on track 12
Greg Phillinganes - keyboards
John Robinson - drums
Lenny Castro - percussion
Ronald Bruner, Jr. - drums
Stewart Copeland - drums
Gary Grant - trumpet
Andy Martin - trombone
Dan Higgins - tenor and baritone saxes
Jerry Hey - horn arrangements
Ruslan Sirota - acoustic piano, Fender Rhodes
Nick Mancini - marimba
Natasha Agrama - background vocals
Mariela Arredondo - background vocals
Harlem String Quartet
Kamasi Washington - sax
Joe Walsh - guitar
Beka Gochiashvili - acoustic piano
Phil Davis - keyboards, sythns
Jessica Vautor - vocal on track 4
Michael Mitchel - drums
Patrice Quinn - background vocals
Felipe Fraga - percussion
Doug Webb - sax
Jimmy Herring - guitar
Gerry Brown - drums
REVIEW
By Mack Avenue
Legendary bassist Stanley Clarke considers his upcoming Mack Avenue Records release, The Stanley Clarke Band’s UP, to be the most energetic, rhythmic and upbeat album that he has ever done—and with more than 40 solo albums under his belt, that’s saying quite a lot. Clarke’s signature bass virtuosity and technical acumen is present throughout, but the enjoyment he had in making this album is also apparent. Unlike his predominantly acoustic bass work on the last few albums, UP is almost equal parts electric and acoustic bass.
“My aim here was to make a record with my friends. Every single recording session was nothing but fun,” says Clarke. “Surrounding myself with people I enjoy being with made the sessions effortless. Everyone came prepared and ready to play. All were great musicians and they came to the studio to give everything they had.”
Much like his last Grammy® Award-winning album, Stanley Clarke Band, this new release features the inclusion of former bandmates pianist/keyboardist Ruslan Sirota and drummer Ronald Bruner, Jr., who toured with him for seven years and were Clarke’s co-Grammy Award winners for the Best Contemporary Jazz Album of 2011. Two of Clarke’s current touring band members, acoustic pianist Beka Gochiashvili and drummer Mike Mitchell, are also represented on the album. Both are quite young, in their teens, and talented way beyond their years.
Among these other friends Clarke invites to shine on UP are: guitarists Joe Walsh, Jimmy Herring and Paul Jackson, Jr.; drummers Stewart Copeland, Gerry Brown and John Robinson; keyboardist Greg Phillinganes; Phil Davis on synthesizer and keyboards; Chick Corea on acoustic piano; saxophonists Kamasi Washington, Doug Webb and Dan Higgins; vocalists Jessica Vautor, Natasha Agrama and Patrice Quinn; trumpeter Gary Grant and trombonist Andy Martin on horns; percussionist Lenny Castro; Nick Mancini on marimba; and the Harlem String Quartet with violinists Ilmar Gavilán and Melissa White, Jaime Amador on viola and cellist Matthew Zalkind.
The first track on the album, a song with a warm funky and bluesy feel that reminds Clarke of his grandfather, is “Pop Virgil,” featuring Michael Jackson’s session rhythm section: Robinson, Jackson, Jr. and Phillinganes. Clarke considers “Last Train To Sanity” one of the best pieces he has ever written and it is the only track on the album that deals with the music as a film composition. “I’m so glad that the Harlem String Quartet, who I’ve toured with a bit over the last year, was willing to be part of this recording,” says Clarke.
The title track “UP,” is the essence of the album’s sensibilities. “Drummer Stewart Copeland was on my mind with this song,” says Clarke. “His vibe is one of the most upbeat and positive that I know, and that consciousness carries throughout the song.” The bassist also pays homage to George Duke with “Brazilian Love Affair – Dedicated To George Duke,” one of his favorite compositions. A tremendous arrangement augmented by robust rhythms and a vigorous samba predominate the song.
As in previous recordings, Clarke unveils more bass compositions in UP that he has dubbed “Bass Folk Songs.” Clarke says, “They’re very specific compositions. I started writing them when I was much younger and have about 20 now. They are specifically written for a solo bass.” “Bass Folk Song #13: Mingus” is a homage to Charles Mingus done on acoustic bass. “Bass Folk Song #7: Tradition” evolved from thoughts on musicians Clarke played with early in his career including Horace Silver, Art Blakey, Joe Henderson and Stan Getz; ironically it’s an Alembic electric tenor bass solo. And “Bass Folk Song #14: Dance Of The Giant Hummingbird/Bass Song #15: Eleuthera Island” are two Bass Folk Songs put together for solo acoustic bass.
The collaboration is intuitive with former bandmates Sirota and Bruner, Jr. on “I Have Something To Tell You Tonight,” with Washington on sax creating a dreamy improvisational jam. “Trust – Dedicated To Nana” is a straight ahead jazz piece dedicated to Clarke’s daughter Nana (Natasha). It arose from a family discussion one evening, and though lyrics would seem appropriate to convey the conversation, here Clarke captures the feel and emotion of the exchange instrumentally. Ramping up the album’s ambiance again, Clarke and the musicians have fun with “Gotham City.” A fan of superheroes in films and comics since childhood, this is Clarke’s homage to the genre.
“I knew the idea of re-recording ‘School Days’ was potentially dangerous, but just because a song is good and deemed to be a classic doesn’t mean you can’t record it again,” Clarke states. The legendary Jimmy Herring does the dynamic guitar lead on this version and is joined by Gerry Brown, who was the original “School Days” drummer in 1975.
The album concludes with “La Canción de Sofia.” Written for Clarke’s wife Sofia, who is from Chile, this track is a live performance of an acoustic duet with Chick Corea recorded in 2013 at the Kitara Hall in Sapporo, Japan.
OFFICIAL BIOGRAPHY
By Ivan Bodley, New York City
Four-time Grammy™ winner Stanley Clarke is quite possibly the most celebrated acoustic and electric bassist in the world. As a performer, composer, conductor, arranger, recording artist, producer, and film scorer known for his ferocious dexterity and consummate musicality, Clarke is a true pioneer in jazz and of the bass itself. Unquestionably he is a “living legend,” lauded with every conceivable award available to a musician in his over 40-year career as a bass virtuoso.
Clarke’s incredible proficiency has been rewarded with: four Grammys, gold and platinum records, Emmy nominations, an honorary Doctorate from Philadelphia’s University of the Arts, and much more. He was Rolling Stone’s very first Jazzman of the Year and bassist winner of Playboy’s Music Award for ten straight years. Clarke was honored with Bass Player Magazine’s Lifetime Achievement Award and is a member of Guitar Player Magazine’s “Gallery of Greats.” He was even given the key to the city of Philadelphia.
Digging through the great multitude of accolades bestowed upon Stanley reveals an interesting phenomenon. It is difficult to remember how limited the potential career path of a bass player was before he came on the scene. Stanley almost single-handedly took the bass out of the shadows and brought it to the very front of the stage, literally and figuratively.
The traditional role of the bass was largely one of time-keeping that sonically filled out the spectrum. Clarke says: “Before I came along a lot of bass players stood in the back. They were very quiet kind of guys who didn’t appear to write music. But many of those bass players were serious musicians. All that I did was just take the step and create my own band.”
Certainly there were great and celebrated bass players before Stanley like Ron Carter, Scott LaFaro, and the pioneering composer Charles Mingus. But Clarke became the first bassist in history to headline sold-out world tours and have gold albums. He was also the first to double on acoustic and electric bass with equal virtuosity, power, and fire. By the time he was 25 years old, he was already regarded as a pioneer in the jazz fusion movement.
Clarke cites Mingus as a great influence personally and professionally. “The greatest moment in my life that changed me was having dinner with the great Charlie Mingus. He had the personality of a revolutionary that could have run a paramilitary group. He was very intense, heavy! That’s when I realized exactly what I wanted to do with the bass. I was going to approach my career completely like a revolutionary. Whatever was there, I was going to do the opposite.” The rest, as they say, literally is history.
Interestingly electric bass, for which Stanley is most renowned, is not his principal instrumental. His first passion, which carries to this day, is for the acoustic bass. “Electric bass is my secondary instrument. When I first started playing electric it was at parties and just for having fun. But I made records and got famous more as an electric bass player than as an acoustic bass player.”
In 1971, 20-year-old Stanley Clarke exploded into the jazz world, fresh out of the Philadelphia Academy of Music. Arriving in New York City, he immediately landed jobs with bandleaders such as Horace Silver, Art Blakey, Dexter Gordon, Joe Henderson, Pharaoh Saunders, Gil Evans, Stan Getz, and a budding young pianist-composer named Chick Corea. Stanley says: “my original goal was to be a classical bassist. I wanted to be one of the first black musicians in the Philadelphia orchestra. Chick Corea changed my mind about that.”
Clarke and Corea formed the wildly influential jazz fusion band Return to Forever, a showcase for each of the quartet’s strong musical personalities, composing prowess, and instrumental voices. They recorded eight albums, two of which are certified gold (Return to Forever and Romantic Warrior). They also won a Grammy (No Mystery) and received numerous nominations while touring incessantly.
Clarke then fired the “shot heard ‘round the world” that started the 1970s bass revolution and paved the way for all bassist/soloist/bandleaders to follow. In 1974, he released the eponymous Stanley Clarke album which featured the hit single, “Lopsy Lu.” Two years later, he released School Days, an album whose title track is now a bona fide bass anthem, a must-learn for nearly every up-and-coming bassist, regardless of genre.
Aspiring bassists must also master the percussive slap funk technique that Clarke pioneered as well. Sly and the Family Stone’s Larry Graham first developed the rudimentary slap technique. Stanley took the idea and ran with it, adapting it to complex jazz harmonies.
Always in search of new challenges, Clarke turned his boundless creative energy to film and television scoring in the mid-1980s. He is now an elite in-demand composer in Hollywood. Starting in television with an Emmy-nominated score for Pee Wee’s Playhouse, he transitioned to the silver screen and now has over 65 credits to his name.
As composer, orchestrator, conductor, and performer he has scored blockbuster films: Boyz ‘N the Hood, What’s Love Got To Do With It?, The Transporter, Romeo Must Die, Passenger 57, Poetic Justice, and The Five Heartbeats. He also scored the Michael Jackson video Remember the Time, directed by Jon Singleton. More recently he scored the 2013 box-office hit, Best Man Holliday. He has been nominated for three Emmys and won a BMI Award for Boyz ‘N the Hood.
“Film has given me the opportunity to write large orchestral scores and compose music I’m not normally associated with,” says Clarke. “It has given me the chance to conduct orchestras and arrange music for various types of ensembles. It has focused my skills and made me a more complete musician.” His 1995 CD release, Stanley Clarke at the Movies, is a testament to this. Stanley promises that he will find time to release At the Movies Two compiled from the 20 additional years of film scores since then.
In addition to his own band, Clarke has always enjoyed collaborating with other artists. Stanley teamed up with keyboardist George Duke in 1981 to form the Clarke/Duke Project. Together they scored a top 20 pop hit, “Sweet Baby,” and recorded three albums. Stanley worked with George in various situations for over 40 years until George’s untimely passing in 2013.
Some of Stanley’s other notable projects as band member or co-leader include: Jeff Beck, Keith Richards’ New Barbarians, Animal Logic (with Stewart Copeland), Superband (with Larry Carlton, Billy Cobham, Najee, and Deron Johnson), Rite of Strings (with Jean-Luc Ponty and Al Di Meola), Vertu’ (with Lenny White), Trio! (with Bela Fleck and Jean Luc Ponty), and SMV (with Marcus Miller and Victor Wooten).
Clarke passionately believes in helping young worthy musicians. He and his wife Sofia established The Stanley Clarke Foundation in 2000, a charitable organization which offers music scholarships. In 2007 Clarke released a critically-lauded DVD entitled Night School: An Evening with Stanley Clarke and Friends chronicling the third annual Stanley Clarke Scholarship Concert with proceeds going to the fund. The concert features Stevie Wonder, Wallace Roney, Bela Fleck, Sheila E., Stewart Copeland, Flea from The Red Hot Chili Peppers, Wayman Tisdale, and Marcus Miller.
To this day Stanley Clarke remains as passionate about music as that young prodigy from Philadelphia with big dreams. His journey has already been epic and storied. Yet it is far from over.
OFFICIAL SITE
7953 - DEAD MAN'S RANSOM (2014)
DEAD MAN'S RANSOM
''DEAD MAN'S RANSOM''
SEPTEMBER 9 2014
29:48
1 Down By The Water 02:53
2 Blood Or Bone 02:49
3 Roll The Dice 02:47
4 Long Way From Omaha 03:39
5 15K On The Devil 03:27
6 Liquor & A .45 03:45
7 Already Gone 02:44
8 From The Mud 03:24
9 When The Daylight Breaks 04:17
Eric Lauer - Vocals, Guitars
Robert Bradley - Bass
Benjamin Brignac - Drums
OFFICIAL BIOGRAPHY
Hailing from Houston, Texas & supporting a sound of southern rock & blues fused with an alternative swagger, Dead Man's Ransom is 100% original & has one goal in mind...to write great songs with traditional arrangements and a solid groove!
Founded by Singer/Guitarist Eric Lauer in January of 2011, Dead Man's Ransom is running strong and shows no signs of stopping. The bands first musical release was in April of 2013 and has gained interest from music journalists all over the globe. The 8 song EP aptly titled "Three Chords & The Truth" is filled with straight up rock tunes and a bluesy approach. Later that year the band released its first single titled "When The Daylight Breaks" and is now hard at work recording a second album due out by 2014.
Completing the lineup are musicians Robert Bradley (Bass) & Benjamin Brignac (Percussion), who's musical influences stem from Classic rock to old Irish folk and Zydeco. Both musicians have been playing their entire lives and it shows. Having cut their teeth gigging in bands back home ranging from the swamps of Louisiana all the way to the northern area of Canada's Newfoundland, the rhythm section has a unique blend of styles that comes together tastefully in Dead Man's Ransom.
The group is currently gigging in and around Houston with hopes to branch out and test the waters regionally. After playing multiple shows, releasing albums, and working hard in the rehearsal room Dead Man's Ransom is firing on all cylinders.
So come out to a gig, check out the released music online and add the bands material to your alternative/southern/blues/rock collection. If you're a fan of traditional, lyrically driven, soulful music, then Dead Man's Ransom might just be what you're looking for!
OFFICIAL SITE
''DEAD MAN'S RANSOM''
SEPTEMBER 9 2014
29:48
1 Down By The Water 02:53
2 Blood Or Bone 02:49
3 Roll The Dice 02:47
4 Long Way From Omaha 03:39
5 15K On The Devil 03:27
6 Liquor & A .45 03:45
7 Already Gone 02:44
8 From The Mud 03:24
9 When The Daylight Breaks 04:17
Eric Lauer - Vocals, Guitars
Robert Bradley - Bass
Benjamin Brignac - Drums
OFFICIAL BIOGRAPHY
Hailing from Houston, Texas & supporting a sound of southern rock & blues fused with an alternative swagger, Dead Man's Ransom is 100% original & has one goal in mind...to write great songs with traditional arrangements and a solid groove!
Founded by Singer/Guitarist Eric Lauer in January of 2011, Dead Man's Ransom is running strong and shows no signs of stopping. The bands first musical release was in April of 2013 and has gained interest from music journalists all over the globe. The 8 song EP aptly titled "Three Chords & The Truth" is filled with straight up rock tunes and a bluesy approach. Later that year the band released its first single titled "When The Daylight Breaks" and is now hard at work recording a second album due out by 2014.
Completing the lineup are musicians Robert Bradley (Bass) & Benjamin Brignac (Percussion), who's musical influences stem from Classic rock to old Irish folk and Zydeco. Both musicians have been playing their entire lives and it shows. Having cut their teeth gigging in bands back home ranging from the swamps of Louisiana all the way to the northern area of Canada's Newfoundland, the rhythm section has a unique blend of styles that comes together tastefully in Dead Man's Ransom.
The group is currently gigging in and around Houston with hopes to branch out and test the waters regionally. After playing multiple shows, releasing albums, and working hard in the rehearsal room Dead Man's Ransom is firing on all cylinders.
So come out to a gig, check out the released music online and add the bands material to your alternative/southern/blues/rock collection. If you're a fan of traditional, lyrically driven, soulful music, then Dead Man's Ransom might just be what you're looking for!
OFFICIAL SITE
7952 - DEAD MAN'S RANSOM - THREE CHORDS AND THE TRUTH (2013)
DEAD MAN'S RANSOM
''THREE CHORDS AND THE TRUTH''
APRIL 15 2013
33:04
1 Before It Falls Apart 04:38
2 Dead Weight 04:13
3 Jmm 03:02
4 Youll Never Understand 03:46
5 A Little Restless 05:16
6 Goodbye Heartache 03:50
7 Moving On 03:21
8 Bring Me Home 04:54
Eric Lauer - Vocals, Guitars
Robert Bradley - Bass
Benjamin Brignac - Drums
OFFICIAL BIOGRAPHY
Hailing from Houston, Texas & supporting a sound of southern rock & blues fused with an alternative swagger, Dead Man's Ransom is 100% original & has one goal in mind...to write great songs with traditional arrangements and a solid groove!
Founded by Singer/Guitarist Eric Lauer in January of 2011, Dead Man's Ransom is running strong and shows no signs of stopping. The bands first musical release was in April of 2013 and has gained interest from music journalists all over the globe. The 8 song EP aptly titled "Three Chords & The Truth" is filled with straight up rock tunes and a bluesy approach. Later that year the band released its first single titled "When The Daylight Breaks" and is now hard at work recording a second album due out by 2014.
Completing the lineup are musicians Robert Bradley (Bass) & Benjamin Brignac (Percussion), who's musical influences stem from Classic rock to old Irish folk and Zydeco. Both musicians have been playing their entire lives and it shows. Having cut their teeth gigging in bands back home ranging from the swamps of Louisiana all the way to the northern area of Canada's Newfoundland, the rhythm section has a unique blend of styles that comes together tastefully in Dead Man's Ransom.
The group is currently gigging in and around Houston with hopes to branch out and test the waters regionally. After playing multiple shows, releasing albums, and working hard in the rehearsal room Dead Man's Ransom is firing on all cylinders.
So come out to a gig, check out the released music online and add the bands material to your alternative/southern/blues/rock collection. If you're a fan of traditional, lyrically driven, soulful music, then Dead Man's Ransom might just be what you're looking for!
OFFICIAL SITE
''THREE CHORDS AND THE TRUTH''
APRIL 15 2013
33:04
1 Before It Falls Apart 04:38
2 Dead Weight 04:13
3 Jmm 03:02
4 Youll Never Understand 03:46
5 A Little Restless 05:16
6 Goodbye Heartache 03:50
7 Moving On 03:21
8 Bring Me Home 04:54
Eric Lauer - Vocals, Guitars
Robert Bradley - Bass
Benjamin Brignac - Drums
OFFICIAL BIOGRAPHY
Hailing from Houston, Texas & supporting a sound of southern rock & blues fused with an alternative swagger, Dead Man's Ransom is 100% original & has one goal in mind...to write great songs with traditional arrangements and a solid groove!
Founded by Singer/Guitarist Eric Lauer in January of 2011, Dead Man's Ransom is running strong and shows no signs of stopping. The bands first musical release was in April of 2013 and has gained interest from music journalists all over the globe. The 8 song EP aptly titled "Three Chords & The Truth" is filled with straight up rock tunes and a bluesy approach. Later that year the band released its first single titled "When The Daylight Breaks" and is now hard at work recording a second album due out by 2014.
Completing the lineup are musicians Robert Bradley (Bass) & Benjamin Brignac (Percussion), who's musical influences stem from Classic rock to old Irish folk and Zydeco. Both musicians have been playing their entire lives and it shows. Having cut their teeth gigging in bands back home ranging from the swamps of Louisiana all the way to the northern area of Canada's Newfoundland, the rhythm section has a unique blend of styles that comes together tastefully in Dead Man's Ransom.
The group is currently gigging in and around Houston with hopes to branch out and test the waters regionally. After playing multiple shows, releasing albums, and working hard in the rehearsal room Dead Man's Ransom is firing on all cylinders.
So come out to a gig, check out the released music online and add the bands material to your alternative/southern/blues/rock collection. If you're a fan of traditional, lyrically driven, soulful music, then Dead Man's Ransom might just be what you're looking for!
OFFICIAL SITE
7951 - DAVID SHELLEY BLUESTONE - TRICK BAG (2013) (REPOST)
DAVID SHELLEY BLUESTONE
''TRICK BAG''
JUNE 2 2013
46:51
1. WHEN I WAS YOUR SUPERMAN 3:48
(David Shelley, Vincent Noonan)
Lead vocal:?David Shelley
Guitar: Dave Scott
Bass: Charles Gasper
Drums: John Yarling
Hammond B3: Muggie Doo
2. TRICK BAG 5:20
(David Shelley, Dave Scott, Charles Gasper)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo & E Bow), David Shelley
Bass: Charles Gasper
Drums: John Yarling
Hammond B3: Muggie Doo
3. BLACKWATER RIVER 4:44
(David Shelley, Vincent Noonan, Charles Gasper, Dave Scott)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums; John Yarling
B3: Muggie Doo
4. YOU GOT A HEART OF STONE 3:41
(David Shelley)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: John Yarling
Keyboards: DA Young
5. BIRTH OF THE BLUES 3:36
(Buddy DeSylva, Lew Brown, David Shelley, Vincent Noonan)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
B3: Muggie Doo
Drums: Randy Ridenour
6. HIGH ALERT 4:03
(David Shelley)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: Raul Hernandez
Keyboards: Bob Taylor
7. WAR PARTY 4:20
(David Shelley, Delbert "Blackfox" Pomani)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley (Solo)
Bass: Charles Gasper
Drums: John Yarling
Keyboards: DA Young
Background vocals: Keith Ridenour, Charles Gasper
Native Youth Singers (THE?AIM?SONG)
8. CAROLINA BOUND 4:13
(David Shelley, Vincent Noonan)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley, Jimmy Powers
Bass: Charles Gasper
Drums: John Yarling
Keyboards: DA Young
Percussion: David Shelley
Pedal Steel Guitar: Jerry Tillman
Background vocals: Paul Pettitt
9. NOTHIN TO LOSE 3:34
(David Shelley)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: Randy Ridenour
B3: Muggie Doo
Harmonica: Gary White
10. FALLEN RAIN 5:24
(David Shelley, Vincent Noonan)
Lead vocal: David Shelley
Guitar: Dave Scott(Solo), David Shelley
Bass: Charles Gasper
Drums: Raul Hernandez
Keyboards: Bob Taylor
Percussion: David Shelley
Background vocals: Liz Sharp
11. CITY OF ANGELS 4:05
(David Shelley, Michael E. Stone)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: Raul Hernandez
Keyboards: DA Young
Percussion: David Shelley
Background vocals: Liz Sharp
OFFICIAL BIO
"David Shelley and Bluestone" is an eclectic fusion of blues, rock and world rhythms. Hard driving grooves with soulful blues guitar and vocals are the heart of their sound. Lead vocalist / guitarist David Shelley has toured the world with top name stars and is now ready to rock the world with his own band "Bluestone". Fusing traditional forms with unique cultural experiences, "Bluestone" is a roots rocking band with a worldbeat edge.
OFFICIAL SITE
''TRICK BAG''
JUNE 2 2013
46:51
1. WHEN I WAS YOUR SUPERMAN 3:48
(David Shelley, Vincent Noonan)
Lead vocal:?David Shelley
Guitar: Dave Scott
Bass: Charles Gasper
Drums: John Yarling
Hammond B3: Muggie Doo
2. TRICK BAG 5:20
(David Shelley, Dave Scott, Charles Gasper)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo & E Bow), David Shelley
Bass: Charles Gasper
Drums: John Yarling
Hammond B3: Muggie Doo
3. BLACKWATER RIVER 4:44
(David Shelley, Vincent Noonan, Charles Gasper, Dave Scott)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums; John Yarling
B3: Muggie Doo
4. YOU GOT A HEART OF STONE 3:41
(David Shelley)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: John Yarling
Keyboards: DA Young
5. BIRTH OF THE BLUES 3:36
(Buddy DeSylva, Lew Brown, David Shelley, Vincent Noonan)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
B3: Muggie Doo
Drums: Randy Ridenour
6. HIGH ALERT 4:03
(David Shelley)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: Raul Hernandez
Keyboards: Bob Taylor
7. WAR PARTY 4:20
(David Shelley, Delbert "Blackfox" Pomani)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley (Solo)
Bass: Charles Gasper
Drums: John Yarling
Keyboards: DA Young
Background vocals: Keith Ridenour, Charles Gasper
Native Youth Singers (THE?AIM?SONG)
8. CAROLINA BOUND 4:13
(David Shelley, Vincent Noonan)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley, Jimmy Powers
Bass: Charles Gasper
Drums: John Yarling
Keyboards: DA Young
Percussion: David Shelley
Pedal Steel Guitar: Jerry Tillman
Background vocals: Paul Pettitt
9. NOTHIN TO LOSE 3:34
(David Shelley)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: Randy Ridenour
B3: Muggie Doo
Harmonica: Gary White
10. FALLEN RAIN 5:24
(David Shelley, Vincent Noonan)
Lead vocal: David Shelley
Guitar: Dave Scott(Solo), David Shelley
Bass: Charles Gasper
Drums: Raul Hernandez
Keyboards: Bob Taylor
Percussion: David Shelley
Background vocals: Liz Sharp
11. CITY OF ANGELS 4:05
(David Shelley, Michael E. Stone)
Lead vocal: David Shelley
Guitar: Dave Scott (Solo), David Shelley
Bass: Charles Gasper
Drums: Raul Hernandez
Keyboards: DA Young
Percussion: David Shelley
Background vocals: Liz Sharp
OFFICIAL BIO
"David Shelley and Bluestone" is an eclectic fusion of blues, rock and world rhythms. Hard driving grooves with soulful blues guitar and vocals are the heart of their sound. Lead vocalist / guitarist David Shelley has toured the world with top name stars and is now ready to rock the world with his own band "Bluestone". Fusing traditional forms with unique cultural experiences, "Bluestone" is a roots rocking band with a worldbeat edge.
OFFICIAL SITE
7950 - DAVID SHELLEY AND BLUESTONE - THAT'S MY TRAIN (2011)
DAVID SHELLEY AND BLUESTONE
''THAT'S MY TRAIN''
SEPTEMBER 2 2011
50:13
1 Enough Love 05:54
2 Too Far Gone (M. Piccirillo) 04:43
3 You Wreck Me 05:19
4 Living With The Blues 05:32
5 That's My Train 06:08
6 Loving You 04:33
7 Price To Pay 04:36
8 Nowhere Without You 05:44
9 One Fine Day 03:30
10 Soul Sucker 04:10
Tracks By Shelley, Except 2
David Shelley - Guitars, Dejembe, Vocals
Charles Gasper - Bass
Dave Scott - Lead Guitar
John Yarling - Drums
D.A. Young - Keyboard
Mike Tovar - Guitar On 2, 10
J.P. Soars - Guitar On 6
Gary White - Harmonica On 5
Matt Calderin - Percussion, Wah Wah On 5, Backing Vocal Arrangement On 1
Liz Sharp - Vocals On 1, 4
David Jansen - Vocals On 10
Konstantin OssaQoulenko - Additional Keyboard
OFFICIAL BIO
"David Shelley and Bluestone" is an eclectic fusion of blues, rock and world rhythms. Hard driving grooves with soulful blues guitar and vocals are the heart of their sound. Lead vocalist / guitarist David Shelley has toured the world with top name stars and is now ready to rock the world with his own band "Bluestone". Fusing traditional forms with unique cultural experiences, "Bluestone" is a roots rocking band with a worldbeat edge.
OFFICIAL SITE
''THAT'S MY TRAIN''
SEPTEMBER 2 2011
50:13
1 Enough Love 05:54
2 Too Far Gone (M. Piccirillo) 04:43
3 You Wreck Me 05:19
4 Living With The Blues 05:32
5 That's My Train 06:08
6 Loving You 04:33
7 Price To Pay 04:36
8 Nowhere Without You 05:44
9 One Fine Day 03:30
10 Soul Sucker 04:10
Tracks By Shelley, Except 2
David Shelley - Guitars, Dejembe, Vocals
Charles Gasper - Bass
Dave Scott - Lead Guitar
John Yarling - Drums
D.A. Young - Keyboard
Mike Tovar - Guitar On 2, 10
J.P. Soars - Guitar On 6
Gary White - Harmonica On 5
Matt Calderin - Percussion, Wah Wah On 5, Backing Vocal Arrangement On 1
Liz Sharp - Vocals On 1, 4
David Jansen - Vocals On 10
Konstantin OssaQoulenko - Additional Keyboard
OFFICIAL BIO
"David Shelley and Bluestone" is an eclectic fusion of blues, rock and world rhythms. Hard driving grooves with soulful blues guitar and vocals are the heart of their sound. Lead vocalist / guitarist David Shelley has toured the world with top name stars and is now ready to rock the world with his own band "Bluestone". Fusing traditional forms with unique cultural experiences, "Bluestone" is a roots rocking band with a worldbeat edge.
OFFICIAL SITE
7949 - DAVE RUDE BAND - THE KEY (2013) (REPOST)
DAVE RUDE BAND
''THE KEY''
JUNE 4 2013
39:29
1 The Key 04:20
2 Yours to Hold 04:09
3 Afterlife 04:05
4 On My Own Again (featuring Troy Luccketta) 03:48
5 Iron Grip 02:31
6 Own The Night 03:23
7 Forgive Her 04:02
8 One Night, One Day 03:57
9 Sledgehammer 05:33
10 Charlie Mansion 03:37
Dave Rude - vocals, guitar
Marco Guzman - bass
Josh Schmidt - drums
Additional Musicians:
Doc Holladay - guitar, bass and background vocals
Troy Luccketta - drums
Kyle Wood - mandolin and background vocals
BIOGRAPHY
By Wikipedia
Dave Rude (born June 14, 1978, in Oakland, California) is the second guitarist of hard rock band Tesla, joining them in 2006.[1] He also fronts his own rock act Dave Rude Band, where he sings and plays guitar.
Rude started playing guitar when he was 9 and his main musical influences included Guns N' Roses, Slash, Stevie Ray Vaughan, Joe Perry, Mike Campbell, and Tom Petty and the Heartbreakers. He used to play in a band called The Servants around the San Francisco club scene, before starting his own solo band called simply The Dave Rude Band.
In 2006 he was discovered by Tesla guitarist Frank Hannon, who contacted him via his Myspace profile. He was so impressed by Rude's music that he offered him a job of rhythm guitarist for his solo side-project, simply called The Frank Hannon Band. Dave agreed and soon it turned out that he was really being auditioned for Tesla, who needed a second guitarist after Tommy Skeoch's departure. He first began to play with Tesla during the "Electric Summer Jam" tour in 2006. With Rude as a band member, Tesla recorded highly acclaimed Real to Reel and Real to Reel, Vol. 2 covers album as well as Forever More (2008) and its follow-up Simplicity (2014).
As of 2009, Rude is an official member of Tesla with whom he tours and records, as well as a frontman of Dave Rude Band, which plays shows here and there when Tesla is not touring.
OFFICIAL SITE
''THE KEY''
JUNE 4 2013
39:29
1 The Key 04:20
2 Yours to Hold 04:09
3 Afterlife 04:05
4 On My Own Again (featuring Troy Luccketta) 03:48
5 Iron Grip 02:31
6 Own The Night 03:23
7 Forgive Her 04:02
8 One Night, One Day 03:57
9 Sledgehammer 05:33
10 Charlie Mansion 03:37
Dave Rude - vocals, guitar
Marco Guzman - bass
Josh Schmidt - drums
Additional Musicians:
Doc Holladay - guitar, bass and background vocals
Troy Luccketta - drums
Kyle Wood - mandolin and background vocals
BIOGRAPHY
By Wikipedia
Dave Rude (born June 14, 1978, in Oakland, California) is the second guitarist of hard rock band Tesla, joining them in 2006.[1] He also fronts his own rock act Dave Rude Band, where he sings and plays guitar.
Rude started playing guitar when he was 9 and his main musical influences included Guns N' Roses, Slash, Stevie Ray Vaughan, Joe Perry, Mike Campbell, and Tom Petty and the Heartbreakers. He used to play in a band called The Servants around the San Francisco club scene, before starting his own solo band called simply The Dave Rude Band.
In 2006 he was discovered by Tesla guitarist Frank Hannon, who contacted him via his Myspace profile. He was so impressed by Rude's music that he offered him a job of rhythm guitarist for his solo side-project, simply called The Frank Hannon Band. Dave agreed and soon it turned out that he was really being auditioned for Tesla, who needed a second guitarist after Tommy Skeoch's departure. He first began to play with Tesla during the "Electric Summer Jam" tour in 2006. With Rude as a band member, Tesla recorded highly acclaimed Real to Reel and Real to Reel, Vol. 2 covers album as well as Forever More (2008) and its follow-up Simplicity (2014).
As of 2009, Rude is an official member of Tesla with whom he tours and records, as well as a frontman of Dave Rude Band, which plays shows here and there when Tesla is not touring.
OFFICIAL SITE
7948 - DAVE KELLY - KEEPS IT IN THE FAMILY (1969)
DAVE KELLY
''KEEPS IT IN THE FAMILY''
1969
44:04
1 When The Levee Breaks (Traditional) 02:59
2 Fingerprint Blues (Traditional) 03:08
3 Travellin' Blues Part II (Dave Kelly) 04:48
4 Hard Times (Traditional) 04:44
5 Hitch Hike Blues (Dave Kelly) 03:59
6 I've Got My Mojo Working (McKinley Morganfield) 02:56
7 Fixin' To Die Blues (White) 03:37
8 Treat Me Right (Dave Kelly) 03:45
9 Where's My Good Man At (Lawler) 02:21
10 Fred's Worried Life Blues (McDowell) 05:12
11 Double Time Night-Time (Dave Kelly) 02:37
12 Money & Fame (Tutty Ryga) 02:28
13 Lock Your Door (Dave Kelly) 02:49
Bob Hall/Piano
Dave Kelly/Guitar, Vocals
Jo-Anne Kelly/Guitar, Vocals
Tutty Ryga/Guitar, Vocals
Keith Tillman/Bass
David William 'Dave' Kelly (born 13 March 1947, Streatham, South London), is a British blues singer, guitarist and composer, who has been active on the British blues music scene since the 1960s. He has performed with the John Dummer Blues Band, Tramp, The Blues Band, and his own Dave Kelly Band.
His sister, Jo-Anne Kelly, was also a blues singer, and she and Dave participated in many musical projects together.
Kelly is a disciple of Fred McDowell.
''KEEPS IT IN THE FAMILY''
1969
44:04
1 When The Levee Breaks (Traditional) 02:59
2 Fingerprint Blues (Traditional) 03:08
3 Travellin' Blues Part II (Dave Kelly) 04:48
4 Hard Times (Traditional) 04:44
5 Hitch Hike Blues (Dave Kelly) 03:59
6 I've Got My Mojo Working (McKinley Morganfield) 02:56
7 Fixin' To Die Blues (White) 03:37
8 Treat Me Right (Dave Kelly) 03:45
9 Where's My Good Man At (Lawler) 02:21
10 Fred's Worried Life Blues (McDowell) 05:12
11 Double Time Night-Time (Dave Kelly) 02:37
12 Money & Fame (Tutty Ryga) 02:28
13 Lock Your Door (Dave Kelly) 02:49
Bob Hall/Piano
Dave Kelly/Guitar, Vocals
Jo-Anne Kelly/Guitar, Vocals
Tutty Ryga/Guitar, Vocals
Keith Tillman/Bass
David William 'Dave' Kelly (born 13 March 1947, Streatham, South London), is a British blues singer, guitarist and composer, who has been active on the British blues music scene since the 1960s. He has performed with the John Dummer Blues Band, Tramp, The Blues Band, and his own Dave Kelly Band.
His sister, Jo-Anne Kelly, was also a blues singer, and she and Dave participated in many musical projects together.
Kelly is a disciple of Fred McDowell.
7947 - BOOT - TURN THE OTHER CHEEK! (1977)
BOOT
''TURN THE OTHER CHEEK!''
1976
38:37
1. It's All Comin' Down (Mike Mycz)
2. I've Been Thinkin' (Dan Eliassen)
3. I'll Be Fine Someday (Bruce Knox)
4. Sick and Tired (Dan Eliassen)
5. The Outside World (Bruce Knox, Jim O'Brock)
6. Meaningless Madness of Man (Bruce Knox)
7. A Plea for the Masses (Bruce Knox)
8. For Diana (Bruce Knox)
9. Everyone Come (Bruce Knox, Dan Eliassen)
Dan Eliassen - Vocals, Bass
Bruce Knox - Guitar, Vocals
Mike Mycz - Guitar, Vocals
Jim O'Brock - Drums, Vocals
REVIEW
1977's "Turn the Other Cheek" was apparently released posthumously by the taxscam Guinness label. Produced by Mike Stone and Peter Thomason (though the liner notes misspelled the latter's name as Thomasson)., the nine tracks were seemingly recorded in 1972 during the same sessions that saw the release of their debut album "Boot". As on the debut all four members contributed material, though lead guitarist Bruce Knox was responsible for the bulk of the collection. Musically the first side of the album wasn't all that different from the debut. Not the case with side two.
- Starting out with some sparkling acoustic guitar and then showcasing some of Knox's ever tasteful lead guitar, 'It's All Comin' Down' had everything needed to be a hit - great melody, fantastic vocals from Mycz and band harmonies, great lead guitar ... One of the best things they ever recorded, shame it wasn't released as a single. rating: ***** stars
- Kicked along by a great Eliassen bass line and some excellent twin lead guitar (don't know if it was Knox overdubbing himself), 'I've Been Thinkin'' was the funkiest thing they ever recorded - imagine a really good Redbone song and you'd get a feel for this one. rating: **** stars
- The first Bruce Knox composition, 'I'll Be Fine Someday' had a nice country-rock feel to it - more Buffalo Springfield than Poco. rating: *** stars
- A routine slice of boogie-rock, 'Sick and Tired' was the first disappointment. Professional, but completely forgettable it wasn't really helped by the fact it included a lengthy and needless Jim O'Brock's drum solo. Mind you, O'Brock was one helluva a drummer - I'd tell you he was Boot's secret weapon, but among his strengths was the fact he wasn't showy, instead focusing on keeping the rest of the band focused ... well, except for here. By the way, Knox's screeching solo wasn't much better. Yeah, it showed he could play fast and had a thing for Hendrix, but it seemed pasted on at the end of the song just to lengthen it. rating: ** stars
- 'Even though the track listing showed five songs, side two was actually divided into two long suites and was quite different from the rest of their catalog in that it found the band exploring what sounded like a progressive sound, complete with some synthesizers and fairly complex song structures.
- 'The Outside World' incorporated all of those characteristics along with O'Brock's martial drums and Knox's always tasteful leads - this time lots of wah-wah pedal. It made for one of my favorite performances. rating: **** stars
- 'Meaningless Madness of Man' was easily one of their strangest offerings - imagine a Florida rock band that had been listening to lots of British progressive stuff. The lyrics were actually quite funny. rating: ** stars
- Starting out with some thunderstorm sound effects 'A Plea for the Masses' continued the band's rant against middle class, 9-to-5 lifestyles. rating: ** stars
- Opening up with some nice Knox lead guitar, 'For Diana' was one of their prettiest ballads . The song also showcased some unexpected synthesizer. rating: *** stars
- Even better was the majestic 'Everyone Come'. Co-written by Knox and Eliassen, this one was their prettiest melody with a performance to match. Edited down this one could have easily scored them a hit. Only complaint was that it was too short. rating: **** stars
So how'd it compare to the debut? Even though this one's largely unknown to folks (not like Guinness tried to market the album), song for song I'd give the nod to this one. These may have been castoffs from the debut, but perhaps because they were recorded with less pressure on the band and they were willing to experiment with unusual approaches, it was more entertaining. That was enough to make it one of the better Guinness label releases.
- Eliassen retired from music and was living in St. Amant, Louisiana
- Sadly Knox had died of pancreatic cancer.
- Mycz had disappeared
- O'Brock opened up a handyman business in Shreveport, Louisiana where he plays drums for his local church.
''TURN THE OTHER CHEEK!''
1976
38:37
1. It's All Comin' Down (Mike Mycz)
2. I've Been Thinkin' (Dan Eliassen)
3. I'll Be Fine Someday (Bruce Knox)
4. Sick and Tired (Dan Eliassen)
5. The Outside World (Bruce Knox, Jim O'Brock)
6. Meaningless Madness of Man (Bruce Knox)
7. A Plea for the Masses (Bruce Knox)
8. For Diana (Bruce Knox)
9. Everyone Come (Bruce Knox, Dan Eliassen)
Dan Eliassen - Vocals, Bass
Bruce Knox - Guitar, Vocals
Mike Mycz - Guitar, Vocals
Jim O'Brock - Drums, Vocals
REVIEW
1977's "Turn the Other Cheek" was apparently released posthumously by the taxscam Guinness label. Produced by Mike Stone and Peter Thomason (though the liner notes misspelled the latter's name as Thomasson)., the nine tracks were seemingly recorded in 1972 during the same sessions that saw the release of their debut album "Boot". As on the debut all four members contributed material, though lead guitarist Bruce Knox was responsible for the bulk of the collection. Musically the first side of the album wasn't all that different from the debut. Not the case with side two.
- Starting out with some sparkling acoustic guitar and then showcasing some of Knox's ever tasteful lead guitar, 'It's All Comin' Down' had everything needed to be a hit - great melody, fantastic vocals from Mycz and band harmonies, great lead guitar ... One of the best things they ever recorded, shame it wasn't released as a single. rating: ***** stars
- Kicked along by a great Eliassen bass line and some excellent twin lead guitar (don't know if it was Knox overdubbing himself), 'I've Been Thinkin'' was the funkiest thing they ever recorded - imagine a really good Redbone song and you'd get a feel for this one. rating: **** stars
- The first Bruce Knox composition, 'I'll Be Fine Someday' had a nice country-rock feel to it - more Buffalo Springfield than Poco. rating: *** stars
- A routine slice of boogie-rock, 'Sick and Tired' was the first disappointment. Professional, but completely forgettable it wasn't really helped by the fact it included a lengthy and needless Jim O'Brock's drum solo. Mind you, O'Brock was one helluva a drummer - I'd tell you he was Boot's secret weapon, but among his strengths was the fact he wasn't showy, instead focusing on keeping the rest of the band focused ... well, except for here. By the way, Knox's screeching solo wasn't much better. Yeah, it showed he could play fast and had a thing for Hendrix, but it seemed pasted on at the end of the song just to lengthen it. rating: ** stars
- 'Even though the track listing showed five songs, side two was actually divided into two long suites and was quite different from the rest of their catalog in that it found the band exploring what sounded like a progressive sound, complete with some synthesizers and fairly complex song structures.
- 'The Outside World' incorporated all of those characteristics along with O'Brock's martial drums and Knox's always tasteful leads - this time lots of wah-wah pedal. It made for one of my favorite performances. rating: **** stars
- 'Meaningless Madness of Man' was easily one of their strangest offerings - imagine a Florida rock band that had been listening to lots of British progressive stuff. The lyrics were actually quite funny. rating: ** stars
- Starting out with some thunderstorm sound effects 'A Plea for the Masses' continued the band's rant against middle class, 9-to-5 lifestyles. rating: ** stars
- Opening up with some nice Knox lead guitar, 'For Diana' was one of their prettiest ballads . The song also showcased some unexpected synthesizer. rating: *** stars
- Even better was the majestic 'Everyone Come'. Co-written by Knox and Eliassen, this one was their prettiest melody with a performance to match. Edited down this one could have easily scored them a hit. Only complaint was that it was too short. rating: **** stars
So how'd it compare to the debut? Even though this one's largely unknown to folks (not like Guinness tried to market the album), song for song I'd give the nod to this one. These may have been castoffs from the debut, but perhaps because they were recorded with less pressure on the band and they were willing to experiment with unusual approaches, it was more entertaining. That was enough to make it one of the better Guinness label releases.
- Eliassen retired from music and was living in St. Amant, Louisiana
- Sadly Knox had died of pancreatic cancer.
- Mycz had disappeared
- O'Brock opened up a handyman business in Shreveport, Louisiana where he plays drums for his local church.
7946 - BOOT (1972)
BOOT
''BOOT''
1972
33:56
1. Hey Little Girl (Mike Mycz) 4:05
2. Danny's Tune (Dan Eliassen) 5:25
3. Liza Brown (Bruce Knox) 2:47
4. Andromeda (Dan Eliassen) 5:15
5. Destruction Road (Jim O'Brock, Mike Mycz, Bruce Knox, Dan Eliassen) 5:06
6. Reach Out (Mike Mycz) 3:14
7. What Are They Doing To Me (Jim O'Brock, Mike Mycz, Bruce Knox, Dan Eliassen) 3:34
8. What You're Missing (Mike Mycz) 4:03
Dan Eliassen - Vocals, Bass
Bruce Knox - Guitar, Vocals
Mike Mycz - Guitar, Vocals
Jim O'Brock - Drums, Vocals
REVIEW
By RateYourMusic
Released by the Texas-based Agape label, the band debuted with 1972’s cleverly-titled “Boot”. Co-produced by Mike Stone and Peter Thomason, the album was recorded in Nashville, Tennessee at James Brown’s Starday/King Studio. With all four members contributing material the album offered up a mixture of blues-rock and blues-rock, with an occasional stab at a more commercial tune. The band was blessed with three decent singers. Nothing more than a guess on my part, but judging by the songwriting credits (assuming whoever wrote the track probably handled lead vocals), Mycz seemed to have the tougher-rock voice in the group while Eliassen was gifted with more commercial chops. Knox fell somewhere in the middle with a modest country-rock feel to his voice. Knox also showed himself to be n immensely talented lead guitarist – check out his lead work on ”.
Not the most original blues-rock/boogie album you’ve heard, but these guys played with considerable energy (on-line fan testimonials universally praise their live performances), and Knox was one talented lead guitarist. Worth looking for though copies have become increasingly expensive as folks had discovered the band.
------------------------------
MORE REVIEW
Now here are four guys who had a true passion for rock - sticking together through for twelve years which included several band name changes, hundreds of concert dates, and precious little commercial success. Hailing from Port Richey, Florida, bassist Dan Eliassen and drummer Jim O'Brock put their first band together in 1972.
Originally known as The Kingsmen, they opted for a name change when the Washington-based Kingsmen scored a hit with 'Louie Louie'. Morphing into The Allusions, Eliassen, O'Brock and a changing cast of players continued to perform at local school dances and teen centers. By 1966 the lineup featured Eliassen, O'Borck, and lead guitarist Bruce Knox and rhythm guitarist Mike Mycz.
They'd also opted for another name change (The Split Ends') as well as moving away from performing largely cover material to penning their own stuff. Signed by the local CPF Records, they also made their recording debut with a 1966 single 'Rich with Nothin' b/w 'Endless Sun'. The 45 proved a regional hit, opening the door to wider exposure including an opening slot on Dick Clark's Happening '67 tour. That in turn saw them offered an opportunity to compete on Clark's 'Happening '68 television band contest.
In 1969 the quartet decided on another image and name change - this time adopting the moniker Blues of Our Time - quickly abbreviated to Boot. With a repertoire of largely original material, the band hit the road playing clubs and concerts nearly non-stop for the next four years.
Released by the Texas-based Agape label, the band debuted with 1972's cleverly-titled "Boot". Co-produced by Mike Stone and Peter Thomason, the album was recorded in Nashville, Tennessee at James Brown's Starday/King Studio. With all four members contributing material the album offered up a mixture of blues-rock and blues-rock, with an occasional stab at a more commercial tune.
The band was blessed with three decent singers. Nothing more than a guess on my part, but judging by the songwriting credits (assuming whoever wrote the track probably handled lead vocals), Mycz seemed to have the tougher-rock voice in the group while Eliassen was gifted with more commercial chops. Knox fell somewhere in the middle with a modest country-rock feel to his voice. Knox also showed himself to be n immensely talented lead guitarist - check out his lead work on ''.
''BOOT''
1972
33:56
1. Hey Little Girl (Mike Mycz) 4:05
2. Danny's Tune (Dan Eliassen) 5:25
3. Liza Brown (Bruce Knox) 2:47
4. Andromeda (Dan Eliassen) 5:15
5. Destruction Road (Jim O'Brock, Mike Mycz, Bruce Knox, Dan Eliassen) 5:06
6. Reach Out (Mike Mycz) 3:14
7. What Are They Doing To Me (Jim O'Brock, Mike Mycz, Bruce Knox, Dan Eliassen) 3:34
8. What You're Missing (Mike Mycz) 4:03
Dan Eliassen - Vocals, Bass
Bruce Knox - Guitar, Vocals
Mike Mycz - Guitar, Vocals
Jim O'Brock - Drums, Vocals
REVIEW
By RateYourMusic
Released by the Texas-based Agape label, the band debuted with 1972’s cleverly-titled “Boot”. Co-produced by Mike Stone and Peter Thomason, the album was recorded in Nashville, Tennessee at James Brown’s Starday/King Studio. With all four members contributing material the album offered up a mixture of blues-rock and blues-rock, with an occasional stab at a more commercial tune. The band was blessed with three decent singers. Nothing more than a guess on my part, but judging by the songwriting credits (assuming whoever wrote the track probably handled lead vocals), Mycz seemed to have the tougher-rock voice in the group while Eliassen was gifted with more commercial chops. Knox fell somewhere in the middle with a modest country-rock feel to his voice. Knox also showed himself to be n immensely talented lead guitarist – check out his lead work on ”.
Not the most original blues-rock/boogie album you’ve heard, but these guys played with considerable energy (on-line fan testimonials universally praise their live performances), and Knox was one talented lead guitarist. Worth looking for though copies have become increasingly expensive as folks had discovered the band.
------------------------------
MORE REVIEW
Now here are four guys who had a true passion for rock - sticking together through for twelve years which included several band name changes, hundreds of concert dates, and precious little commercial success. Hailing from Port Richey, Florida, bassist Dan Eliassen and drummer Jim O'Brock put their first band together in 1972.
Originally known as The Kingsmen, they opted for a name change when the Washington-based Kingsmen scored a hit with 'Louie Louie'. Morphing into The Allusions, Eliassen, O'Brock and a changing cast of players continued to perform at local school dances and teen centers. By 1966 the lineup featured Eliassen, O'Borck, and lead guitarist Bruce Knox and rhythm guitarist Mike Mycz.
They'd also opted for another name change (The Split Ends') as well as moving away from performing largely cover material to penning their own stuff. Signed by the local CPF Records, they also made their recording debut with a 1966 single 'Rich with Nothin' b/w 'Endless Sun'. The 45 proved a regional hit, opening the door to wider exposure including an opening slot on Dick Clark's Happening '67 tour. That in turn saw them offered an opportunity to compete on Clark's 'Happening '68 television band contest.
In 1969 the quartet decided on another image and name change - this time adopting the moniker Blues of Our Time - quickly abbreviated to Boot. With a repertoire of largely original material, the band hit the road playing clubs and concerts nearly non-stop for the next four years.
Released by the Texas-based Agape label, the band debuted with 1972's cleverly-titled "Boot". Co-produced by Mike Stone and Peter Thomason, the album was recorded in Nashville, Tennessee at James Brown's Starday/King Studio. With all four members contributing material the album offered up a mixture of blues-rock and blues-rock, with an occasional stab at a more commercial tune.
The band was blessed with three decent singers. Nothing more than a guess on my part, but judging by the songwriting credits (assuming whoever wrote the track probably handled lead vocals), Mycz seemed to have the tougher-rock voice in the group while Eliassen was gifted with more commercial chops. Knox fell somewhere in the middle with a modest country-rock feel to his voice. Knox also showed himself to be n immensely talented lead guitarist - check out his lead work on ''.
7945 - JIMMY CARL BLACK & THE ROUTE 66 ALL-STAR BLUES BAND - MORE ROCKIN' BLUES (2009)
JIMMY CARL BLACK & THE ROUTE 66 ALL-STAR BLUES BAND
''MORE ROCKIN' BLUES''
APRIL 23 2009
53:03
1 Boogie 'Til The Cows Come Home 05:22
2 Sick And Tired 03:51
3 Watch Out 03:59
4 Woke Up This Morning 05:42
5 Blues From The Bottom 03:54
6 All Your Love 07:00
7 Gimme All Your Love 03:04
8 Turn Your Lights Down Low 04:17
9 Lonely Nights 09:14
10 Good Time Of A Girl 06:37
''MORE ROCKIN' BLUES''
APRIL 23 2009
53:03
1 Boogie 'Til The Cows Come Home 05:22
2 Sick And Tired 03:51
3 Watch Out 03:59
4 Woke Up This Morning 05:42
5 Blues From The Bottom 03:54
6 All Your Love 07:00
7 Gimme All Your Love 03:04
8 Turn Your Lights Down Low 04:17
9 Lonely Nights 09:14
10 Good Time Of A Girl 06:37
7944 - JIMMY CARL BLACK, STEVEN DE BRUYN, JOS STEEN - BLACK BROWN STONE (2009)
JIMMY CARL BLACK, STEVEN DE BRUYN, JOSS STEEN
''BLACK BROWN STONE''
APRIL 21 2009
75:06
1 The Devil's Music 06:52
2 The Meeting Of The Devil Blu 05:41
3 Heaven Blues 04:45
4 Rollin' And Tumblin 05:40
5 The Google Boogie 05:12
6 Moeilijkheden 04:53
7 Change Sometime 05:30
8 The Devil's Highway 06:50
9 The Lazy Elephant Walk 04:40
10 Willie The Pimp 03:25
11 Zomerwater And Avonbrood 04:27
12 Sad Glad (Song For Jimmy 04:14
13 Les Pierres Ont Des Oreilles 05:47
14 Yer Blues 07:01
''BLACK BROWN STONE''
APRIL 21 2009
75:06
1 The Devil's Music 06:52
2 The Meeting Of The Devil Blu 05:41
3 Heaven Blues 04:45
4 Rollin' And Tumblin 05:40
5 The Google Boogie 05:12
6 Moeilijkheden 04:53
7 Change Sometime 05:30
8 The Devil's Highway 06:50
9 The Lazy Elephant Walk 04:40
10 Willie The Pimp 03:25
11 Zomerwater And Avonbrood 04:27
12 Sad Glad (Song For Jimmy 04:14
13 Les Pierres Ont Des Oreilles 05:47
14 Yer Blues 07:01
7943 - JIMMY CARL BLACK & THE X-TRA COMBO - MERCEDES BENZ (2003)
JIMMY CARL BLACK & THE X-TRA COMBO
''MERCEDES BENZ''
2003
52:33
1 Mercedes Benz (Janis Joplin) 04:36
2 Caledonia 03:09
3 Willin (Lewell George) 05:22
4 Big Leg Emma (Frank Zappa) 02:58
5 Every Time I Hear) That Mellow Saxophone 02:13
6 (I'm Your) Hoochie Coochie Man (Willie Dixon) 03:41
7 Ocean Of Love (Jimmy Carl Black) 04:00
8 Lady Queen Bee (Jimmy Carl Black) 04:18
9 Low Ridin' Man (Jimmy Carl Black, Tjay Contrelli) 04:40
10 Road Ladies (Frank Zappa) 04:50
11 Blue Eyed Woman (D. Bailey, Jimmy Carl Blade) 02:59
12 Demasiado Corazon 03:39
13 Black Cadillac 01:45
14 I Wish (Stevie Wonder) 04:15
Peter Angerer/Drums, Percussion
Jimmy Carl Black/Drums, Vocals
Herb Burger/Keyboards, Saxophone
Sabina Hank/Keyboards, Vocals
Horst Hofer/Trumpet
Dietmar Kastowksy/Bass
Stefan Schubert/Guitar, Vocals
REVIEW
by Eugene Chadbourne
While it is certainly one of the best representations of rock veteran Jimmy Carl Black as a vocalist, Mercedes Benz slightly suffers from a touch of schizophrenia, as if it was a "mercy-D" with an ashtray belonging to a lesser brand of car. The effect is not the result of the CD being made up of material from two different sessions, one in 1997 and one in 2001. That production aspect comes together seamlessly. The X-Tra Combo is what might be called a rock & roll and rhythm & blues show band, a couple of horns and a couple of keyboards adding to a sound that is much bigger than the number of people on-stage. On the lion's share of the CD's tracks, Black is backed up on various songs from a repertoire he has slowly been building up in his various activities with bands such as the Grandmothers, the Muffin Men, and so forth. These numbers come off so vividly that it almost seems like carping, or complaining about the ashtray in a beautiful car, to mention that when vocalists from the X-Tra Combo take over and Black steps down there is a diminishing in personality, if not technical quality. The tracks without Black in part go for more of a swing feel, a bit like a Brian Setzer performance in this style. It is good music, but simply not as enjoyable as the Black vocal repertoire, a span that covers authentic blues, goofy Zappa, and vintage psychedelia. "Low Ridin' Man" is a songwriting collaboration from years back with Tjay Cantrelli, once a member of Love as well as Black's Geronimo Black project in the '70s. "Big Leg Emma" and "Road Ladies" are from the Zappa think-tank and like many of the performances here might be the ultimate versions of Black doing these songs, the X-Tra Combo playing as tight as a tick's grip on the back of a dog. The reading of "I'm Willin'" stands up alongside any of the other myriad versions of this Lowell George epistle, and Black's own compositions, including "Lady Queen Bee," are played with punch as opposed to the Grandmothers' light slap.
''MERCEDES BENZ''
2003
52:33
1 Mercedes Benz (Janis Joplin) 04:36
2 Caledonia 03:09
3 Willin (Lewell George) 05:22
4 Big Leg Emma (Frank Zappa) 02:58
5 Every Time I Hear) That Mellow Saxophone 02:13
6 (I'm Your) Hoochie Coochie Man (Willie Dixon) 03:41
7 Ocean Of Love (Jimmy Carl Black) 04:00
8 Lady Queen Bee (Jimmy Carl Black) 04:18
9 Low Ridin' Man (Jimmy Carl Black, Tjay Contrelli) 04:40
10 Road Ladies (Frank Zappa) 04:50
11 Blue Eyed Woman (D. Bailey, Jimmy Carl Blade) 02:59
12 Demasiado Corazon 03:39
13 Black Cadillac 01:45
14 I Wish (Stevie Wonder) 04:15
Peter Angerer/Drums, Percussion
Jimmy Carl Black/Drums, Vocals
Herb Burger/Keyboards, Saxophone
Sabina Hank/Keyboards, Vocals
Horst Hofer/Trumpet
Dietmar Kastowksy/Bass
Stefan Schubert/Guitar, Vocals
REVIEW
by Eugene Chadbourne
While it is certainly one of the best representations of rock veteran Jimmy Carl Black as a vocalist, Mercedes Benz slightly suffers from a touch of schizophrenia, as if it was a "mercy-D" with an ashtray belonging to a lesser brand of car. The effect is not the result of the CD being made up of material from two different sessions, one in 1997 and one in 2001. That production aspect comes together seamlessly. The X-Tra Combo is what might be called a rock & roll and rhythm & blues show band, a couple of horns and a couple of keyboards adding to a sound that is much bigger than the number of people on-stage. On the lion's share of the CD's tracks, Black is backed up on various songs from a repertoire he has slowly been building up in his various activities with bands such as the Grandmothers, the Muffin Men, and so forth. These numbers come off so vividly that it almost seems like carping, or complaining about the ashtray in a beautiful car, to mention that when vocalists from the X-Tra Combo take over and Black steps down there is a diminishing in personality, if not technical quality. The tracks without Black in part go for more of a swing feel, a bit like a Brian Setzer performance in this style. It is good music, but simply not as enjoyable as the Black vocal repertoire, a span that covers authentic blues, goofy Zappa, and vintage psychedelia. "Low Ridin' Man" is a songwriting collaboration from years back with Tjay Cantrelli, once a member of Love as well as Black's Geronimo Black project in the '70s. "Big Leg Emma" and "Road Ladies" are from the Zappa think-tank and like many of the performances here might be the ultimate versions of Black doing these songs, the X-Tra Combo playing as tight as a tick's grip on the back of a dog. The reading of "I'm Willin'" stands up alongside any of the other myriad versions of this Lowell George epistle, and Black's own compositions, including "Lady Queen Bee," are played with punch as opposed to the Grandmothers' light slap.
7942 - ARTHUR BROWN WITH JIMMY CARL BLACK - BROWN, BLACK & BLUE (1988)
ARTHUR BROWN WITH JIMMY CARL BLACK
''BROWN, BLACK & BLUE''
1988
35:36
1 Fever
Eddie Cooley / John Davenport 3:10
2 Monkey Walk
Arthur Brown 3:46
3 Unchain My Heart
Teddy Powell 3:14
4 Got My Mojo Working
Preston Foster 5:12
5 Smokestack Lightnin'
Howlin' Wolf 4:12
6 Hound Dog
Jerry Leiber / Mike Stoller 2:14
7 Help Me
Sonny Boy Williamson II 3:27
8 The Right Time
Arthur Brown / Ozzie Cadena / Lew Herman 3:55
9 Stand by Me
Ben E. King / Mike Leiber / Mike Stoller 3:55
10 The Lord Is My Friend
P.D. Scots Pipe Band 2:31
Jimmy Carl Black/Drums
Arthur Brown/Vocals
Bob Corbet/Saxophone
Phillip Fajardo/Percussion
Michael Francis/Saxophone
Gil Hartman/Guitar
Bruce Hughes/Bass
Demethea McVay/Vocals (Background)
Frank Meyer/Bass
Gary Primich/Guitar, Harmonica
John Viehweg/Guitar
REVIEW
by William Ruhlmann
Teaming up with ex-Mothers of Invention drummer Jimmy Carl Black (who gets second billing) and a team of Austin bar band veterans, Arthur Brown turns out a set of R&B standards such as "Fever" and "Smokestack Lightnin'." For the most part, Brown is content to play the role of straightforward blues shouter, only letting his wilder persona out on an extended rap during "Got My Mojo Working," an appropriately extreme version of "Hound Dog," on which he takes even more lyrical liberties than Elvis Presley did, and "The Lord Is My Friend," ain which the self-proclaimed "god of hell fire" gets religion and learns to preach. None of these versions will ever make you forget the classic ones by progenitors like Muddy Waters or Howlin' Wolf, although they are competently done. This is the kind of set that is best heard in a bar with a cold one in hand, but that didn't ever need to be made into an album.
''BROWN, BLACK & BLUE''
1988
35:36
1 Fever
Eddie Cooley / John Davenport 3:10
2 Monkey Walk
Arthur Brown 3:46
3 Unchain My Heart
Teddy Powell 3:14
4 Got My Mojo Working
Preston Foster 5:12
5 Smokestack Lightnin'
Howlin' Wolf 4:12
6 Hound Dog
Jerry Leiber / Mike Stoller 2:14
7 Help Me
Sonny Boy Williamson II 3:27
8 The Right Time
Arthur Brown / Ozzie Cadena / Lew Herman 3:55
9 Stand by Me
Ben E. King / Mike Leiber / Mike Stoller 3:55
10 The Lord Is My Friend
P.D. Scots Pipe Band 2:31
Jimmy Carl Black/Drums
Arthur Brown/Vocals
Bob Corbet/Saxophone
Phillip Fajardo/Percussion
Michael Francis/Saxophone
Gil Hartman/Guitar
Bruce Hughes/Bass
Demethea McVay/Vocals (Background)
Frank Meyer/Bass
Gary Primich/Guitar, Harmonica
John Viehweg/Guitar
REVIEW
by William Ruhlmann
Teaming up with ex-Mothers of Invention drummer Jimmy Carl Black (who gets second billing) and a team of Austin bar band veterans, Arthur Brown turns out a set of R&B standards such as "Fever" and "Smokestack Lightnin'." For the most part, Brown is content to play the role of straightforward blues shouter, only letting his wilder persona out on an extended rap during "Got My Mojo Working," an appropriately extreme version of "Hound Dog," on which he takes even more lyrical liberties than Elvis Presley did, and "The Lord Is My Friend," ain which the self-proclaimed "god of hell fire" gets religion and learns to preach. None of these versions will ever make you forget the classic ones by progenitors like Muddy Waters or Howlin' Wolf, although they are competently done. This is the kind of set that is best heard in a bar with a cold one in hand, but that didn't ever need to be made into an album.
November 6, 2014
7941 - THE DOOBIE BROTHERS - SOUTHBOUND (2014)
THE DOOBIE BROTHERS
''SOUTHBOUND''
NOVEMBER 4 2014
48:46
1 Black Water with Zac Brown Band 04:16
2 Listen to the Music with Blake Shelton & Hunter Hayes 04:15
3 What a Fool Believes with Sara Evans 03:59
4 Long Train Runnin' with Toby Keith and Huey Lewis 03:29
5 China Grove with Chris Young 03:18
6 Takin' It to the Streets with Love and Theft 04:38
7 Jesus Is Just Alright with Casey James 04:05
8 Rockin' Down the Highway with Brad Paisley 03:30
9 Take Me in Your Arms (Rock Me) with Tyler Farr 03:42
10 South City Midnight Lady with Jerrod Niemann 04:45
11 You Belong to Me with Amanda Sudano Ramirez and Vince Gill 03:41
12 Nobody Intro 00:44
13 Nobody with Charlie Worsham 04:16
REVIEW
by Stephen Thomas Erlewine
A throwback to the golden age of star-studded tributes, the Doobie Brothers' 2014 Southbound essentially follows the same playbook as the Beach Boys' 1996 album Stars and Stripes, Vol. 1: team up a classic rock band with a bunch of contemporary country stars to sing the hits everybody knows and loves. Where Stars and Stripes, Vol. 1 was an uneasy fit -- the Beach Boys are many things but a country band is not one of them -- Southbound feels smooth and natural, possibly because nobody involved dared to mess much with the original arrangements, a move that underscores how this is very much a record where singers are sitting in with the Doobies and not the other way around. Whenever there's a flash of modernization, it is minimal, as on the light decorative rhythmic loops and mandolin samples on "Listen to the Music," where Blake Shelton takes co-lead with Tom Johnston as Hunter Hayes lays down some beefy guitar. Johnston and Patrick Simmons dominate Southbound because their songs lend themselves better to country singers; they're either driving rockers or backwoods-inflected boogie, settings that are comfortable for neo-jam bands (Zac Brown Band, "Black Water"), swaggering cowboys (Toby Keith, "Long Train Runnin'" and Chris Young, "China Grove"), modern-day strummers (Jerrod Niemann, "South City Midnight Lady"), and arena country heroes (Brad Paisley, "Rockin' Down the Highway"). That said, the three Michael McDonald tunes -- "What a Fool Believes" (Sara Evans), "Takin' It to the Streets" (Love and Theft), "You Belong to Me" (Amanda Sudano Ramirez, featuring Vince Gill on guitar) -- all feel at home because this is a Doobie Brothers album, after all, and they've long ago found a way to reconcile the two sides of their musical personality. If there isn't much reinvention to be found on Southbound, that's fine: the record was meant as an open-hearted celebration of the Doobies' biggest hits and that's precisely what it delivers.
OFFICIAL SITE
''SOUTHBOUND''
NOVEMBER 4 2014
48:46
1 Black Water with Zac Brown Band 04:16
2 Listen to the Music with Blake Shelton & Hunter Hayes 04:15
3 What a Fool Believes with Sara Evans 03:59
4 Long Train Runnin' with Toby Keith and Huey Lewis 03:29
5 China Grove with Chris Young 03:18
6 Takin' It to the Streets with Love and Theft 04:38
7 Jesus Is Just Alright with Casey James 04:05
8 Rockin' Down the Highway with Brad Paisley 03:30
9 Take Me in Your Arms (Rock Me) with Tyler Farr 03:42
10 South City Midnight Lady with Jerrod Niemann 04:45
11 You Belong to Me with Amanda Sudano Ramirez and Vince Gill 03:41
12 Nobody Intro 00:44
13 Nobody with Charlie Worsham 04:16
REVIEW
by Stephen Thomas Erlewine
A throwback to the golden age of star-studded tributes, the Doobie Brothers' 2014 Southbound essentially follows the same playbook as the Beach Boys' 1996 album Stars and Stripes, Vol. 1: team up a classic rock band with a bunch of contemporary country stars to sing the hits everybody knows and loves. Where Stars and Stripes, Vol. 1 was an uneasy fit -- the Beach Boys are many things but a country band is not one of them -- Southbound feels smooth and natural, possibly because nobody involved dared to mess much with the original arrangements, a move that underscores how this is very much a record where singers are sitting in with the Doobies and not the other way around. Whenever there's a flash of modernization, it is minimal, as on the light decorative rhythmic loops and mandolin samples on "Listen to the Music," where Blake Shelton takes co-lead with Tom Johnston as Hunter Hayes lays down some beefy guitar. Johnston and Patrick Simmons dominate Southbound because their songs lend themselves better to country singers; they're either driving rockers or backwoods-inflected boogie, settings that are comfortable for neo-jam bands (Zac Brown Band, "Black Water"), swaggering cowboys (Toby Keith, "Long Train Runnin'" and Chris Young, "China Grove"), modern-day strummers (Jerrod Niemann, "South City Midnight Lady"), and arena country heroes (Brad Paisley, "Rockin' Down the Highway"). That said, the three Michael McDonald tunes -- "What a Fool Believes" (Sara Evans), "Takin' It to the Streets" (Love and Theft), "You Belong to Me" (Amanda Sudano Ramirez, featuring Vince Gill on guitar) -- all feel at home because this is a Doobie Brothers album, after all, and they've long ago found a way to reconcile the two sides of their musical personality. If there isn't much reinvention to be found on Southbound, that's fine: the record was meant as an open-hearted celebration of the Doobies' biggest hits and that's precisely what it delivers.
OFFICIAL SITE
7940 - BOB DYLAN & THE BAND - THE BASEMENT TAPES COMPLETE: THE BOOTLEG SERIES VOL. 11, DISC SIX (2014)
BOB DYLAN & THE BAND
''THE BASEMENT TAPES COMPLETE: THE BOOTLEG SERIES VOL. 11, DISC SIX''
NOVEMBER 4 2014
388:52
ABOUT
By Official Site
Columbia Records/Legacy Recordings has released Bob Dylan's The Basement Tapes Complete: The Bootleg Series Vol. 11 on November 4. Compiled from meticulously restored original tapes – many found only recently - this historic six-disc set is the definitive chronicle of the artist's legendary 1967 recording sessions with members of his touring ensemble who would later achieve their own fame as The Band.
The Basement Tapes Raw: The Bootleg Series Vol. 11, a two-disc version of highlights from the deluxe edition, was also released on November 4. This will also be issued as a 3 LP set on 180-gram vinyl, available in late November.
Among Bob Dylan's many cultural milestones, the legendary Basement Tapes have long fascinated and enticed successive generations of musicians, fans and cultural critics alike. Having transformed music and culture during the early 1960s, Dylan reached unparalleled heights across 1965 and 1966 through the release of three historic albums, the groundbreaking watershed single "Like A Rolling Stone," a controversial and legendary 'electric' performance at the 1965 Newport Folk Festival and wildly polarizing tours of the United States, Europe and the United Kingdom. Dylan's mercurial rise and prodigious outpouring of work during that decade came to an abrupt halt in July 1966 when he was reported to have been in a serious motorcycle accident in upstate New York.
Recovering from his injuries and away from the public eye for the first time in years, Dylan ensconced himself, along with Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson and, later, Levon Helm, in the basement of a small house, dubbed "Big Pink" by the group, in West Saugerties, New York. This collective, which would come to be known as Bob Dylan and The Band, recorded more than a hundred songs over the next several months including traditional covers, wry and humorous ditties, off-the cuff performances and, most important, dozens of newly-written Bob Dylan songs, including future classics "I Shall Be Released," "The Mighty Quinn," "This Wheel's On Fire" and "You Ain't Going Nowhere."
When rumors and rare acetates of some of these recordings began surfacing, it created a curiosity strong enough to fuel an entirely new segment of the music business: the bootleg record. In 1969, an album mysteriously titled Great White Wonder began showing up in record shops around the country, and Dylan's music from the summer of 1967 began seeping into the fabric of popular culture, penetrating the souls of music lovers everywhere. With each passing year, more and more fans sought out this rare contraband, desperate to hear this new music from the legendary Bob Dylan.
The actual recordings, however, remained commercially unavailable until 1975, when Columbia Records released a scant 16 of them on The Basement Tapes album (that album also included eight new songs by The Band, without Dylan).
A critical and popular success, The Basement Tapes went Top 10 in the US and UK, with John Rockwell, of The New York Times, calling it "one of the greatest albums in the history of American popular music," Paul Nelson, in Rolling Stone, praising the tracks as "the hardest, toughest, sweetest, saddest, funniest, wisest songs I know"' and the Washington Post noting that "...Dylan has to rank as the single greatest artist modern American pop music has produced." Robert Christgau gave the album an A+ rating in the Village Voice, where it topped the annual Pazz & Jop Critics Poll.
Over the years, the songs on The Basement Tapes have haunted and perplexed fans, with the recordings themselves representing a Holy Grail for Dylanologists. What's on the rest of those reels?
The Basement Tapes Complete brings together, for the first time ever, every salvageable recording from the tapes including recently discovered early gems recorded in the "Red Room" of Dylan's home in upstate New York. Garth Hudson worked closely with Canadian music archivist and producer Jan Haust to restore the deteriorating tapes to pristine sound, with much of this music preserved digitally for the first time.
The decision was made to present The Basement Tapes Complete as intact as possible. Also, unlike the official 1975 release, these performances are presented as close as possible to the way they were originally recorded and sounded back in the summer of 1967. The tracks on The Basement Tapes Complete run in mostly chronological order based on Garth Hudson's numbering system.
BOB DYLAN - THE BASEMENT TAPES COMPLETE:
THE BOOTLEG SERIES VOL. 11
(all songs written by Bob Dylan unless otherwise noted)
DISC ONE (57:35)
1. Edge of the Ocean
2. My Bucket's Got a Hole in It (written by Clarence Williams)
3. Roll on Train
4. Mr. Blue (written by Dewayne Blackwell)
5. Belshazzar (written by Johnny Cash)
6. I Forgot to Remember to Forget (written by Charlie A Feathers and Stanley A Kesler)
7. You Win Again (written by Hank Williams)
8. Still in Town (written by Hank Cochran and Harlan Howard)
9. Waltzing with Sin (written by Sonny Burns and Red Hayes)
10. Big River (Take 1) (written by Johnny Cash)
11. Big River (Take 2) (written by Johnny Cash)
12. Folsom Prison Blues (written by Johnny Cash)
13. Bells of Rhymney (written by Idris Davies and Peter Seeger)
14. Spanish is the Loving Tongue
15. Under Control
16. Ol' Roison the Beau (Traditional, arranged by Bob Dylan)
17. I'm Guilty of Loving You
18. Cool Water (written by Bob Nolan)
19. The Auld Triangle (written by Brendan Francis Behan)
20. Po' Lazarus (Traditional, arranged by Bob Dylan)
21. I'm a Fool for You (Take 1)
22. I'm a Fool for You (Take 2)
DISC TWO (66:34)
1. Johnny Todd (Traditional, arranged by Bob Dylan)
2. Tupelo (written by John Lee Hooker)
3. Kickin' My Dog Around (Traditional, arranged by Bob Dylan)
4. See You Later Allen Ginsberg (Take 1)
5. See You Later Allen Ginsberg (Take 2)
6. Tiny Montgomery
7. Big Dog
8. I'm Your Teenage Prayer
9. Four Strong Winds (written by Ian Tyson)
10. The French Girl (Take 1) (written by Ian Tyson and Sylvia Tyson)
11. The French Girl (Take 2) (written by Ian Tyson and Sylvia Tyson)
12. Joshua Gone Barbados (written by Eric Von Schmidt)
13. I'm in the Mood (written by Bernard Besman and John Lee Hooker)
14. Baby Ain't That Fine (written by Dallas Frazier)
15. Rock, Salt and Nails (written by Bruce Phillips)
16. A Fool Such As I (written by William Marvin Trader)
17. Song for Canada (written by Pete Gzowski and Ian Tyson)
18. People Get Ready (written by Curtis L Mayfield)
19. I Don't Hurt Anymore (written By Donald I Robertson and Walter E Rollins)
20. Be Careful of Stones That You Throw (written by Benjamin Lee Blankenship)
21. One Man's Loss
22. Lock Your Door
23. Baby, Won't You be My Baby
24. Try Me Little Girl
25. I Can't Make it Alone
26. Don't You Try Me Now
DISC THREE (69:08)
1. Young but Daily Growing (Traditional, arranged by Bob Dylan)
2. Bonnie Ship the Diamond (Traditional, arranged by Bob Dylan)
3. The Hills of Mexico (Traditional, arranged by Bob Dylan)
4. Down on Me (Traditional, arranged by Bob Dylan)
5. One for the Road
6. I'm Alright
7. Million Dollar Bash (Take 1)
8. Million Dollar Bash (Take 2)
9. Yea! Heavy and a Bottle of Bread (Take 1)
10. Yea! Heavy and a Bottle of Bread (Take 2)
11. I'm Not There
12. Please Mrs. Henry
13. Crash on the Levee (Take 1)
14. Crash on the Levee (Take 2)
15. Lo and Behold! (Take 1)
16. Lo and Behold! (Take 2)
17. You Ain't Goin' Nowhere (Take 1)
18. You Ain't Goin' Nowhere (Take 2)
19. I Shall be Released (Take 1)
20. I Shall be Released (Take 2)
21. This Wheel's on Fire (written by Bob Dylan and Rick Danko)
22. Too Much of Nothing (Take 1)
23. Too Much of Nothing (Take 2)
DISC FOUR (64:59)
1. Tears of Rage (Take 1) (written by Bob Dylan and Richard Manuel)
2. Tears of Rage (Take 2) (written by Bob Dylan and Richard Manuel)
3. Tears of Rage (Take 3) (written by Bob Dylan and Richard Manuel)
4. Quinn the Eskimo (Take 1)
5. Quinn the Eskimo (Take 2)
6. Open the Door Homer (Take 1)
7. Open the Door Homer (Take 2)
8. Open the Door Homer (Take 3)
9. Nothing Was Delivered (Take 1)
10. Nothing Was Delivered (Take 2)
11. Nothing Was Delivered (Take 3)
12. All American Boy (written by Bobby Bare)
13. Sign on the Cross
14. Odds and Ends (Take 1)
15. Odds and Ends (Take 2)
16. Get Your Rocks Off
17. Clothes Line Saga
18. Apple Suckling Tree (Take 1)
19. Apple Suckling Tree (Take 2)
20. Don't Ya Tell Henry
21. Bourbon Street
DISC FIVE (70:29)
1. Blowin' in the Wind
2. One Too Many Mornings
3. A Satisfied Mind (written by Joe Hayes and Jack Rhodes)
4. It Ain't Me, Babe
5. Ain't No More Cane (Take 1) (Traditional, arranged by Bob Dylan)
6. Ain't No More Cane (Take 2) (Traditional, arranged by Bob Dylan)
7. My Woman She's A-Leavin'
8. Santa-Fe
9. Mary Lou, I Love You Too
10. Dress it up, Better Have it All
11. Minstrel Boy
12. Silent Weekend
13. What's it Gonna be When it Comes Up
14. 900 Miles from My Home (Traditional, arranged by Bob Dylan)
15. Wildwood Flower (written by A.P. Carter)
16. One Kind Favor (Traditional, arranged by Bob Dylan)
17. She'll be Coming Round the Mountain (Traditional, arranged by Bob Dylan)
18. It's the Flight of the Bumblebee
19. Wild Wolf
20. Goin' to Acapulco
21. Gonna Get You Now
22. If I Were A Carpenter (written by James Timothy Hardin)
23. Confidential (written by Dorina Morgan)
24. All You Have to do is Dream (Take 1)
25. All You Have to do is Dream (Take 2)
DISC SIX (60:07)
1. 2 Dollars and 99 Cents
2. Jelly Bean
3. Any Time
4. Down by the Station
5. Hallelujah, I've Just Been Moved (Traditional, arranged by Bob Dylan)
6. That's the Breaks
7. Pretty Mary
8. Will the Circle be Unbroken (written by A.P. Carter)
9. King of France
10. She's on My Mind Again
11. Goin' Down the Road Feeling Bad (Traditional, arranged by Bob Dylan)
12. On a Rainy Afternoon
13. I Can't Come in with a Broken Heart
14. Next Time on the Highway
15. Northern Claim
16. Love is Only Mine
17. Silhouettes (written by Bob Crewe and Frank C Slay Jr.)
18. Bring it on Home
19. Come All Ye Fair and Tender Ladies (Traditional, arranged by Bob Dylan)
20. The Spanish Song (Take 1)
21. The Spanish Song (Take 2)
Musicians:
Bob Dylan
Robbie Robertson
Rick Danko
Richard Manuel
Garth Hudson
Levon Helm
(Lead vocals are sung by Bob Dylan. Harmony and instrumentation are unknown because all involved were multi-instrumentalists and vocalists, and no records remain.)
bobdylan.com
Read more: http://www.bobdylan.com/us#ixzz3IHACEL00
REVIEW
by Stephen Thomas Erlewine
Preserving newly written Bob Dylan songs for copyright is the reason why the Band's Garth Hudson rolled tape at Big Pink but The Basement Tapes were something much more than songwriting demos. Greil Marcus dubbed it a celebration of the "Old, Weird America" in his 1997 book Invisible Republic, connecting these songs to Harry Smith's Anthology of American Folk Music, adding an extra layer of myth to tapes that were shrouded in mystery from the moment bootlegs started to circulate. The Basement Tapes Complete strengthens portions of that legend while simultaneously puncturing it. Certainly, the six-disc box -- its first five discs assembled according to Hudson's numbering system, with the sixth disc collecting sessions discovered later -- feels substantially different from the LP released in 1975, where the overall picture was distorted by Robbie Robertson adding sometimes significant overdubs and including Band recordings that weren't cut during those seven months in 1967. This is not a minor thing. These sly revisions gave the 1975 album a slight veneer that's been stripped away by this unfussy, startlingly clear remastering, but the big difference is that the chronological sequence on The Basement Tapes Complete gives the set a narrative. The first two discs are the band warming up, playing a bunch of old songs that are often of more recent vintage than the Old, Weird America reputation suggests -- there's a clutch of Johnny Cash songs, a couple from Ian Tyson, a song apiece from Hank Williams, John Lee Hooker, Curtis Mayfield, and Dallas Frazier, a cross-section that underscores how this was the birth of what would be called Americana -- and then on the second two discs, Dylan starts tying these disparate strands together on his originals. Many of these songs, usually the wildest and wooliest, showed up in 1975, so the news here are the sometimes quite different alternate takes and the major tunes that have been bootlegged widely over the years: the ghostly "I'm Not There," the winding modern spiritual "Sign on the Cross," the rambling, vulgar blues "Get Your Rocks Off," and the even wilder "Bourbon Street." These songs are necessary additions to the canon, but what gives The Basement Tapes their real resonance is the stuff that happens in the margins. It's the half-remembered covers, it's sterling throwaways like "Silent Weekend," it's Dylan turning his early songs upside down, it's hearing Bob and the Band stumble around as they're trying to find a groove. This is the wondrous thing about The Basement Tapes: this is music made with no expectation that anybody outside of a small circle would ever hear it. Of course, the opposite happened. The Basement Tapes leaked out and became an enduring part not only of the legacy of both Dylan and the Band, but also of American music as a whole, as it stood at the crossroads of so many different strands of American culture.
OFFICIAL SITE
''THE BASEMENT TAPES COMPLETE: THE BOOTLEG SERIES VOL. 11, DISC SIX''
NOVEMBER 4 2014
388:52
ABOUT
By Official Site
Columbia Records/Legacy Recordings has released Bob Dylan's The Basement Tapes Complete: The Bootleg Series Vol. 11 on November 4. Compiled from meticulously restored original tapes – many found only recently - this historic six-disc set is the definitive chronicle of the artist's legendary 1967 recording sessions with members of his touring ensemble who would later achieve their own fame as The Band.
The Basement Tapes Raw: The Bootleg Series Vol. 11, a two-disc version of highlights from the deluxe edition, was also released on November 4. This will also be issued as a 3 LP set on 180-gram vinyl, available in late November.
Among Bob Dylan's many cultural milestones, the legendary Basement Tapes have long fascinated and enticed successive generations of musicians, fans and cultural critics alike. Having transformed music and culture during the early 1960s, Dylan reached unparalleled heights across 1965 and 1966 through the release of three historic albums, the groundbreaking watershed single "Like A Rolling Stone," a controversial and legendary 'electric' performance at the 1965 Newport Folk Festival and wildly polarizing tours of the United States, Europe and the United Kingdom. Dylan's mercurial rise and prodigious outpouring of work during that decade came to an abrupt halt in July 1966 when he was reported to have been in a serious motorcycle accident in upstate New York.
Recovering from his injuries and away from the public eye for the first time in years, Dylan ensconced himself, along with Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson and, later, Levon Helm, in the basement of a small house, dubbed "Big Pink" by the group, in West Saugerties, New York. This collective, which would come to be known as Bob Dylan and The Band, recorded more than a hundred songs over the next several months including traditional covers, wry and humorous ditties, off-the cuff performances and, most important, dozens of newly-written Bob Dylan songs, including future classics "I Shall Be Released," "The Mighty Quinn," "This Wheel's On Fire" and "You Ain't Going Nowhere."
When rumors and rare acetates of some of these recordings began surfacing, it created a curiosity strong enough to fuel an entirely new segment of the music business: the bootleg record. In 1969, an album mysteriously titled Great White Wonder began showing up in record shops around the country, and Dylan's music from the summer of 1967 began seeping into the fabric of popular culture, penetrating the souls of music lovers everywhere. With each passing year, more and more fans sought out this rare contraband, desperate to hear this new music from the legendary Bob Dylan.
The actual recordings, however, remained commercially unavailable until 1975, when Columbia Records released a scant 16 of them on The Basement Tapes album (that album also included eight new songs by The Band, without Dylan).
A critical and popular success, The Basement Tapes went Top 10 in the US and UK, with John Rockwell, of The New York Times, calling it "one of the greatest albums in the history of American popular music," Paul Nelson, in Rolling Stone, praising the tracks as "the hardest, toughest, sweetest, saddest, funniest, wisest songs I know"' and the Washington Post noting that "...Dylan has to rank as the single greatest artist modern American pop music has produced." Robert Christgau gave the album an A+ rating in the Village Voice, where it topped the annual Pazz & Jop Critics Poll.
Over the years, the songs on The Basement Tapes have haunted and perplexed fans, with the recordings themselves representing a Holy Grail for Dylanologists. What's on the rest of those reels?
The Basement Tapes Complete brings together, for the first time ever, every salvageable recording from the tapes including recently discovered early gems recorded in the "Red Room" of Dylan's home in upstate New York. Garth Hudson worked closely with Canadian music archivist and producer Jan Haust to restore the deteriorating tapes to pristine sound, with much of this music preserved digitally for the first time.
The decision was made to present The Basement Tapes Complete as intact as possible. Also, unlike the official 1975 release, these performances are presented as close as possible to the way they were originally recorded and sounded back in the summer of 1967. The tracks on The Basement Tapes Complete run in mostly chronological order based on Garth Hudson's numbering system.
BOB DYLAN - THE BASEMENT TAPES COMPLETE:
THE BOOTLEG SERIES VOL. 11
(all songs written by Bob Dylan unless otherwise noted)
DISC ONE (57:35)
1. Edge of the Ocean
2. My Bucket's Got a Hole in It (written by Clarence Williams)
3. Roll on Train
4. Mr. Blue (written by Dewayne Blackwell)
5. Belshazzar (written by Johnny Cash)
6. I Forgot to Remember to Forget (written by Charlie A Feathers and Stanley A Kesler)
7. You Win Again (written by Hank Williams)
8. Still in Town (written by Hank Cochran and Harlan Howard)
9. Waltzing with Sin (written by Sonny Burns and Red Hayes)
10. Big River (Take 1) (written by Johnny Cash)
11. Big River (Take 2) (written by Johnny Cash)
12. Folsom Prison Blues (written by Johnny Cash)
13. Bells of Rhymney (written by Idris Davies and Peter Seeger)
14. Spanish is the Loving Tongue
15. Under Control
16. Ol' Roison the Beau (Traditional, arranged by Bob Dylan)
17. I'm Guilty of Loving You
18. Cool Water (written by Bob Nolan)
19. The Auld Triangle (written by Brendan Francis Behan)
20. Po' Lazarus (Traditional, arranged by Bob Dylan)
21. I'm a Fool for You (Take 1)
22. I'm a Fool for You (Take 2)
DISC TWO (66:34)
1. Johnny Todd (Traditional, arranged by Bob Dylan)
2. Tupelo (written by John Lee Hooker)
3. Kickin' My Dog Around (Traditional, arranged by Bob Dylan)
4. See You Later Allen Ginsberg (Take 1)
5. See You Later Allen Ginsberg (Take 2)
6. Tiny Montgomery
7. Big Dog
8. I'm Your Teenage Prayer
9. Four Strong Winds (written by Ian Tyson)
10. The French Girl (Take 1) (written by Ian Tyson and Sylvia Tyson)
11. The French Girl (Take 2) (written by Ian Tyson and Sylvia Tyson)
12. Joshua Gone Barbados (written by Eric Von Schmidt)
13. I'm in the Mood (written by Bernard Besman and John Lee Hooker)
14. Baby Ain't That Fine (written by Dallas Frazier)
15. Rock, Salt and Nails (written by Bruce Phillips)
16. A Fool Such As I (written by William Marvin Trader)
17. Song for Canada (written by Pete Gzowski and Ian Tyson)
18. People Get Ready (written by Curtis L Mayfield)
19. I Don't Hurt Anymore (written By Donald I Robertson and Walter E Rollins)
20. Be Careful of Stones That You Throw (written by Benjamin Lee Blankenship)
21. One Man's Loss
22. Lock Your Door
23. Baby, Won't You be My Baby
24. Try Me Little Girl
25. I Can't Make it Alone
26. Don't You Try Me Now
DISC THREE (69:08)
1. Young but Daily Growing (Traditional, arranged by Bob Dylan)
2. Bonnie Ship the Diamond (Traditional, arranged by Bob Dylan)
3. The Hills of Mexico (Traditional, arranged by Bob Dylan)
4. Down on Me (Traditional, arranged by Bob Dylan)
5. One for the Road
6. I'm Alright
7. Million Dollar Bash (Take 1)
8. Million Dollar Bash (Take 2)
9. Yea! Heavy and a Bottle of Bread (Take 1)
10. Yea! Heavy and a Bottle of Bread (Take 2)
11. I'm Not There
12. Please Mrs. Henry
13. Crash on the Levee (Take 1)
14. Crash on the Levee (Take 2)
15. Lo and Behold! (Take 1)
16. Lo and Behold! (Take 2)
17. You Ain't Goin' Nowhere (Take 1)
18. You Ain't Goin' Nowhere (Take 2)
19. I Shall be Released (Take 1)
20. I Shall be Released (Take 2)
21. This Wheel's on Fire (written by Bob Dylan and Rick Danko)
22. Too Much of Nothing (Take 1)
23. Too Much of Nothing (Take 2)
DISC FOUR (64:59)
1. Tears of Rage (Take 1) (written by Bob Dylan and Richard Manuel)
2. Tears of Rage (Take 2) (written by Bob Dylan and Richard Manuel)
3. Tears of Rage (Take 3) (written by Bob Dylan and Richard Manuel)
4. Quinn the Eskimo (Take 1)
5. Quinn the Eskimo (Take 2)
6. Open the Door Homer (Take 1)
7. Open the Door Homer (Take 2)
8. Open the Door Homer (Take 3)
9. Nothing Was Delivered (Take 1)
10. Nothing Was Delivered (Take 2)
11. Nothing Was Delivered (Take 3)
12. All American Boy (written by Bobby Bare)
13. Sign on the Cross
14. Odds and Ends (Take 1)
15. Odds and Ends (Take 2)
16. Get Your Rocks Off
17. Clothes Line Saga
18. Apple Suckling Tree (Take 1)
19. Apple Suckling Tree (Take 2)
20. Don't Ya Tell Henry
21. Bourbon Street
DISC FIVE (70:29)
1. Blowin' in the Wind
2. One Too Many Mornings
3. A Satisfied Mind (written by Joe Hayes and Jack Rhodes)
4. It Ain't Me, Babe
5. Ain't No More Cane (Take 1) (Traditional, arranged by Bob Dylan)
6. Ain't No More Cane (Take 2) (Traditional, arranged by Bob Dylan)
7. My Woman She's A-Leavin'
8. Santa-Fe
9. Mary Lou, I Love You Too
10. Dress it up, Better Have it All
11. Minstrel Boy
12. Silent Weekend
13. What's it Gonna be When it Comes Up
14. 900 Miles from My Home (Traditional, arranged by Bob Dylan)
15. Wildwood Flower (written by A.P. Carter)
16. One Kind Favor (Traditional, arranged by Bob Dylan)
17. She'll be Coming Round the Mountain (Traditional, arranged by Bob Dylan)
18. It's the Flight of the Bumblebee
19. Wild Wolf
20. Goin' to Acapulco
21. Gonna Get You Now
22. If I Were A Carpenter (written by James Timothy Hardin)
23. Confidential (written by Dorina Morgan)
24. All You Have to do is Dream (Take 1)
25. All You Have to do is Dream (Take 2)
DISC SIX (60:07)
1. 2 Dollars and 99 Cents
2. Jelly Bean
3. Any Time
4. Down by the Station
5. Hallelujah, I've Just Been Moved (Traditional, arranged by Bob Dylan)
6. That's the Breaks
7. Pretty Mary
8. Will the Circle be Unbroken (written by A.P. Carter)
9. King of France
10. She's on My Mind Again
11. Goin' Down the Road Feeling Bad (Traditional, arranged by Bob Dylan)
12. On a Rainy Afternoon
13. I Can't Come in with a Broken Heart
14. Next Time on the Highway
15. Northern Claim
16. Love is Only Mine
17. Silhouettes (written by Bob Crewe and Frank C Slay Jr.)
18. Bring it on Home
19. Come All Ye Fair and Tender Ladies (Traditional, arranged by Bob Dylan)
20. The Spanish Song (Take 1)
21. The Spanish Song (Take 2)
Musicians:
Bob Dylan
Robbie Robertson
Rick Danko
Richard Manuel
Garth Hudson
Levon Helm
(Lead vocals are sung by Bob Dylan. Harmony and instrumentation are unknown because all involved were multi-instrumentalists and vocalists, and no records remain.)
bobdylan.com
Read more: http://www.bobdylan.com/us#ixzz3IHACEL00
REVIEW
by Stephen Thomas Erlewine
Preserving newly written Bob Dylan songs for copyright is the reason why the Band's Garth Hudson rolled tape at Big Pink but The Basement Tapes were something much more than songwriting demos. Greil Marcus dubbed it a celebration of the "Old, Weird America" in his 1997 book Invisible Republic, connecting these songs to Harry Smith's Anthology of American Folk Music, adding an extra layer of myth to tapes that were shrouded in mystery from the moment bootlegs started to circulate. The Basement Tapes Complete strengthens portions of that legend while simultaneously puncturing it. Certainly, the six-disc box -- its first five discs assembled according to Hudson's numbering system, with the sixth disc collecting sessions discovered later -- feels substantially different from the LP released in 1975, where the overall picture was distorted by Robbie Robertson adding sometimes significant overdubs and including Band recordings that weren't cut during those seven months in 1967. This is not a minor thing. These sly revisions gave the 1975 album a slight veneer that's been stripped away by this unfussy, startlingly clear remastering, but the big difference is that the chronological sequence on The Basement Tapes Complete gives the set a narrative. The first two discs are the band warming up, playing a bunch of old songs that are often of more recent vintage than the Old, Weird America reputation suggests -- there's a clutch of Johnny Cash songs, a couple from Ian Tyson, a song apiece from Hank Williams, John Lee Hooker, Curtis Mayfield, and Dallas Frazier, a cross-section that underscores how this was the birth of what would be called Americana -- and then on the second two discs, Dylan starts tying these disparate strands together on his originals. Many of these songs, usually the wildest and wooliest, showed up in 1975, so the news here are the sometimes quite different alternate takes and the major tunes that have been bootlegged widely over the years: the ghostly "I'm Not There," the winding modern spiritual "Sign on the Cross," the rambling, vulgar blues "Get Your Rocks Off," and the even wilder "Bourbon Street." These songs are necessary additions to the canon, but what gives The Basement Tapes their real resonance is the stuff that happens in the margins. It's the half-remembered covers, it's sterling throwaways like "Silent Weekend," it's Dylan turning his early songs upside down, it's hearing Bob and the Band stumble around as they're trying to find a groove. This is the wondrous thing about The Basement Tapes: this is music made with no expectation that anybody outside of a small circle would ever hear it. Of course, the opposite happened. The Basement Tapes leaked out and became an enduring part not only of the legacy of both Dylan and the Band, but also of American music as a whole, as it stood at the crossroads of so many different strands of American culture.
OFFICIAL SITE
Labels:
band
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bob dylan
,
bob dylan and the band