JOHN WETTON AND THE LES PAUL TRIO
''NEW YORK MINUTE: LIVE AT THE IRIDIUM, NEW YORK, 2013''
MARCH 2 2015
37:28
.
March 3, 2015
8787 - JOHN WETTON AND THE LES PAUL TRIO - NEW YORK MINUTE: LIVE AT THE IRIDIUM, NEW YORK, 2013 (2015)
JOHN WETTON AND THE LES PAUL TRIO
''NEW YORK MINUTE: LIVE AT THE IRIDIUM, NEW YORK, 2013''
MARCH 2 2015
37:28
JOHN WETTON AND THE LES PAUL TRIO
''NEW YORK MINUTE: LIVE AT THE IRIDIUM, NEW YORK, 2013''
MARCH 2 2015
37:28
8786 - YOUNG BUFFALO - HOUSE (2015)
YOUNG BUFFALO
''HOUSE''
MARCH 3 2015
39:58
YOUNG BUFFALO
''HOUSE''
MARCH 3 2015
39:58
1 Man In Your Dreams 03:46
2 No Idea 03:55
3 Guilt 03:24
4 Cliff Diver 03:31
5 My Place 03:40
6 Sykia 03:40
7 Black Eye 03:16
8 Summertime Blondes 03:48
9 Pill 03:45
10 Old Soul 03:30
11 Beat Back 03:37
All Tracks By James Barrett, Will Eubanks, Ben Yarbrough
Jim Barrett - Guitar, Vocals
Ben Yarbrough - Guitar, Vocals
Tim Burkhead- Drums, Vocals
Andrew Guinn- Bass
Will Eubanks - Keyboards
OFFICIAL SITE
TO THE TOP
2 No Idea 03:55
3 Guilt 03:24
4 Cliff Diver 03:31
5 My Place 03:40
6 Sykia 03:40
7 Black Eye 03:16
8 Summertime Blondes 03:48
9 Pill 03:45
10 Old Soul 03:30
11 Beat Back 03:37
All Tracks By James Barrett, Will Eubanks, Ben Yarbrough
Jim Barrett - Guitar, Vocals
Ben Yarbrough - Guitar, Vocals
Tim Burkhead- Drums, Vocals
Andrew Guinn- Bass
Will Eubanks - Keyboards
OFFICIAL SITE
TO THE TOP
8785 - KRISSY MATTHEWS - SCENES FROM A MOVING WINDOW (2015)
KRISSY MATTHEWS
''SCENES FROM A MOVING WINDOW''
MARCH 2 2015
65:23
KRISSY MATTHEWS
''SCENES FROM A MOVING WINDOW''
MARCH 2 2015
65:23
1 If I Had a Time Machine 06:02
2 I've Been Searching 03:26
3 It Ain't Worth It 05:11
4 Day by Day 07:24
5 Can't Get It Down on Paper 04:28
6 Out of Control 05:55
7 Bubbles and the Seven Phones 05:22
8 Searching the Desert for the Blues 04:03
9 Roadsick Blues 03:19
10 Heading South 09:41
11 Language by Injection 05:07
12 Bad Boy 05:17
Guitarist, songwriter and vocalist Krissy Matthews' new album sees this highly talented 22-year old join forces with the legendary Pete Brown, best known for co-writing many of Cream's celebrated hits of the 1960's with the late Jack Bruce, and for his work with such esteemed figures as Graham Bond, Peter Green and Jeff Beck. "Scenes from a Moving Window" includes a dozen songs, eleven of which written by the pair, with the Blind Willie McTell clasic "Searching The Desert For The Blues" also in the mix.The album was also produced by Pete Brown.
REVIEW
Guitarist, songwriter and vocalist Krissy Matthews’ new album sees this highly talented 22 year old join forces with the legendary Pete Brown, best known for co-writing many of Cream’s celebrated hits of the 1960s with the late Jack Bruce, and for his work with such esteemed figures as Graham Bond, Peter Green and Jeff Beck. “Scenes from a Moving Window” includes eleven songs written by the pair and was also produced by Pete.
Much of Krissy’s time is taken up with touring, and although only in his early twenties, he’s appeared at clubs and festivals in some sixteen countries across the whole of Europe. The past five years have seen him perform live on stage with musicians of the stature of John Mayall, Clem Clempson, Chris Farlowe, Rick Vito, Jeff Healey and, in a supporting role, with artists including Robben Ford, Ten Years After, Greg Allman, Beth Hart, Derek Trucks and TOTO. In June 2014 he performed at the famous Hi Rock Festival in Loreley, Germany, alongside fellow guitarists Joe Bonamassa and Joe Satriani to an incredible response.
It was at another concert in Germany, in September 2012, that Krissy first met Pete Brown, in fact. They got on really well from the outset, agreed to keep in touch, and progressed to writing songs together….and ultimately “Scenes from a Moving Window” came to be. Since then they’ve performed live shows together and plan to collaborate on future projects.
Many of the songs that make up the new album are based on personal experiences, including two about a former girlfriend (“I’ve Been Searching”, “Day by Day”) and another about the sad passing of an old friend who acted as Krissy’s manager and agent (“Bubbles and the Seven Phones”). By way of contrast the (rocking) opener, “If I had a Time Machine”, is a reflection on how it would feel to be playing in the ‘60’s music scene.
Away from the concert circuit, Krissy recorded a live session at Maida Vale Studios which was broadcast nationally on Paul Jones’ show on BBC Radio 2. He’s also conducted interviews with numerous radio & TV programmes across Europe and with most of the major Blues magazines. UK publication Total Guitar were suitably impressed to include Krissy in a “bands to watch out for” feature and, in the Netherlands, he made the front cover of GitaarPlus.
It’s been some four years since Krissy’s last CD, “Hit the Rock”, and since that time his songwriting, singing and playing – with Pete Brown’s active involvement – has taken a major step forward. Whilst he feels there will be a high level of expectation with “Scenes from a Moving Window”, he unquestionably considers this his definitive statement to date.
KRISSY MATTHEWS OFFICIAL BIOGRAPHY
It was 1995, Krissy was three years old, and his father Keith Matthews invited him up on stage to strum along to Roy Orbison’s “Pretty Woman”.
This is when the Krissy Matthews story started…
Now 22 years old, he keeps bursting from strength to strength in all aspects of his career from his live performances, guitar playing, vocal ability, song writing and reputation as being one of the most promising, individual and unique artists the 21st century has seen.
Krissy received his first electric guitar on his eighth birthday, and for the first two years, his father spent time teaching him songs from Hank Marvin and The Shadows song book. However, at the age of 11 he discovered the blues through a Norwegian artist named Amund Maarud, whilst on a family holiday in Norway.
In August 2004 Krissy ended up backstage at a festival show in Norway for the “Godfather of British Blues”, Mr John Mayall. He ended up handing Mr Mayall a little demo, which included the Otis Rush classic “All Your Love” from the Beano album on it. John Mayall then invited Krissy to sit in on that song on the encore. The first night went so well, that Krissy ended up performing two songs with him the following night, resulting in several national radio and press interviews and opportunities to sit in with various top Norwegian acts. The opening act on these two festival shows were the British Blues All Stars featuring Peter Green and Long John Bauldry. Krissy used the same amp as Peter Green. A pretty good milestone for someone of 12 years old.
Krissy went back to Norway in October 2004, where he appeared on “God Morgen Norge”, Norway’s national breakfast TV, did a radio session with Knut Reiersrud for “Blues Asylet” on NRK P2, and performed live on stage with Larry Burton (Albert Collins, John Lee Hooker, Albert King) in the club “Muddy Waters”, centre of Oslo, which was filmed for national TV.
When Krissy got back to the UK, he started his first band Krissy’s Blues Boys. This was a four piece, with the extra guitar added by Keith Matthews. The band did several pub gigs to get the name around, with the odd festival and an appearance by Bernie Marsden (Whitesnake) sitting in at one of them. Krissy continued to build his name up locally.
Then about a year later, Keith Matthews went onto bass, forming a 3 piece power blues trio, and this was the line up to stay. The band used different drummers, but in July 2005 (Krissy was 13 years old), went onto record their first CD “Influences” in Timeless Studios with Mark Freeman on Drums and Keith Matthews on Bass.
This was to be sold just at gigs, but then in February 2006, Krissy got a licencing deal with Via Music in Norway, and the CD was renamed “Blues Boy” for a European release. During March 2006, Krissy was invited backstage to meet the King of the Blues BB King where he received advice on the industry and met one of his all-time heroes. Immediately after, Krissy went back to Norway for a press weekend to promote the CD. This included national breakfast show “God Morgen Norge” again and several radio and newspaper interviews such as “Dagbladet”, “Vaart Land” and “Aftenposten”.
Later that year, Krissy had a 7 page feature in the British national magazine “Blues Matters”, as well as several good reviews of the record across Europe and more concerts.
In February 2007 the band went off to Norway to record the second CD “No Age Limit”, in Juke Joint Studios, Notodden, Norway. This record features Keith Matthews on Bass, Freddy Schaal on Drums, Mike Smith on Keyboards, and two special guests Felix Peikli on Clarinet and Silje Hagen on Backing Vocals. This was released on CDBaby.com.
This was followed up by their first invite to perform at a European festival. A trip to France, where they performed the Blues Autour Du Zinc festival in Beauvais to a great response.
2 months later, in May 2007, Krissy was invited up by Jeff Healey to perform on stage with him, which sadly turned out to be his last ever two songs performed live in the U.K. Jeff Healey was one of Krissy’s favourite guitar players, and still is, so that was a huge highlight in Krissy’s career.
The CD was released in August 2007, and to celebrate that, the band did a 15 date tour of Scandinavia, which included playing Rockefeller, Oslo supporting Walter Trout, and going off for two nights in the Mojo Blues Bar, Copenhagen. That same year, the band also went off to Europe in October, to celebrate the release. This included 3 shows supporting Robben Ford, as well as 4 club dates in and around Belgium and Holland, with a support slot for Walter Trout in the U.K, where Krissy got up and jammed with him.
In April 2008, the band went off for their second tour of Europe, where they performed 15 shows in 15 days. Krissy quit school in May 2008, and has been a professional musician ever since.
Also, in September 2008, the band was invited to perform at the prestigious “Festa Avante” in Lisbon, Portugal. They performed on the second stage to 1000 people, where they sold out of records, and later the same night, Brazilian blues guitarist Nuno Mindelis invited Krissy to join him on the main stage for a song, where 20,000 people were in attendance. People loved Krissy and his band so much, they were invited back the following year to open up the main stage.
The next CD “Allen in Reverse” was recorded in January 2009 at M.A.R.S Studios with Keith Matthews on Bass, Chris Sharley on Drums, Mike Smith on Keyboards and special guest Holly Petrie on Backing Vocals.
During July 2009 Krissy got a phone call from Marshall Amplification inviting him to come and perform for the Marshall Class 5 Amplifier Launch Party at the famous Ronnie Scott’s in London supporting Joe Bonamassa. Of course the band did the gig, and from that received an invite to record for BBC Radio 2, and also had one of his songs on the “Classic Rock” magazine compilation CD, and “Total Guitar” featuring him in the “Bands to watch out for” section.
In September 2009 “Allen in Reverse” was released on Membran Records, Germany. It received great reviews, and was followed up by numerous shows around the UK and Europe. The famous “Jazzism” magazine in Netherlands said about the record…”A stunning example of innovative blues. Great promise for the future…”
By the age of 18, Krissy had recorded and released 3 albums.
November 20th, the band went to record a live session for BBC Radio 2 Paul Jones at BBC Maida Vale, which was aired February 2010, just before a string of UK shows.
2010 proved to be another busy year for the band. Miikey Dean Smith joined the band on the drum stool, just before the festival season started, giving the band an extra dimension, and Krissy had his first 15 date tour of Poland on his own with a Polish band, as well as several other fantastic gigs in Europe. The year ended with the recording of the 4th studio CD “Hit the Rock” in Oxford which was released late April 2011 on “Rock the Earth” records. The name was inspired from a near fatal van accident the band had in Norway a month prior to the recording, skidding in the ice of the snowy Norwegian mountains. “Classic Rock” said “Hit the Rock is a great record and a MUST for any blues enthusiast”.
2011 and 2012 was spent being very busy touring and promoting “Hit the Rock” all across Europe. This included the first 6 date tour of Spain where Krissy attracted 1200 people in Gandia for his own headline performance, and performed the famous Majorca Jazz Festival and Burlada Blues Festival with Miikey Dean Smith on Drums and Aaron Spiers on Bass. Other gigs included opening up for bands and artists such as Tedeschi Trucks Band, Gregg Allman, Beth Hart, Ten Years After and TOTO, and sitting in with incredible artists such as Rick Vito (Fleetwood Mac), Clem Clempson (Colosseum, Humble Pie), and Chris Farlowe. Dutch Guitar Magazine “Gitaarplus” featured Krissy on the front page, and had 5 pages inside about him. Several other magazines in this time had interviews and features on Krissy Matthews including Blues News Norway, Blues News Germany, Blues News Finland, Route 66 Spain and Blues in Britain and the new Classic Rock Blues magazine, including one of Krissy’s tracks on a compilation disc highlighting the best talent around today.
During 2013 Krissy carried on performing live shows, gaining lots of road and life experience and doing what he does best, but then went back into the studio to record his 5th studio album. He assembled a band who had never worked together before. A collaboration of musicians that Krissy liked, and wanted to merge together with all their different musical backgrounds. Paul Jobson on Keyboards, Aaron Spiers on Bass and Kevin Hickman on Drums, with special guest’s Nikki Loy and Keith Matthews. They went into Echo Studios, Buckingham to record this.
The legendary poet, song writer and producer Pete Brown was in the producer’s chair. Krissy had met Pete previously at a German festival in September 2012, where they developed a good relationship, thus, leading to writing and performing live shows together. Pete has co-written some of the most well-known rock songs in history including many of the hits for British Rock Band “Cream”. These include “Sunshine of Your Love, White Room and Politician” alongside the late Jack Bruce. Pete Brown has also co-written 11 songs on the record with Krissy. The album features 11 originals, and one Blind Willie McTell cover of “Searching the Desert for The Blues”.
While release for this was being sorted, Krissy continued performing shows across the UK and Europe and hired 18 year old Max Maxwell to be the full time drummer. Keith Matthews remains on bass today for the majority of the shows. This included a performance at the legendary amphitheatre in Loreley, Germany. This was for a one day rock festival, which had only one stage. The other acts that were on the bill included Bernie Marsden, Joe Bonamassa and Joe Satriani. The band performed to 6,000 people there, and received lots of great feedback.
Summer 2014, Krissy signed a licencing with Proper Records, and the band played many other festivals and clubs, including appearances alongside Jimmie Vaughan and Steven Seagal.
The new record, which was recorded in 2013 with producer Pete Brown and engineer Jamie Masters, is entitled “Scenes from A Moving Window” and will be released on March 2, 2015 on Promise Records (an imprint of Proper), and will be followed up by the busiest tour schedule of Krissy’s life to date.
To date Krissy has performed in 20 different countries including England, Wales, Scotland, Norway, Sweden, Denmark, Italy, Poland, Netherlands, Luxembourg, Belgium, Germany, France, Portugal, Spain, Slovakia, Czech Republic, Lithuania, Latvia and Switzerland.
OFFICIAL SITE
TO THE TOP
2 I've Been Searching 03:26
3 It Ain't Worth It 05:11
4 Day by Day 07:24
5 Can't Get It Down on Paper 04:28
6 Out of Control 05:55
7 Bubbles and the Seven Phones 05:22
8 Searching the Desert for the Blues 04:03
9 Roadsick Blues 03:19
10 Heading South 09:41
11 Language by Injection 05:07
12 Bad Boy 05:17
Guitarist, songwriter and vocalist Krissy Matthews' new album sees this highly talented 22-year old join forces with the legendary Pete Brown, best known for co-writing many of Cream's celebrated hits of the 1960's with the late Jack Bruce, and for his work with such esteemed figures as Graham Bond, Peter Green and Jeff Beck. "Scenes from a Moving Window" includes a dozen songs, eleven of which written by the pair, with the Blind Willie McTell clasic "Searching The Desert For The Blues" also in the mix.The album was also produced by Pete Brown.
REVIEW
Guitarist, songwriter and vocalist Krissy Matthews’ new album sees this highly talented 22 year old join forces with the legendary Pete Brown, best known for co-writing many of Cream’s celebrated hits of the 1960s with the late Jack Bruce, and for his work with such esteemed figures as Graham Bond, Peter Green and Jeff Beck. “Scenes from a Moving Window” includes eleven songs written by the pair and was also produced by Pete.
Much of Krissy’s time is taken up with touring, and although only in his early twenties, he’s appeared at clubs and festivals in some sixteen countries across the whole of Europe. The past five years have seen him perform live on stage with musicians of the stature of John Mayall, Clem Clempson, Chris Farlowe, Rick Vito, Jeff Healey and, in a supporting role, with artists including Robben Ford, Ten Years After, Greg Allman, Beth Hart, Derek Trucks and TOTO. In June 2014 he performed at the famous Hi Rock Festival in Loreley, Germany, alongside fellow guitarists Joe Bonamassa and Joe Satriani to an incredible response.
It was at another concert in Germany, in September 2012, that Krissy first met Pete Brown, in fact. They got on really well from the outset, agreed to keep in touch, and progressed to writing songs together….and ultimately “Scenes from a Moving Window” came to be. Since then they’ve performed live shows together and plan to collaborate on future projects.
Many of the songs that make up the new album are based on personal experiences, including two about a former girlfriend (“I’ve Been Searching”, “Day by Day”) and another about the sad passing of an old friend who acted as Krissy’s manager and agent (“Bubbles and the Seven Phones”). By way of contrast the (rocking) opener, “If I had a Time Machine”, is a reflection on how it would feel to be playing in the ‘60’s music scene.
Away from the concert circuit, Krissy recorded a live session at Maida Vale Studios which was broadcast nationally on Paul Jones’ show on BBC Radio 2. He’s also conducted interviews with numerous radio & TV programmes across Europe and with most of the major Blues magazines. UK publication Total Guitar were suitably impressed to include Krissy in a “bands to watch out for” feature and, in the Netherlands, he made the front cover of GitaarPlus.
It’s been some four years since Krissy’s last CD, “Hit the Rock”, and since that time his songwriting, singing and playing – with Pete Brown’s active involvement – has taken a major step forward. Whilst he feels there will be a high level of expectation with “Scenes from a Moving Window”, he unquestionably considers this his definitive statement to date.
KRISSY MATTHEWS OFFICIAL BIOGRAPHY
It was 1995, Krissy was three years old, and his father Keith Matthews invited him up on stage to strum along to Roy Orbison’s “Pretty Woman”.
This is when the Krissy Matthews story started…
Now 22 years old, he keeps bursting from strength to strength in all aspects of his career from his live performances, guitar playing, vocal ability, song writing and reputation as being one of the most promising, individual and unique artists the 21st century has seen.
Krissy received his first electric guitar on his eighth birthday, and for the first two years, his father spent time teaching him songs from Hank Marvin and The Shadows song book. However, at the age of 11 he discovered the blues through a Norwegian artist named Amund Maarud, whilst on a family holiday in Norway.
In August 2004 Krissy ended up backstage at a festival show in Norway for the “Godfather of British Blues”, Mr John Mayall. He ended up handing Mr Mayall a little demo, which included the Otis Rush classic “All Your Love” from the Beano album on it. John Mayall then invited Krissy to sit in on that song on the encore. The first night went so well, that Krissy ended up performing two songs with him the following night, resulting in several national radio and press interviews and opportunities to sit in with various top Norwegian acts. The opening act on these two festival shows were the British Blues All Stars featuring Peter Green and Long John Bauldry. Krissy used the same amp as Peter Green. A pretty good milestone for someone of 12 years old.
Krissy went back to Norway in October 2004, where he appeared on “God Morgen Norge”, Norway’s national breakfast TV, did a radio session with Knut Reiersrud for “Blues Asylet” on NRK P2, and performed live on stage with Larry Burton (Albert Collins, John Lee Hooker, Albert King) in the club “Muddy Waters”, centre of Oslo, which was filmed for national TV.
When Krissy got back to the UK, he started his first band Krissy’s Blues Boys. This was a four piece, with the extra guitar added by Keith Matthews. The band did several pub gigs to get the name around, with the odd festival and an appearance by Bernie Marsden (Whitesnake) sitting in at one of them. Krissy continued to build his name up locally.
Then about a year later, Keith Matthews went onto bass, forming a 3 piece power blues trio, and this was the line up to stay. The band used different drummers, but in July 2005 (Krissy was 13 years old), went onto record their first CD “Influences” in Timeless Studios with Mark Freeman on Drums and Keith Matthews on Bass.
This was to be sold just at gigs, but then in February 2006, Krissy got a licencing deal with Via Music in Norway, and the CD was renamed “Blues Boy” for a European release. During March 2006, Krissy was invited backstage to meet the King of the Blues BB King where he received advice on the industry and met one of his all-time heroes. Immediately after, Krissy went back to Norway for a press weekend to promote the CD. This included national breakfast show “God Morgen Norge” again and several radio and newspaper interviews such as “Dagbladet”, “Vaart Land” and “Aftenposten”.
Later that year, Krissy had a 7 page feature in the British national magazine “Blues Matters”, as well as several good reviews of the record across Europe and more concerts.
In February 2007 the band went off to Norway to record the second CD “No Age Limit”, in Juke Joint Studios, Notodden, Norway. This record features Keith Matthews on Bass, Freddy Schaal on Drums, Mike Smith on Keyboards, and two special guests Felix Peikli on Clarinet and Silje Hagen on Backing Vocals. This was released on CDBaby.com.
This was followed up by their first invite to perform at a European festival. A trip to France, where they performed the Blues Autour Du Zinc festival in Beauvais to a great response.
2 months later, in May 2007, Krissy was invited up by Jeff Healey to perform on stage with him, which sadly turned out to be his last ever two songs performed live in the U.K. Jeff Healey was one of Krissy’s favourite guitar players, and still is, so that was a huge highlight in Krissy’s career.
The CD was released in August 2007, and to celebrate that, the band did a 15 date tour of Scandinavia, which included playing Rockefeller, Oslo supporting Walter Trout, and going off for two nights in the Mojo Blues Bar, Copenhagen. That same year, the band also went off to Europe in October, to celebrate the release. This included 3 shows supporting Robben Ford, as well as 4 club dates in and around Belgium and Holland, with a support slot for Walter Trout in the U.K, where Krissy got up and jammed with him.
In April 2008, the band went off for their second tour of Europe, where they performed 15 shows in 15 days. Krissy quit school in May 2008, and has been a professional musician ever since.
Also, in September 2008, the band was invited to perform at the prestigious “Festa Avante” in Lisbon, Portugal. They performed on the second stage to 1000 people, where they sold out of records, and later the same night, Brazilian blues guitarist Nuno Mindelis invited Krissy to join him on the main stage for a song, where 20,000 people were in attendance. People loved Krissy and his band so much, they were invited back the following year to open up the main stage.
The next CD “Allen in Reverse” was recorded in January 2009 at M.A.R.S Studios with Keith Matthews on Bass, Chris Sharley on Drums, Mike Smith on Keyboards and special guest Holly Petrie on Backing Vocals.
During July 2009 Krissy got a phone call from Marshall Amplification inviting him to come and perform for the Marshall Class 5 Amplifier Launch Party at the famous Ronnie Scott’s in London supporting Joe Bonamassa. Of course the band did the gig, and from that received an invite to record for BBC Radio 2, and also had one of his songs on the “Classic Rock” magazine compilation CD, and “Total Guitar” featuring him in the “Bands to watch out for” section.
In September 2009 “Allen in Reverse” was released on Membran Records, Germany. It received great reviews, and was followed up by numerous shows around the UK and Europe. The famous “Jazzism” magazine in Netherlands said about the record…”A stunning example of innovative blues. Great promise for the future…”
By the age of 18, Krissy had recorded and released 3 albums.
November 20th, the band went to record a live session for BBC Radio 2 Paul Jones at BBC Maida Vale, which was aired February 2010, just before a string of UK shows.
2010 proved to be another busy year for the band. Miikey Dean Smith joined the band on the drum stool, just before the festival season started, giving the band an extra dimension, and Krissy had his first 15 date tour of Poland on his own with a Polish band, as well as several other fantastic gigs in Europe. The year ended with the recording of the 4th studio CD “Hit the Rock” in Oxford which was released late April 2011 on “Rock the Earth” records. The name was inspired from a near fatal van accident the band had in Norway a month prior to the recording, skidding in the ice of the snowy Norwegian mountains. “Classic Rock” said “Hit the Rock is a great record and a MUST for any blues enthusiast”.
2011 and 2012 was spent being very busy touring and promoting “Hit the Rock” all across Europe. This included the first 6 date tour of Spain where Krissy attracted 1200 people in Gandia for his own headline performance, and performed the famous Majorca Jazz Festival and Burlada Blues Festival with Miikey Dean Smith on Drums and Aaron Spiers on Bass. Other gigs included opening up for bands and artists such as Tedeschi Trucks Band, Gregg Allman, Beth Hart, Ten Years After and TOTO, and sitting in with incredible artists such as Rick Vito (Fleetwood Mac), Clem Clempson (Colosseum, Humble Pie), and Chris Farlowe. Dutch Guitar Magazine “Gitaarplus” featured Krissy on the front page, and had 5 pages inside about him. Several other magazines in this time had interviews and features on Krissy Matthews including Blues News Norway, Blues News Germany, Blues News Finland, Route 66 Spain and Blues in Britain and the new Classic Rock Blues magazine, including one of Krissy’s tracks on a compilation disc highlighting the best talent around today.
During 2013 Krissy carried on performing live shows, gaining lots of road and life experience and doing what he does best, but then went back into the studio to record his 5th studio album. He assembled a band who had never worked together before. A collaboration of musicians that Krissy liked, and wanted to merge together with all their different musical backgrounds. Paul Jobson on Keyboards, Aaron Spiers on Bass and Kevin Hickman on Drums, with special guest’s Nikki Loy and Keith Matthews. They went into Echo Studios, Buckingham to record this.
The legendary poet, song writer and producer Pete Brown was in the producer’s chair. Krissy had met Pete previously at a German festival in September 2012, where they developed a good relationship, thus, leading to writing and performing live shows together. Pete has co-written some of the most well-known rock songs in history including many of the hits for British Rock Band “Cream”. These include “Sunshine of Your Love, White Room and Politician” alongside the late Jack Bruce. Pete Brown has also co-written 11 songs on the record with Krissy. The album features 11 originals, and one Blind Willie McTell cover of “Searching the Desert for The Blues”.
While release for this was being sorted, Krissy continued performing shows across the UK and Europe and hired 18 year old Max Maxwell to be the full time drummer. Keith Matthews remains on bass today for the majority of the shows. This included a performance at the legendary amphitheatre in Loreley, Germany. This was for a one day rock festival, which had only one stage. The other acts that were on the bill included Bernie Marsden, Joe Bonamassa and Joe Satriani. The band performed to 6,000 people there, and received lots of great feedback.
Summer 2014, Krissy signed a licencing with Proper Records, and the band played many other festivals and clubs, including appearances alongside Jimmie Vaughan and Steven Seagal.
The new record, which was recorded in 2013 with producer Pete Brown and engineer Jamie Masters, is entitled “Scenes from A Moving Window” and will be released on March 2, 2015 on Promise Records (an imprint of Proper), and will be followed up by the busiest tour schedule of Krissy’s life to date.
To date Krissy has performed in 20 different countries including England, Wales, Scotland, Norway, Sweden, Denmark, Italy, Poland, Netherlands, Luxembourg, Belgium, Germany, France, Portugal, Spain, Slovakia, Czech Republic, Lithuania, Latvia and Switzerland.
OFFICIAL SITE
TO THE TOP
8784 - SHUGGIE OTIS LIVE IN WILLIAMSBURG, DISC TWO (2014)
SHUGGIE OTIS
''LIVE IN WILLIAMSBURG, DISC TWO''
OCTOBER 14 2014
43:22
SHUGGIE OTIS
''LIVE IN WILLIAMSBURG, DISC TWO''
OCTOBER 14 2014
43:22
1 Strawberry Letter 23 04:34
2 Wings of Love 09:17
3 Doin' What's Right 03:55
4 Shuggie's Boogie 07:08
5 Ice Cold Daydream (Bonus) 18:26
Tracks By Otis
Larry Douglas/Flugelhorn, Trumpet, Vocals
James Manning/Bass
Eric Otis/Guitar
Nicky Otis/Drums
Shuggie Otis/Guitar, Vocals
Russ "Swang" Stewart/Keyboards, Vocals
Michael Turre/Flute, Piccolo, Sax (Baritone), Vocals
Albert Wing/Sax (Tenor)
REVIEW/AMG
by Timothy Monger
After releasing 1974's Inspiration/Information, his third and final album, California singer/guitarist Shuggie Otis spent the next three decades slowly drifting into cult status on the strength of his brief solo career and of that album in particular. Largely ignored upon its release, the elegant psych/soul/funk sounds he created (playing almost all of the instruments himself) lived on through record collectors, eventually earning a reputation as a lost classic before receiving its first reissue on David Byrne's Luaka Bop label in 2001. A sort of companion album called Wings of Love appeared as part of a 2013 reissue bundle, but it was mainly a collection of unreleased material and not necessarily a new album. While a follow-up to his acclaimed masterpiece might never arrive, the renewed interest in his work inspired Otis to put together a new band and enjoy a late career resurgence as a live act. Recorded at Brooklyn's Music Hall in April 2013, Live in Williamsburg marks Otis' first ever live album and the renditions he offers up here are loose, spirited, and charming. With a band that features his son Eric on guitar and his brother Nick on drums, it's an engaging live representation of his songs and his abilities as a player and frontman. Peppered with horns and keys, the group plows through career highlights like "Aht Uh Mi Hed," "Island Letter," and the 1977 hit he penned for the Brothers Johnson "Strawberry Letter 23." More than just a long-awaited victory lap, Otis and his band sound like they're having fun and it comes across on this release.
BIOGRAPHY/AMG
by Ed Hogan
Guitarist/singer/songwriter/producer/multi-instrumentalist Shuggie Otis may not be a household name, but his "Strawberry Letter 23" is in the record collections of millions of households. The Brothers Johnson's cover of "Strawberry Letter 23" has sold over a million copies, peaking at number one R&B and number five pop on Billboard's charts in summer 1977. It was on their LP Right on Time, which went platinum, selling over a million copies, holding the number one R&B spot for three weeks and making it to number 13 pop in spring 1977. Otis wrote "Strawberry Letter 23" for his girlfriend, who used strawberry scented paper for her letters to him. Another Otis favorite, "Inspiration Information," received substantial airplay in Chicago and other markets, charting #56 R&B in early 1975.
Born Johnny Otis, Jr. on November 30, 1953, in Los Angeles, CA, Otis' formidable musical talents appeared at an early age. He began his professional career around 1965. He played a guitar solo on his bandleader, father Johnny Otis' 1969 number 29 R&B hit, "Country Girl," issued by Kent Records. His guitar skills were so adept that during his teen years, he would have to wear dark glasses and strategically apply black ink between his nose and mouth to appear old enough to perform in clubs with his father.
Signing with CBS Records, Otis began recording virtuoso guitar-laced R&B/West Coast blues sides. His first LP was Al Kooper Introduces Shuggie Otis on CBS. Johnny Otis produced 1970's Here Comes Shuggie Otis, which was issued on the CBS imprint, Epic Records. Otis' Freedom Flight was issued September 1971 and included the original version of "Strawberry Letter 23," the heart-tugging "Someone's Always Singing," "Ice Cold Daydream," and the bluesy "Me and My Woman," co-written by Otis and Gene Barge (known best for his association with Chess Records, Chuck Willis, and Natalie Cole).
His LP Inspiration Information was issued in October 1974, with Otis playing all of the instruments on jazzy and Latin-tinged R&B numbers. The LP was one of the first releases to showcase the electronic rhythm box then found usually on organs. Besides "Inspiration Information," the LP included the sly "Sparkle City," the sweet ballad "Outtamihead," and the lush, strings-laden "Island Letter," which was the B-side of "Inspiration Information."
George Johnson of The Brothers Johnson was dating one of Otis' cousins who gave Johnson a copy of Freedom Flight. Immediately, he liked "Ice Cold Daydream" and "Strawberry Letter 23." The latter song was played at his brother Louis Johnson's wedding during the wedding march. Louis suggested the song to their producer Quincy Jones for an album track. The track's complex guitar solo was played by Lee Ritenour. The Brothers Johnson version is quite close to Otis' original version.
Later on in the '90s, Otis played with his own band around northern California and toured extensively. His son, Lucky Otis, played bass with Johnny Otis' band. Shuggie Otis is featured in the book Alligator Records Presents West Coast Blues, issued in August 1998 by Milwaukee, WI, publisher Hal Leonard.
OFFICIAL SITE
TO THE TOP
2 Wings of Love 09:17
3 Doin' What's Right 03:55
4 Shuggie's Boogie 07:08
5 Ice Cold Daydream (Bonus) 18:26
Tracks By Otis
Larry Douglas/Flugelhorn, Trumpet, Vocals
James Manning/Bass
Eric Otis/Guitar
Nicky Otis/Drums
Shuggie Otis/Guitar, Vocals
Russ "Swang" Stewart/Keyboards, Vocals
Michael Turre/Flute, Piccolo, Sax (Baritone), Vocals
Albert Wing/Sax (Tenor)
REVIEW/AMG
by Timothy Monger
After releasing 1974's Inspiration/Information, his third and final album, California singer/guitarist Shuggie Otis spent the next three decades slowly drifting into cult status on the strength of his brief solo career and of that album in particular. Largely ignored upon its release, the elegant psych/soul/funk sounds he created (playing almost all of the instruments himself) lived on through record collectors, eventually earning a reputation as a lost classic before receiving its first reissue on David Byrne's Luaka Bop label in 2001. A sort of companion album called Wings of Love appeared as part of a 2013 reissue bundle, but it was mainly a collection of unreleased material and not necessarily a new album. While a follow-up to his acclaimed masterpiece might never arrive, the renewed interest in his work inspired Otis to put together a new band and enjoy a late career resurgence as a live act. Recorded at Brooklyn's Music Hall in April 2013, Live in Williamsburg marks Otis' first ever live album and the renditions he offers up here are loose, spirited, and charming. With a band that features his son Eric on guitar and his brother Nick on drums, it's an engaging live representation of his songs and his abilities as a player and frontman. Peppered with horns and keys, the group plows through career highlights like "Aht Uh Mi Hed," "Island Letter," and the 1977 hit he penned for the Brothers Johnson "Strawberry Letter 23." More than just a long-awaited victory lap, Otis and his band sound like they're having fun and it comes across on this release.
BIOGRAPHY/AMG
by Ed Hogan
Guitarist/singer/songwriter/producer/multi-instrumentalist Shuggie Otis may not be a household name, but his "Strawberry Letter 23" is in the record collections of millions of households. The Brothers Johnson's cover of "Strawberry Letter 23" has sold over a million copies, peaking at number one R&B and number five pop on Billboard's charts in summer 1977. It was on their LP Right on Time, which went platinum, selling over a million copies, holding the number one R&B spot for three weeks and making it to number 13 pop in spring 1977. Otis wrote "Strawberry Letter 23" for his girlfriend, who used strawberry scented paper for her letters to him. Another Otis favorite, "Inspiration Information," received substantial airplay in Chicago and other markets, charting #56 R&B in early 1975.
Born Johnny Otis, Jr. on November 30, 1953, in Los Angeles, CA, Otis' formidable musical talents appeared at an early age. He began his professional career around 1965. He played a guitar solo on his bandleader, father Johnny Otis' 1969 number 29 R&B hit, "Country Girl," issued by Kent Records. His guitar skills were so adept that during his teen years, he would have to wear dark glasses and strategically apply black ink between his nose and mouth to appear old enough to perform in clubs with his father.
Signing with CBS Records, Otis began recording virtuoso guitar-laced R&B/West Coast blues sides. His first LP was Al Kooper Introduces Shuggie Otis on CBS. Johnny Otis produced 1970's Here Comes Shuggie Otis, which was issued on the CBS imprint, Epic Records. Otis' Freedom Flight was issued September 1971 and included the original version of "Strawberry Letter 23," the heart-tugging "Someone's Always Singing," "Ice Cold Daydream," and the bluesy "Me and My Woman," co-written by Otis and Gene Barge (known best for his association with Chess Records, Chuck Willis, and Natalie Cole).
His LP Inspiration Information was issued in October 1974, with Otis playing all of the instruments on jazzy and Latin-tinged R&B numbers. The LP was one of the first releases to showcase the electronic rhythm box then found usually on organs. Besides "Inspiration Information," the LP included the sly "Sparkle City," the sweet ballad "Outtamihead," and the lush, strings-laden "Island Letter," which was the B-side of "Inspiration Information."
George Johnson of The Brothers Johnson was dating one of Otis' cousins who gave Johnson a copy of Freedom Flight. Immediately, he liked "Ice Cold Daydream" and "Strawberry Letter 23." The latter song was played at his brother Louis Johnson's wedding during the wedding march. Louis suggested the song to their producer Quincy Jones for an album track. The track's complex guitar solo was played by Lee Ritenour. The Brothers Johnson version is quite close to Otis' original version.
Later on in the '90s, Otis played with his own band around northern California and toured extensively. His son, Lucky Otis, played bass with Johnny Otis' band. Shuggie Otis is featured in the book Alligator Records Presents West Coast Blues, issued in August 1998 by Milwaukee, WI, publisher Hal Leonard.
OFFICIAL SITE
TO THE TOP
8783 - SHUGGIE OTIS LIVE IN WILLIAMSBURG, DISC ONE (2014)
SHUGGIE OTIS
''LIVE IN WILLIAMSBURG, DISC ONE''
OCTOBER 14 2014
42:07
SHUGGIE OTIS
''LIVE IN WILLIAMSBURG, DISC ONE''
OCTOBER 14 2014
42:07
1 Inspiration Information 04:50
2 Tryin' to Get Close to You 04:21
3 Aht Uh Mi Hed 04:03
4 Island Letter 03:10
5 Me and My Woman (Barge) 03:01
6 Sparkle City Miss Pretty 08:22
7 Sweetest Thang 11:16
8 Picture of Love 02:59
Tracks By Otis, Except 5
Larry Douglas/Flugelhorn, Trumpet, Vocals
James Manning/Bass
Eric Otis/Guitar
Nicky Otis/Drums
Shuggie Otis/Guitar, Vocals
Russ "Swang" Stewart/Keyboards, Vocals
Michael Turre/Flute, Piccolo, Sax (Baritone), Vocals
Albert Wing/Sax (Tenor)
REVIEW/AMG
by Timothy Monger
After releasing 1974's Inspiration/Information, his third and final album, California singer/guitarist Shuggie Otis spent the next three decades slowly drifting into cult status on the strength of his brief solo career and of that album in particular. Largely ignored upon its release, the elegant psych/soul/funk sounds he created (playing almost all of the instruments himself) lived on through record collectors, eventually earning a reputation as a lost classic before receiving its first reissue on David Byrne's Luaka Bop label in 2001. A sort of companion album called Wings of Love appeared as part of a 2013 reissue bundle, but it was mainly a collection of unreleased material and not necessarily a new album. While a follow-up to his acclaimed masterpiece might never arrive, the renewed interest in his work inspired Otis to put together a new band and enjoy a late career resurgence as a live act. Recorded at Brooklyn's Music Hall in April 2013, Live in Williamsburg marks Otis' first ever live album and the renditions he offers up here are loose, spirited, and charming. With a band that features his son Eric on guitar and his brother Nick on drums, it's an engaging live representation of his songs and his abilities as a player and frontman. Peppered with horns and keys, the group plows through career highlights like "Aht Uh Mi Hed," "Island Letter," and the 1977 hit he penned for the Brothers Johnson "Strawberry Letter 23." More than just a long-awaited victory lap, Otis and his band sound like they're having fun and it comes across on this release.
BIOGRAPHY/AMG
by Ed Hogan
Guitarist/singer/songwriter/producer/multi-instrumentalist Shuggie Otis may not be a household name, but his "Strawberry Letter 23" is in the record collections of millions of households. The Brothers Johnson's cover of "Strawberry Letter 23" has sold over a million copies, peaking at number one R&B and number five pop on Billboard's charts in summer 1977. It was on their LP Right on Time, which went platinum, selling over a million copies, holding the number one R&B spot for three weeks and making it to number 13 pop in spring 1977. Otis wrote "Strawberry Letter 23" for his girlfriend, who used strawberry scented paper for her letters to him. Another Otis favorite, "Inspiration Information," received substantial airplay in Chicago and other markets, charting #56 R&B in early 1975.
Born Johnny Otis, Jr. on November 30, 1953, in Los Angeles, CA, Otis' formidable musical talents appeared at an early age. He began his professional career around 1965. He played a guitar solo on his bandleader, father Johnny Otis' 1969 number 29 R&B hit, "Country Girl," issued by Kent Records. His guitar skills were so adept that during his teen years, he would have to wear dark glasses and strategically apply black ink between his nose and mouth to appear old enough to perform in clubs with his father.
Signing with CBS Records, Otis began recording virtuoso guitar-laced R&B/West Coast blues sides. His first LP was Al Kooper Introduces Shuggie Otis on CBS. Johnny Otis produced 1970's Here Comes Shuggie Otis, which was issued on the CBS imprint, Epic Records. Otis' Freedom Flight was issued September 1971 and included the original version of "Strawberry Letter 23," the heart-tugging "Someone's Always Singing," "Ice Cold Daydream," and the bluesy "Me and My Woman," co-written by Otis and Gene Barge (known best for his association with Chess Records, Chuck Willis, and Natalie Cole).
His LP Inspiration Information was issued in October 1974, with Otis playing all of the instruments on jazzy and Latin-tinged R&B numbers. The LP was one of the first releases to showcase the electronic rhythm box then found usually on organs. Besides "Inspiration Information," the LP included the sly "Sparkle City," the sweet ballad "Outtamihead," and the lush, strings-laden "Island Letter," which was the B-side of "Inspiration Information."
George Johnson of The Brothers Johnson was dating one of Otis' cousins who gave Johnson a copy of Freedom Flight. Immediately, he liked "Ice Cold Daydream" and "Strawberry Letter 23." The latter song was played at his brother Louis Johnson's wedding during the wedding march. Louis suggested the song to their producer Quincy Jones for an album track. The track's complex guitar solo was played by Lee Ritenour. The Brothers Johnson version is quite close to Otis' original version.
Later on in the '90s, Otis played with his own band around northern California and toured extensively. His son, Lucky Otis, played bass with Johnny Otis' band. Shuggie Otis is featured in the book Alligator Records Presents West Coast Blues, issued in August 1998 by Milwaukee, WI, publisher Hal Leonard.
OFFICIAL SITE
TO THE TOP
2 Tryin' to Get Close to You 04:21
3 Aht Uh Mi Hed 04:03
4 Island Letter 03:10
5 Me and My Woman (Barge) 03:01
6 Sparkle City Miss Pretty 08:22
7 Sweetest Thang 11:16
8 Picture of Love 02:59
Tracks By Otis, Except 5
Larry Douglas/Flugelhorn, Trumpet, Vocals
James Manning/Bass
Eric Otis/Guitar
Nicky Otis/Drums
Shuggie Otis/Guitar, Vocals
Russ "Swang" Stewart/Keyboards, Vocals
Michael Turre/Flute, Piccolo, Sax (Baritone), Vocals
Albert Wing/Sax (Tenor)
REVIEW/AMG
by Timothy Monger
After releasing 1974's Inspiration/Information, his third and final album, California singer/guitarist Shuggie Otis spent the next three decades slowly drifting into cult status on the strength of his brief solo career and of that album in particular. Largely ignored upon its release, the elegant psych/soul/funk sounds he created (playing almost all of the instruments himself) lived on through record collectors, eventually earning a reputation as a lost classic before receiving its first reissue on David Byrne's Luaka Bop label in 2001. A sort of companion album called Wings of Love appeared as part of a 2013 reissue bundle, but it was mainly a collection of unreleased material and not necessarily a new album. While a follow-up to his acclaimed masterpiece might never arrive, the renewed interest in his work inspired Otis to put together a new band and enjoy a late career resurgence as a live act. Recorded at Brooklyn's Music Hall in April 2013, Live in Williamsburg marks Otis' first ever live album and the renditions he offers up here are loose, spirited, and charming. With a band that features his son Eric on guitar and his brother Nick on drums, it's an engaging live representation of his songs and his abilities as a player and frontman. Peppered with horns and keys, the group plows through career highlights like "Aht Uh Mi Hed," "Island Letter," and the 1977 hit he penned for the Brothers Johnson "Strawberry Letter 23." More than just a long-awaited victory lap, Otis and his band sound like they're having fun and it comes across on this release.
BIOGRAPHY/AMG
by Ed Hogan
Guitarist/singer/songwriter/producer/multi-instrumentalist Shuggie Otis may not be a household name, but his "Strawberry Letter 23" is in the record collections of millions of households. The Brothers Johnson's cover of "Strawberry Letter 23" has sold over a million copies, peaking at number one R&B and number five pop on Billboard's charts in summer 1977. It was on their LP Right on Time, which went platinum, selling over a million copies, holding the number one R&B spot for three weeks and making it to number 13 pop in spring 1977. Otis wrote "Strawberry Letter 23" for his girlfriend, who used strawberry scented paper for her letters to him. Another Otis favorite, "Inspiration Information," received substantial airplay in Chicago and other markets, charting #56 R&B in early 1975.
Born Johnny Otis, Jr. on November 30, 1953, in Los Angeles, CA, Otis' formidable musical talents appeared at an early age. He began his professional career around 1965. He played a guitar solo on his bandleader, father Johnny Otis' 1969 number 29 R&B hit, "Country Girl," issued by Kent Records. His guitar skills were so adept that during his teen years, he would have to wear dark glasses and strategically apply black ink between his nose and mouth to appear old enough to perform in clubs with his father.
Signing with CBS Records, Otis began recording virtuoso guitar-laced R&B/West Coast blues sides. His first LP was Al Kooper Introduces Shuggie Otis on CBS. Johnny Otis produced 1970's Here Comes Shuggie Otis, which was issued on the CBS imprint, Epic Records. Otis' Freedom Flight was issued September 1971 and included the original version of "Strawberry Letter 23," the heart-tugging "Someone's Always Singing," "Ice Cold Daydream," and the bluesy "Me and My Woman," co-written by Otis and Gene Barge (known best for his association with Chess Records, Chuck Willis, and Natalie Cole).
His LP Inspiration Information was issued in October 1974, with Otis playing all of the instruments on jazzy and Latin-tinged R&B numbers. The LP was one of the first releases to showcase the electronic rhythm box then found usually on organs. Besides "Inspiration Information," the LP included the sly "Sparkle City," the sweet ballad "Outtamihead," and the lush, strings-laden "Island Letter," which was the B-side of "Inspiration Information."
George Johnson of The Brothers Johnson was dating one of Otis' cousins who gave Johnson a copy of Freedom Flight. Immediately, he liked "Ice Cold Daydream" and "Strawberry Letter 23." The latter song was played at his brother Louis Johnson's wedding during the wedding march. Louis suggested the song to their producer Quincy Jones for an album track. The track's complex guitar solo was played by Lee Ritenour. The Brothers Johnson version is quite close to Otis' original version.
Later on in the '90s, Otis played with his own band around northern California and toured extensively. His son, Lucky Otis, played bass with Johnny Otis' band. Shuggie Otis is featured in the book Alligator Records Presents West Coast Blues, issued in August 1998 by Milwaukee, WI, publisher Hal Leonard.
OFFICIAL SITE
TO THE TOP
8782 - THE BLUES VISION - COUNTING SHEEP (2013)
THE BLUES VISION
''COUNTING SHEEP''
MAY 6 2013
49:27
THE BLUES VISION
''COUNTING SHEEP''
MAY 6 2013
49:27
1 Counting Sheep 03:40
2 Cadillac 04:03
3 Morpheus 02:59
4 Alabama Train 08:12
5 Highway 49 06:12
6 Rollin' & Tumblin' 02:31
7 When I Get Drunk 03:10
8 Coffee 03:51
9 My Breadmachine Is Broken 06:18
10 Fraqtac 02:31
11 Hey Joe 05:56
With great respect for tradition, three young Belgian kids are creating their own style, mixing all the good stuff they have picked up from their parent's record collection. The Blues Vision presents just what their name promises: an exciting new and energetic sound with a distinct direction towards the future of blues.
OFFICIAL BIOGRAPHY
Deze 3 energieke jonge mensen geven hun eigen eigentijdse visie van de blues op een voortreffelijke en smaakvolle manier aan het publiek door.
Live zijn ze inmiddels uitgegroeid om een publiek in te palmen door middel van een stevige en verbazende set.
Ze hebben ondanks hun jeugdige leeftijd al menig toeschouwer en organisator aangenaam verrast met hun muzikale kwaliteiten.
Naast hun eigen nummers brengen ze ook een aantal smaakvolle covers!
Stevie Ray Vaughan, Jeff Beck, Muddy Waters, Jimi Hendrix en ook het werk van minder bekende artiesten, worden bewerkt tot een muzikaal spektakel met een eigen blues- en funky touch.
Eind 2012 besloot drummer Bernd Coene, zijn horizon te verleggen naar Amerika.
Zo werd Klaas de Somer als waardige vervanger het nieuwe lid van The Blues Vision.
The Blues Vision was onder andere al te gast op Blaublues Haringe, Blues in Bruges, Muzikale Dinsdagen Ieper, Machelblues, Patersdreef Tielt, Bluesclub Stekene, Delirium Bluesfestival Lichtervelde, L’Esprit Rotterdam, Zomerparkfeesten Venlo (Nl), Blues Oan Daa Stoazze Hamme, De Klokke Balegem, Fonnefeesten Lokeren,
The Lane Oostburg, Blues in Schoten, Klaksonblues, Blastblues Asten, Welons Festival (Nl), RK-Blues 25 jaar, Gentse Feesten (St-Baafsplein), Oetslovenblues, Tex Free Festival Venlo, Swing Wespelaar, Crammerock, Culemborg Festival,…waar ze telkens de pannen van het dak speelden.
Tevens werden ze geselecteerd voor de finale van het Belgium Blues Contest 2012 in Hamme,
waar ze een mooie prestatie hebben neergezet.
Als winnaars van Students on stage 2013 speelden ze trouwens op Marktrock Leuven !
OFFICIAL SITE
TO THE TOP
2 Cadillac 04:03
3 Morpheus 02:59
4 Alabama Train 08:12
5 Highway 49 06:12
6 Rollin' & Tumblin' 02:31
7 When I Get Drunk 03:10
8 Coffee 03:51
9 My Breadmachine Is Broken 06:18
10 Fraqtac 02:31
11 Hey Joe 05:56
With great respect for tradition, three young Belgian kids are creating their own style, mixing all the good stuff they have picked up from their parent's record collection. The Blues Vision presents just what their name promises: an exciting new and energetic sound with a distinct direction towards the future of blues.
OFFICIAL BIOGRAPHY
Deze 3 energieke jonge mensen geven hun eigen eigentijdse visie van de blues op een voortreffelijke en smaakvolle manier aan het publiek door.
Live zijn ze inmiddels uitgegroeid om een publiek in te palmen door middel van een stevige en verbazende set.
Ze hebben ondanks hun jeugdige leeftijd al menig toeschouwer en organisator aangenaam verrast met hun muzikale kwaliteiten.
Naast hun eigen nummers brengen ze ook een aantal smaakvolle covers!
Stevie Ray Vaughan, Jeff Beck, Muddy Waters, Jimi Hendrix en ook het werk van minder bekende artiesten, worden bewerkt tot een muzikaal spektakel met een eigen blues- en funky touch.
Eind 2012 besloot drummer Bernd Coene, zijn horizon te verleggen naar Amerika.
Zo werd Klaas de Somer als waardige vervanger het nieuwe lid van The Blues Vision.
The Blues Vision was onder andere al te gast op Blaublues Haringe, Blues in Bruges, Muzikale Dinsdagen Ieper, Machelblues, Patersdreef Tielt, Bluesclub Stekene, Delirium Bluesfestival Lichtervelde, L’Esprit Rotterdam, Zomerparkfeesten Venlo (Nl), Blues Oan Daa Stoazze Hamme, De Klokke Balegem, Fonnefeesten Lokeren,
The Lane Oostburg, Blues in Schoten, Klaksonblues, Blastblues Asten, Welons Festival (Nl), RK-Blues 25 jaar, Gentse Feesten (St-Baafsplein), Oetslovenblues, Tex Free Festival Venlo, Swing Wespelaar, Crammerock, Culemborg Festival,…waar ze telkens de pannen van het dak speelden.
Tevens werden ze geselecteerd voor de finale van het Belgium Blues Contest 2012 in Hamme,
waar ze een mooie prestatie hebben neergezet.
Als winnaars van Students on stage 2013 speelden ze trouwens op Marktrock Leuven !
OFFICIAL SITE
TO THE TOP
8781 - CHEAP WINE - BASED ON LIES (2012) (REPOST)
CHEAP WINE
''BASED ON LIES''
2012
50:50
CHEAP WINE
''BASED ON LIES''
2012
50:50
1 Breakaway 04:37
2 Waiting on the Door 04:40
3 Lovers' Grave 04:21
4 Give Me Tom Waits 03:44
5 The Big Blow 02:54
6 Based On Lies 05:02
7 On The Way Back Home 04:17
8 Lost Inside 03:32
9 The Vampire 06:57
10 To Face A New Day 05:30
11 The Stone 05:11
Marco Diamantini - Guitar, Vocals, Harmonica
Michele Diamantini - Electric Guitar, Acoustic Guitar
Alan Giannini - Drums
Alessandro "Fruscio" Grazioli - Bass Guitar
ABOUT
By Rudie Humphrey, Americana UK
It's tricky, I get that. The blurb that comes with an album, it needs to set the tone, entice, reveal and make you go, "ace! I want to the hear this". Records are personal, snap shots of a moment, a record of a time, some chums come together, do some stuff, it sounds like this, and we like it do you? I get that.
The guff that came with this was such BS, like some kind of manifesto, Mr Bragg once said "mixing pop and politics they asked me what the use is". Unless you're Woody, probably best to avoid it boys, stick to sounding like Psychedelic Furs or Blondie, you're all the better for it. You want the music to look like the artwork; same feel, this looks like a scary kid's book – not 'Where the Wild Things Are', but something that was later revealed to have some dark unpleasant code; think Lewis Carol.
So to the music: I guess that English isn't their first language, Italian is. This is no hindrance. I loved the Knopfler solo in track 2, "Waiting on the Door", very 'Sultans..', and very good.
The album opener is fantastic; loud, brash, urgent – screaming "listen to me, listen to me". That's good; calls you in. The vocal is part JJ Cale part bloke from the Levellers, with a touch of Cousteau about them. The mix is good; drums up, not buried in the back like an afterthought (and has some decent brush work).
The musicality is nice "Lovers Grave" has both a nice break down, complete with gravel vocal, plus a fadeaway vocal into full effect guitar solo, melting the two together.
I'm not a piano fan, but the Hornsby feel and honky tonk touches are just the ticket. The interplay with Michele Dimantini's guitar is class, and shows a band at the top of their game. This is a band I want to see live, I want to sing those "la-la-la-las" on "Give me Tom Waits", deep in the catacombs of an Italian club. Sweaty, wall running, stood on a beer-sticky floor.
OFFICIAL SITE
TO THE TOP
2 Waiting on the Door 04:40
3 Lovers' Grave 04:21
4 Give Me Tom Waits 03:44
5 The Big Blow 02:54
6 Based On Lies 05:02
7 On The Way Back Home 04:17
8 Lost Inside 03:32
9 The Vampire 06:57
10 To Face A New Day 05:30
11 The Stone 05:11
Marco Diamantini - Guitar, Vocals, Harmonica
Michele Diamantini - Electric Guitar, Acoustic Guitar
Alan Giannini - Drums
Alessandro "Fruscio" Grazioli - Bass Guitar
ABOUT
By Rudie Humphrey, Americana UK
It's tricky, I get that. The blurb that comes with an album, it needs to set the tone, entice, reveal and make you go, "ace! I want to the hear this". Records are personal, snap shots of a moment, a record of a time, some chums come together, do some stuff, it sounds like this, and we like it do you? I get that.
The guff that came with this was such BS, like some kind of manifesto, Mr Bragg once said "mixing pop and politics they asked me what the use is". Unless you're Woody, probably best to avoid it boys, stick to sounding like Psychedelic Furs or Blondie, you're all the better for it. You want the music to look like the artwork; same feel, this looks like a scary kid's book – not 'Where the Wild Things Are', but something that was later revealed to have some dark unpleasant code; think Lewis Carol.
So to the music: I guess that English isn't their first language, Italian is. This is no hindrance. I loved the Knopfler solo in track 2, "Waiting on the Door", very 'Sultans..', and very good.
The album opener is fantastic; loud, brash, urgent – screaming "listen to me, listen to me". That's good; calls you in. The vocal is part JJ Cale part bloke from the Levellers, with a touch of Cousteau about them. The mix is good; drums up, not buried in the back like an afterthought (and has some decent brush work).
The musicality is nice "Lovers Grave" has both a nice break down, complete with gravel vocal, plus a fadeaway vocal into full effect guitar solo, melting the two together.
I'm not a piano fan, but the Hornsby feel and honky tonk touches are just the ticket. The interplay with Michele Dimantini's guitar is class, and shows a band at the top of their game. This is a band I want to see live, I want to sing those "la-la-la-las" on "Give me Tom Waits", deep in the catacombs of an Italian club. Sweaty, wall running, stood on a beer-sticky floor.
OFFICIAL SITE
TO THE TOP
8780 - CHEAP WINE - STAY ALIVE!, DISC TWO (2010)
CHEAP WINE
''STAY ALIVE!, DISC TWO''
OCTOBER 25, 2010
65:45
CHEAP WINE
''STAY ALIVE!, DISC TWO''
OCTOBER 25, 2010
65:45
1 Dance Over Troubles 04:24
2 Reckless 04:02
3 Time For Action 03:37
4 Snakes 06:01
5 Leave Me A Drain 05:06
6 Loom and Vanish 12:02
7 Move Along 06:04
8 City Lights 08:23
9 Freak Show 06:39
10 Jugglers And Suckers 04:19
11 Rockin' in the Free World (Neil Young) 05:04
Tracks By Marco Diamantini, Except 11
Marco Diamantini - Guitar, Vocals, Harmonica
Michele Diamantini - Electric Guitar, Acoustic Guitar
Alan Giannini - Drums
Alessandro "Fruscio" Grazioli - Bass Guitar
ABOUT
By Phil Edwards, Americana UK
This double album is Cheap Wine's first official live release adding to their canon of seven previous albums during their 16 or so years together.
Although they're an all Italian band, all songs are sung in English, and they sound like they've emerged from the plains of the mid West. Whilst they're a rock band in the traditional sense, with vocals, guitars, drums, bass and keyboards, they convey a sense of artistic style that makes them stand out from the plethora of artists peddling their wares.
Containing over two hours of music and 21 songs taken from their back catalogue and of which 19 were written by the main protagonists, the Diamantini brothers, this album covers a wider gamut that takes their music out of the expected rock spectrum and veers them on occasions into Americana territory. Obviously influenced by Springsteen and Neil Young, who have 'Youngstown' and 'Rocking In The Free World' covered respectively, Cheap Wine don't rest on the same old tired clichés so many other bands rely on. 'Among The Stones' introduces some dobro, which adds to what would have been otherwise a fairly routine song; the interplay with the instrument and the lead vocals brings it to life. 'Evil Ghost' rocks like its life depends on it, with some excellent searing lead guitar, after a tranquil start.
This seems to be Cheap Wine's modus operandi, starting quietly and peacefully, with a penchant for ballads, which and build into arena rockers. They give 'Youngstown' a run for its money and have managed to outrock even Springsteen.
Proving that they're not wedded to their modus operandi, 'Reckless' kicks off loud and proud, and doesn't give any quarter as it rampages through the set list. Following in quick succession, 'Time For Action' continues in the same vein, whereas 'Snakes' brings back more shade, without losing the rawk!
I'm at a loss as to why I hadn't heard of these guys until now, but I'm off to check out their back catalogue. You'd be wise to do so too.
OFFICIAL SITE
TO THE TOP
2 Reckless 04:02
3 Time For Action 03:37
4 Snakes 06:01
5 Leave Me A Drain 05:06
6 Loom and Vanish 12:02
7 Move Along 06:04
8 City Lights 08:23
9 Freak Show 06:39
10 Jugglers And Suckers 04:19
11 Rockin' in the Free World (Neil Young) 05:04
Tracks By Marco Diamantini, Except 11
Marco Diamantini - Guitar, Vocals, Harmonica
Michele Diamantini - Electric Guitar, Acoustic Guitar
Alan Giannini - Drums
Alessandro "Fruscio" Grazioli - Bass Guitar
ABOUT
By Phil Edwards, Americana UK
This double album is Cheap Wine's first official live release adding to their canon of seven previous albums during their 16 or so years together.
Although they're an all Italian band, all songs are sung in English, and they sound like they've emerged from the plains of the mid West. Whilst they're a rock band in the traditional sense, with vocals, guitars, drums, bass and keyboards, they convey a sense of artistic style that makes them stand out from the plethora of artists peddling their wares.
Containing over two hours of music and 21 songs taken from their back catalogue and of which 19 were written by the main protagonists, the Diamantini brothers, this album covers a wider gamut that takes their music out of the expected rock spectrum and veers them on occasions into Americana territory. Obviously influenced by Springsteen and Neil Young, who have 'Youngstown' and 'Rocking In The Free World' covered respectively, Cheap Wine don't rest on the same old tired clichés so many other bands rely on. 'Among The Stones' introduces some dobro, which adds to what would have been otherwise a fairly routine song; the interplay with the instrument and the lead vocals brings it to life. 'Evil Ghost' rocks like its life depends on it, with some excellent searing lead guitar, after a tranquil start.
This seems to be Cheap Wine's modus operandi, starting quietly and peacefully, with a penchant for ballads, which and build into arena rockers. They give 'Youngstown' a run for its money and have managed to outrock even Springsteen.
Proving that they're not wedded to their modus operandi, 'Reckless' kicks off loud and proud, and doesn't give any quarter as it rampages through the set list. Following in quick succession, 'Time For Action' continues in the same vein, whereas 'Snakes' brings back more shade, without losing the rawk!
I'm at a loss as to why I hadn't heard of these guys until now, but I'm off to check out their back catalogue. You'd be wise to do so too.
OFFICIAL SITE
TO THE TOP
8779 - CHEAP WINE - STAY ALIVE!, DISC ONE (2010)
CHEAP WINE
''STAY ALIVE!, DISC ONE''
OCTOBER 25, 2010
63:35
CHEAP WINE
''STAY ALIVE!, DISC ONE''
OCTOBER 25, 2010
63:35
1 Just Like Animals 06:03
2 The Sea Is Down 06:20
3 Circus Of Fools 04:24
4 A Pig on a Lead 05:01
5 Murderer Song 07:01
6 Nothing Left To Say 06:04
7 Among The Stones 07:14
8 Evil Ghost 09:30
9 Youngstown 07:00
10 Shakin' The Cage 04:53
All Tracks By Marco Diamantini
Marco Diamantini - Guitar, Vocals, Harmonica
Michele Diamantini - Electric Guitar, Acoustic Guitar
Alan Giannini - Drums
Alessandro "Fruscio" Grazioli - Bass Guitar
ABOUT
By Phil Edwards, Americana UK
This double album is Cheap Wine's first official live release adding to their canon of seven previous albums during their 16 or so years together.
Although they're an all Italian band, all songs are sung in English, and they sound like they've emerged from the plains of the mid West. Whilst they're a rock band in the traditional sense, with vocals, guitars, drums, bass and keyboards, they convey a sense of artistic style that makes them stand out from the plethora of artists peddling their wares.
Containing over two hours of music and 21 songs taken from their back catalogue and of which 19 were written by the main protagonists, the Diamantini brothers, this album covers a wider gamut that takes their music out of the expected rock spectrum and veers them on occasions into Americana territory. Obviously influenced by Springsteen and Neil Young, who have 'Youngstown' and 'Rocking In The Free World' covered respectively, Cheap Wine don't rest on the same old tired clichés so many other bands rely on. 'Among The Stones' introduces some dobro, which adds to what would have been otherwise a fairly routine song; the interplay with the instrument and the lead vocals brings it to life. 'Evil Ghost' rocks like its life depends on it, with some excellent searing lead guitar, after a tranquil start.
This seems to be Cheap Wine's modus operandi, starting quietly and peacefully, with a penchant for ballads, which and build into arena rockers. They give 'Youngstown' a run for its money and have managed to outrock even Springsteen.
Proving that they're not wedded to their modus operandi, 'Reckless' kicks off loud and proud, and doesn't give any quarter as it rampages through the set list. Following in quick succession, 'Time For Action' continues in the same vein, whereas 'Snakes' brings back more shade, without losing the rawk!
I'm at a loss as to why I hadn't heard of these guys until now, but I'm off to check out their back catalogue. You'd be wise to do so too.
OFFICIAL SITE
TO THE TOP
2 The Sea Is Down 06:20
3 Circus Of Fools 04:24
4 A Pig on a Lead 05:01
5 Murderer Song 07:01
6 Nothing Left To Say 06:04
7 Among The Stones 07:14
8 Evil Ghost 09:30
9 Youngstown 07:00
10 Shakin' The Cage 04:53
All Tracks By Marco Diamantini
Marco Diamantini - Guitar, Vocals, Harmonica
Michele Diamantini - Electric Guitar, Acoustic Guitar
Alan Giannini - Drums
Alessandro "Fruscio" Grazioli - Bass Guitar
ABOUT
By Phil Edwards, Americana UK
This double album is Cheap Wine's first official live release adding to their canon of seven previous albums during their 16 or so years together.
Although they're an all Italian band, all songs are sung in English, and they sound like they've emerged from the plains of the mid West. Whilst they're a rock band in the traditional sense, with vocals, guitars, drums, bass and keyboards, they convey a sense of artistic style that makes them stand out from the plethora of artists peddling their wares.
Containing over two hours of music and 21 songs taken from their back catalogue and of which 19 were written by the main protagonists, the Diamantini brothers, this album covers a wider gamut that takes their music out of the expected rock spectrum and veers them on occasions into Americana territory. Obviously influenced by Springsteen and Neil Young, who have 'Youngstown' and 'Rocking In The Free World' covered respectively, Cheap Wine don't rest on the same old tired clichés so many other bands rely on. 'Among The Stones' introduces some dobro, which adds to what would have been otherwise a fairly routine song; the interplay with the instrument and the lead vocals brings it to life. 'Evil Ghost' rocks like its life depends on it, with some excellent searing lead guitar, after a tranquil start.
This seems to be Cheap Wine's modus operandi, starting quietly and peacefully, with a penchant for ballads, which and build into arena rockers. They give 'Youngstown' a run for its money and have managed to outrock even Springsteen.
Proving that they're not wedded to their modus operandi, 'Reckless' kicks off loud and proud, and doesn't give any quarter as it rampages through the set list. Following in quick succession, 'Time For Action' continues in the same vein, whereas 'Snakes' brings back more shade, without losing the rawk!
I'm at a loss as to why I hadn't heard of these guys until now, but I'm off to check out their back catalogue. You'd be wise to do so too.
OFFICIAL SITE
TO THE TOP
March 2, 2015
8778 - VARIOUS ARTISTS - THE MANY FACES OF DOORS, DISC THREE (2015)
VARIOUS ARTISTS
''THE MANY FACES OF DOORS, DISC THREE''
FEBRUARY 2 2015
35:53
VARIOUS ARTISTS
''THE MANY FACES OF DOORS, DISC THREE''
FEBRUARY 2 2015
35:53
DISC THREE - THE ROOTS
1 The Shadows of Knight - Gloria (Van Morrison) 02:36
2 Howlin' Wolf - Back Door Man (Burnett, Dixon) 02:46
3 Bo Diddley - Who Do You Love (McDaniel) 02:26
4 Muddy Waters - Close To You (Dixon) 03:03
5 Howlin' Wolf - Little Red Rooster (Burnett, Dixon) 03:45
6 Little Junior Parker - Mystery Train (Parker, Phillips) 02:20
7 Robert Johnson - Crossroads (Johnson) 02:37
8 Muddy Waters - Rock Me (Morganfield) 03:08
9 Billie Holiday - Summertime (Heyward, Gershwin, Gershwin) 02:52
10 Roy Brown - Good Rockin' Tonight (R. Brown) 03:33
11 Lotte Lenya - Alabama Song (Brecht, Weill) 04:07
12 John Lee Hooker - Crawling King Snake (Hooker) 02:35
ABOUT
By www.mbrokers.com.ar
No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.
TO THE TOP
1 The Shadows of Knight - Gloria (Van Morrison) 02:36
2 Howlin' Wolf - Back Door Man (Burnett, Dixon) 02:46
3 Bo Diddley - Who Do You Love (McDaniel) 02:26
4 Muddy Waters - Close To You (Dixon) 03:03
5 Howlin' Wolf - Little Red Rooster (Burnett, Dixon) 03:45
6 Little Junior Parker - Mystery Train (Parker, Phillips) 02:20
7 Robert Johnson - Crossroads (Johnson) 02:37
8 Muddy Waters - Rock Me (Morganfield) 03:08
9 Billie Holiday - Summertime (Heyward, Gershwin, Gershwin) 02:52
10 Roy Brown - Good Rockin' Tonight (R. Brown) 03:33
11 Lotte Lenya - Alabama Song (Brecht, Weill) 04:07
12 John Lee Hooker - Crawling King Snake (Hooker) 02:35
ABOUT
By www.mbrokers.com.ar
No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.
TO THE TOP
Labels:
doors
,
v.a. - the many faces of doors
8777 - VARIOUS ARTISTS - THE MANY FACES OF DOORS, DISC TWO (2015)
VARIOUS ARTISTS
''THE MANY FACES OF DOORS, DISC TWO''
FEBRUARY 2 2015
44:39
VARIOUS ARTISTS
''THE MANY FACES OF DOORS, DISC TWO''
FEBRUARY 2 2015
44:39
DISC TWO - THE SONGS
1 Raveonettes - The End (Densmore, Krieger, Manzarek, Morrison) 03:20
2 Steve Cropper, Tony Kaye & Joe Lynn Turner - Riders of the Storm (Densmore, Krieger, Manzarek, Morrison) 06:18
3 Robert Gordon, Steve Morse & Nick Turner - Touch Me (Densmore, Krieger, Manzarek, Morrison) 03:55
4 David Johansen - People Are Strange (Densmore, Krieger, Manzarek, Morrison) 02:23
5 Edgar Winter & Chris Speeding - The Crystal Ship (Densmore, Krieger, Manzarek, Morrison) 02:42
6 Mark Farner & Chick Churchill - Break on Through (To the Other Side) (Densmore, Krieger, Manzarek, Morrison) 02:51
7 Ken Hensley - Hello, I Love You (Densmore, Krieger, Manzarek, Morrison) 02:38
8 Jan Gillan, Rick Wakeman& Steve Howe - Light My Fire 06:59
9 Mick Box & Mark Stein - Love Her Madly (Densmore, Krieger, Manzarek, Morrison) 03:25
10 Todd Rundgren & Geoff Downes - Alabama Song (Brecht, Weill) 03:25
11 Lou Gramm, Thus Van Leer & Lary Coryell - Love Me Two Times (Densmore, Krieger, Manzarek, Morrison) 03:21
12 Clinic - Touch Me (Densmore, Krieger, Manzarek, Morrison) 03:15
ABOUT
By www.mbrokers.com.ar
No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.
TO THE TOP
1 Raveonettes - The End (Densmore, Krieger, Manzarek, Morrison) 03:20
2 Steve Cropper, Tony Kaye & Joe Lynn Turner - Riders of the Storm (Densmore, Krieger, Manzarek, Morrison) 06:18
3 Robert Gordon, Steve Morse & Nick Turner - Touch Me (Densmore, Krieger, Manzarek, Morrison) 03:55
4 David Johansen - People Are Strange (Densmore, Krieger, Manzarek, Morrison) 02:23
5 Edgar Winter & Chris Speeding - The Crystal Ship (Densmore, Krieger, Manzarek, Morrison) 02:42
6 Mark Farner & Chick Churchill - Break on Through (To the Other Side) (Densmore, Krieger, Manzarek, Morrison) 02:51
7 Ken Hensley - Hello, I Love You (Densmore, Krieger, Manzarek, Morrison) 02:38
8 Jan Gillan, Rick Wakeman& Steve Howe - Light My Fire 06:59
9 Mick Box & Mark Stein - Love Her Madly (Densmore, Krieger, Manzarek, Morrison) 03:25
10 Todd Rundgren & Geoff Downes - Alabama Song (Brecht, Weill) 03:25
11 Lou Gramm, Thus Van Leer & Lary Coryell - Love Me Two Times (Densmore, Krieger, Manzarek, Morrison) 03:21
12 Clinic - Touch Me (Densmore, Krieger, Manzarek, Morrison) 03:15
ABOUT
By www.mbrokers.com.ar
No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.
TO THE TOP
Labels:
doors
,
v.a. - the many faces of doors
8776 - VARIOUS ARTISTS - THE MANY FACES OF DOORS, DISC ONE (2015)
VARIOUS ARTISTS
''THE MANY FACES OF DOORS, DISC ONE''
FEBRUARY 2 2015
54:44
VARIOUS ARTISTS
''THE MANY FACES OF DOORS, DISC ONE''
FEBRUARY 2 2015
54:44
DISC ONE - NOW AND THEN
1 Jim Morrison - Perceptual Notions (Morrison) 01:12
2 Ray Manzarek & Roy Rogers - Just Like Sherlock Holmes (Morrison) 03:48
3 Ray Manzarek & Roy Rogers - Numbers (McLure, Manzarek) 03:20
4 Cliff Morrison (feat. Jim Morrison) & The Lizard Sun Band - Liquid Highway (C. Morrison) 04:02
5 Cliff Morrison & The Lizard Sun Band - August Moon (C. Morrison) 04:25
6 Phantom's Divine Comedy - Half a Life (Phantom) 04:04
7 Phantom's Divine Comedy - Calm Before the Storm (Phantom) 03:25
8 Robby Krieger - Brain Damage (Roger Waters) 03:26
9 Robby Krieger - Time (Gilmour, Mason, Waters, Wright) 06:56
10 Tribaljazz feat. John Densmore - The First Time (I Heard Coltrane) (Art Ellis) 04:17
11 Tribaljazz feat. John Densmore - Blues for Bali (Art Ellis) 06:35
12 Nico - The End (Densmore, Krieger, Morrison, Manzarek) 09:08
ABOUT
By www.mbrokers.com.ar
No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.
TO THE TOP
1 Jim Morrison - Perceptual Notions (Morrison) 01:12
2 Ray Manzarek & Roy Rogers - Just Like Sherlock Holmes (Morrison) 03:48
3 Ray Manzarek & Roy Rogers - Numbers (McLure, Manzarek) 03:20
4 Cliff Morrison (feat. Jim Morrison) & The Lizard Sun Band - Liquid Highway (C. Morrison) 04:02
5 Cliff Morrison & The Lizard Sun Band - August Moon (C. Morrison) 04:25
6 Phantom's Divine Comedy - Half a Life (Phantom) 04:04
7 Phantom's Divine Comedy - Calm Before the Storm (Phantom) 03:25
8 Robby Krieger - Brain Damage (Roger Waters) 03:26
9 Robby Krieger - Time (Gilmour, Mason, Waters, Wright) 06:56
10 Tribaljazz feat. John Densmore - The First Time (I Heard Coltrane) (Art Ellis) 04:17
11 Tribaljazz feat. John Densmore - Blues for Bali (Art Ellis) 06:35
12 Nico - The End (Densmore, Krieger, Morrison, Manzarek) 09:08
ABOUT
By www.mbrokers.com.ar
No one can denies that The Doors is one of the essentials bands in the history of rock. With tons of charisma (let's not forget that -at the time- Jim Morrison was referred by the press as "the american Mick Jagger"), a very personal sound and with an incredible catalog, The Doors have become not only a key band of the genre, but also a source of inspiration for countless artists. In this triple album, 'The Many Faces Of The Doors' we get into the secret world of the band, with hard-to-find tracks, side projects by its members, remakes and also, their roots. With a great cover art, a selection of songs that took a couple of years of work to secure, a remastered sound and liner notes, The Many Faces Of The Doors is a unique album, which is already being praised by many fans of the band.
TO THE TOP
Labels:
doors
,
v.a. - many faces of doors
8775 - VARIOUS ARTISTS - BONNAROO SUPERJAM, JUNE 14, 2014, MANCHESTER, TN, DISC TWO (BOOTLEG DELUXE)
VARIOUS ARTISTS
''BONNAROO SUPERJAM, JUNE 14, 2014, MANCHESTER, TN, DISC TWO (BOOTLEG DELUXE)''
2014
60:15
VARIOUS ARTISTS
''BONNAROO SUPERJAM, JUNE 14, 2014, MANCHESTER, TN, DISC TWO (BOOTLEG DELUXE)''
2014
60:15
1 Space Captain (Matthew Moore, Joe Cocker) 08:11
2 You've Got A Friend (Carole King, Donny Hathaway) 05:19
3 Signed, Sealed, Delivered (Stevie Wonder) 06:19
4 What Is And What Should Never Be (Led Zeppelin) 07:10
5 Until You Come Back To Me (That's What I'm Gonna Do) (Stevie Wonder, Aretha Franklin) 04:27
6 Tell Me Something Good (Rufus & Chaka Khan) 08:32
7 Shining Star (Earth, Wind & Fire) 10:27
8 Sing A Simple Song; I Want To Take You Higher (Sly & The Family Stone) 09:46
Derek Trucks – guitar
Susan Tedeschi – guitar, vocals
Willie Weeks – bass
James Gadson – drums
Adam Deitch – drums
David Hidalgo – guitar, vocals
Eric Krasno – guitar
Nigel Hall – keys, vocals (lead vox on Respect Yourself, You’ve Got A Friend & Shining Star)
The Shady Horns: Ryan Zoidis (sax), James Casey (sax), Eric Bloom (trumpet)
Alicia Chakour, Jasmine Muhammad, Mark Rivers & Mike Mattison – backing vocals
Kofi Burbridge – keys, flute
Guests:
Saunders Sermons – vocals, trombone (on Kissing My Love)
Taj Mahal – guitar, vocals (on 8 to 11)
Anthony Hamilton – vocals (on These Arms Of Mine & Signed Sealed Delivered)
Ben Folds – piano, vocals (on Space Captain)
Chaka Khan – vocals on 3 to 6
Andrew Bird – ??
Karl Denson – ??
Billed as:
SuperJam: Derek Trucks featuring Chaka Khan, Taj Mahal, Eric Krasno, James Gadson, David Hidalgo, Willie Weeks, Nigel Hall, Ryan Zoidis, Eric Bloom and Adam Deitch with special guests Andrew Bird, Susan Tedeschi, Karl Denson, Ben Folds
TO THE TOP
2 You've Got A Friend (Carole King, Donny Hathaway) 05:19
3 Signed, Sealed, Delivered (Stevie Wonder) 06:19
4 What Is And What Should Never Be (Led Zeppelin) 07:10
5 Until You Come Back To Me (That's What I'm Gonna Do) (Stevie Wonder, Aretha Franklin) 04:27
6 Tell Me Something Good (Rufus & Chaka Khan) 08:32
7 Shining Star (Earth, Wind & Fire) 10:27
8 Sing A Simple Song; I Want To Take You Higher (Sly & The Family Stone) 09:46
Derek Trucks – guitar
Susan Tedeschi – guitar, vocals
Willie Weeks – bass
James Gadson – drums
Adam Deitch – drums
David Hidalgo – guitar, vocals
Eric Krasno – guitar
Nigel Hall – keys, vocals (lead vox on Respect Yourself, You’ve Got A Friend & Shining Star)
The Shady Horns: Ryan Zoidis (sax), James Casey (sax), Eric Bloom (trumpet)
Alicia Chakour, Jasmine Muhammad, Mark Rivers & Mike Mattison – backing vocals
Kofi Burbridge – keys, flute
Guests:
Saunders Sermons – vocals, trombone (on Kissing My Love)
Taj Mahal – guitar, vocals (on 8 to 11)
Anthony Hamilton – vocals (on These Arms Of Mine & Signed Sealed Delivered)
Ben Folds – piano, vocals (on Space Captain)
Chaka Khan – vocals on 3 to 6
Andrew Bird – ??
Karl Denson – ??
Billed as:
SuperJam: Derek Trucks featuring Chaka Khan, Taj Mahal, Eric Krasno, James Gadson, David Hidalgo, Willie Weeks, Nigel Hall, Ryan Zoidis, Eric Bloom and Adam Deitch with special guests Andrew Bird, Susan Tedeschi, Karl Denson, Ben Folds
TO THE TOP
8774 - VARIOUS ARTISTS - BONNAROO SUPERJAM, JUNE 14, 2014, MANCHESTER, TN, DISC ONE (BOOTLEG DELUXE)
VARIOUS ARTISTS
''BONNAROO SUPERJAM, JUNE 14, 2014, MANCHESTER, TN, DISC ONE (BOOTLEG DELUXE)''
2014
63:45
VARIOUS ARTISTS
''BONNAROO SUPERJAM, JUNE 14, 2014, MANCHESTER, TN, DISC ONE (BOOTLEG DELUXE)''
2014
63:45
1 Intro By Hannibal Buress 04:50
2 Eleanor Rigby (The Beatles) 05:31
3 Keep On Growing (Derek & The Dominos) 06:08
4 Who Knows What Tomorrow May Bring (Traffic) 05:48
5 Darlin' Be Home Soon (The Lovin' Spoonful) 06:45
6 Kissing My Love (Bill Whiters) 07:09
7 Respect Yourself (The Staples Sisters) 06:43
8 Everybody's Gotta Change Sometimes (Taj Mahal) 04:23
9 I Can't Turn You Loose (Otis Redding) 04:04
10 Statesboro Blues (The Allman Brothers Band) 05:49
11 These Arms Of Mine (Otis Redding) 06:31
Derek Trucks – guitar
Susan Tedeschi – guitar, vocals
Willie Weeks – bass
James Gadson – drums
Adam Deitch – drums
David Hidalgo – guitar, vocals
Eric Krasno – guitar
Nigel Hall – keys, vocals (lead vox on Respect Yourself, You’ve Got A Friend & Shining Star)
The Shady Horns: Ryan Zoidis (sax), James Casey (sax), Eric Bloom (trumpet)
Alicia Chakour, Jasmine Muhammad, Mark Rivers & Mike Mattison – backing vocals
Kofi Burbridge – keys, flute
Guests:
Saunders Sermons – vocals, trombone (on Kissing My Love)
Taj Mahal – guitar, vocals (on 8 to 11)
Anthony Hamilton – vocals (on These Arms Of Mine & Signed Sealed Delivered)
Ben Folds – piano, vocals (on Space Captain)
Andrew Bird – ??
Karl Denson – ??
Billed as:
SuperJam: Derek Trucks featuring Chaka Khan, Taj Mahal, Eric Krasno, James Gadson, David Hidalgo, Willie Weeks, Nigel Hall, Ryan Zoidis, Eric Bloom and Adam Deitch with special guests Andrew Bird, Susan Tedeschi, Karl Denson, Ben Folds
TO THE TOP
2 Eleanor Rigby (The Beatles) 05:31
3 Keep On Growing (Derek & The Dominos) 06:08
4 Who Knows What Tomorrow May Bring (Traffic) 05:48
5 Darlin' Be Home Soon (The Lovin' Spoonful) 06:45
6 Kissing My Love (Bill Whiters) 07:09
7 Respect Yourself (The Staples Sisters) 06:43
8 Everybody's Gotta Change Sometimes (Taj Mahal) 04:23
9 I Can't Turn You Loose (Otis Redding) 04:04
10 Statesboro Blues (The Allman Brothers Band) 05:49
11 These Arms Of Mine (Otis Redding) 06:31
Derek Trucks – guitar
Susan Tedeschi – guitar, vocals
Willie Weeks – bass
James Gadson – drums
Adam Deitch – drums
David Hidalgo – guitar, vocals
Eric Krasno – guitar
Nigel Hall – keys, vocals (lead vox on Respect Yourself, You’ve Got A Friend & Shining Star)
The Shady Horns: Ryan Zoidis (sax), James Casey (sax), Eric Bloom (trumpet)
Alicia Chakour, Jasmine Muhammad, Mark Rivers & Mike Mattison – backing vocals
Kofi Burbridge – keys, flute
Guests:
Saunders Sermons – vocals, trombone (on Kissing My Love)
Taj Mahal – guitar, vocals (on 8 to 11)
Anthony Hamilton – vocals (on These Arms Of Mine & Signed Sealed Delivered)
Ben Folds – piano, vocals (on Space Captain)
Andrew Bird – ??
Karl Denson – ??
Billed as:
SuperJam: Derek Trucks featuring Chaka Khan, Taj Mahal, Eric Krasno, James Gadson, David Hidalgo, Willie Weeks, Nigel Hall, Ryan Zoidis, Eric Bloom and Adam Deitch with special guests Andrew Bird, Susan Tedeschi, Karl Denson, Ben Folds
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8773 - TODD GRIFFIN - MOUNTAIN MAN (2015)
TODD GRIFFIN
''MOUNTAIN MAIN''
FEBRUARY 27 2015
38:12
TODD GRIFFIN
''MOUNTAIN MAIN''
FEBRUARY 27 2015
38:12
1 These Days 04:23
2 Voice Of The People 04:28
3 Stand Up 04:17
4 Glory Train 03:37
5 Strenght In You 05:15
6 Devil Woman 03:39
7 Mountain Man 03:38
8 Let It Rain 04:01
9 Geronimo 04:49
All Tracks By Griffin
Todd Griffin - Lead Vocals, Electric Guitar, Acoustic Guitar, Backing Vocals
Mitch Perry - Electric Guitar
Doug Pettibone - Electric Guitar, Acoustic Guitar, Lap Steel Guitar
Rip Carson - Electric Guitar, Bass Guitar
Jurgen Carlson - Bass Guitar
David Chamberlain - Bass Guitar
Larry Mitchell - Drums
Sal Rodrigues - Percussion, Congas, Backing Vocals
Dave Jenkins - Percussion, Congas, Backing Vocals
Jt Thomas - B3 Organ, Piano
Arlan Shierbaum - B3 Organ, Farfisa Moog Synthesizer
Francesca Capasso - Backing Vocals
Melani Gold-Friedman - Backing Vocals
Todd Griffin & The Griffin Family - Backing Vocals
ABOUT
By Laura Phillips, All Access Magazine
Todd Griffin was signed by Geffen Records in the 90's as the lead vocalist of The Graveyard Train. Today Griffin has broken away from the major labels and is in total control of driving his solo career in his chosen direction away from the darkness style of The Graveyard Train. Griffin's debut solo album "Trial By Fire" on the Northern Mechanical label shows his blended mystical spiritual hard rock style that has a calming effect filled with lightness which is about this artist reinventing himself not trying to make it in the business in a commercial sense. Todd Griffin's performance was a fitting end for the final after midnight spot Jan. 7th at the House of Blues. The audience consisted of both Wood fans who appreciate good music and stuck around and Griffin's growing fan base that has transformed and changed over the years but still retains many of his former Graveyard Train fans. The final lineup of Griffin's supporting band is still forming and developing since his band is currently going through membership changes. Todd Griffin's lead vocals standout, and he has given well-received performances at the The Viper Room and The Joint. With credits such as being the vocalist for "That 70's Song" during the opening season of "That 70's Show," and also working as a music director, Griffin's future looks promising as he further develops his solo career.
TO THE TOP
2 Voice Of The People 04:28
3 Stand Up 04:17
4 Glory Train 03:37
5 Strenght In You 05:15
6 Devil Woman 03:39
7 Mountain Man 03:38
8 Let It Rain 04:01
9 Geronimo 04:49
All Tracks By Griffin
Todd Griffin - Lead Vocals, Electric Guitar, Acoustic Guitar, Backing Vocals
Mitch Perry - Electric Guitar
Doug Pettibone - Electric Guitar, Acoustic Guitar, Lap Steel Guitar
Rip Carson - Electric Guitar, Bass Guitar
Jurgen Carlson - Bass Guitar
David Chamberlain - Bass Guitar
Larry Mitchell - Drums
Sal Rodrigues - Percussion, Congas, Backing Vocals
Dave Jenkins - Percussion, Congas, Backing Vocals
Jt Thomas - B3 Organ, Piano
Arlan Shierbaum - B3 Organ, Farfisa Moog Synthesizer
Francesca Capasso - Backing Vocals
Melani Gold-Friedman - Backing Vocals
Todd Griffin & The Griffin Family - Backing Vocals
ABOUT
By Laura Phillips, All Access Magazine
Todd Griffin was signed by Geffen Records in the 90's as the lead vocalist of The Graveyard Train. Today Griffin has broken away from the major labels and is in total control of driving his solo career in his chosen direction away from the darkness style of The Graveyard Train. Griffin's debut solo album "Trial By Fire" on the Northern Mechanical label shows his blended mystical spiritual hard rock style that has a calming effect filled with lightness which is about this artist reinventing himself not trying to make it in the business in a commercial sense. Todd Griffin's performance was a fitting end for the final after midnight spot Jan. 7th at the House of Blues. The audience consisted of both Wood fans who appreciate good music and stuck around and Griffin's growing fan base that has transformed and changed over the years but still retains many of his former Graveyard Train fans. The final lineup of Griffin's supporting band is still forming and developing since his band is currently going through membership changes. Todd Griffin's lead vocals standout, and he has given well-received performances at the The Viper Room and The Joint. With credits such as being the vocalist for "That 70's Song" during the opening season of "That 70's Show," and also working as a music director, Griffin's future looks promising as he further develops his solo career.
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8772 - TANGERINE DREAM - BOOSTER VII, DISC TWO (2015)
TANGERINE DREAM
''BOOSTER VII, DISC TWO''
FEBRUARY 17 2015
76:38
TANGERINE DREAM
''BOOSTER VII, DISC TWO''
FEBRUARY 17 2015
76:38
1 Parallel Worlds 04:25
2 Polar Radius 05:39
3 Heart Throb 04:30
4 A Matter Of Time (Red Canyon Remix) 09:09
5 Rim Of Schiaparelli 06:11
6 Barnabas The Messenger 07:36
7 Burning The Bad Seal 05:12
8 Silvery Ice Lake 05:57
9 Shadow And Sun 07:48
10 Morning Sun 03:22
11 Le Combat Des Épées (Director’s Cut) 16:44
Tracks 1, 2 By Edgar Froese & Johannes Schmölling
Tracks 3, 9 By Edgar Froese & Ulrich Schnauss
Track 4 By Chris Franke, Edgar Froese & Paul Haslinger
Tracks 5, 6, 7, 8, 10 By Edgar Froese
Track 11 By Thorsten Quaeschning
The selected titles consist of new compositions, re-recordings and carefully compiled material from various Tangerine Dream releases. BOOSTER VII is the final release of the BOOSTER series.
BIOGRAPHY/AMG
by John Bush
Without doubt, the recordings of Tangerine Dream made the greatest impact on the widest variety of instrumental music during the 1980s and '90s, ranging from the most atmospheric new age and space music to the harshest abrasions of electronic dance. Founded in 1967 by Edgar Froese in Berlin, the group progressed through a full three dozen lineups (Froese being the only continuous member with staying power) and four distinct stages of development: the experimentalist minimalism of the late '60s and early '70s; stark sequencer trance during the mid- to late '70s, the group's most influential period; an organic form of instrumental music on their frequent film and studio work during the 1980s; and, finally, a more propulsive dance style, which showed Tangerine Dream with a sound quite similar to their electronic inheritors in the field of dance music.
Froese, born in Tilsit, East Prussia, in 1944, was little influenced by music while growing up. Instead, he looked to the Dadaist and Surrealist art movements for inspiration, as well as literary figures such as Gertrude Stein, Henry Miller, and Walt Whitman. He organized multimedia events at the residence of Salvador Dali in Spain during the mid-'60s and began to entertain the notion of combining his artistic and literary influences with music; Froese played in a musical combo called the Ones, which recorded just one single before dissolving in 1967. The first lineup of Tangerine Dream formed later that year, with Froese on guitar, bassist Kurt Herkenberg, drummer Lanse Hapshash, flutist Volker Hombach, and vocalist Charlie Prince. The quintet aligned itself with contemporary American acid rock (the Grateful Dead, Jefferson Airplane), and played around Berlin at various student events. The lineup lasted only two years, and by 1969 Froese had recruited wind player Conrad Schnitzler and drummer Klaus Schulze. One of the trio's early rehearsals, not originally intended for release, became the first Tangerine Dream LP when Germany's Ohr Records issued Electronic Meditation in June 1970. The LP was a playground for obtuse music-making -- keyboards, several standard instruments, and a variety of household objects were recorded and filtered through several effects processors, creating a sparse, experimentalist atmosphere.
Both Schulze and Schnitzler left for solo careers later in 1970, and Froese replaced them the following year with drummer Christopher Franke and organist Steve Schroeder. When Schroeder left a year later, Tangerine Dream gained its most stable lineup core when organist Peter Baumann joined the fold. The trio of Froese, Franke, and Baumann would continue until Baumann's departure in 1977, and even then, Froese and Franke would compose the spine of the group for an additional decade.
On 1971's Alpha Centauri and the following year's Zeit, the trio's increased use of synthesizers and a growing affinity for space music resulted in albums that pushed the margin for the style. Atem, released in 1973, finally gained Tangerine Dream widespread attention outside Europe; influential British DJ John Peel named it his LP of the year, and the group signed a five-year contract with Richard Branson's Virgin Records. Though less than a year old, Virgin had already become a major player in the recording industry, thanks to the massive success of Mike Oldfield's Tubular Bells (widely known for its use in the film The Exorcist).
Tangerine Dream's first album for Virgin, Phaedra, was a milestone not only for the group, but for instrumental music. Branson had allowed the group free rein at Virgin's Manor Studios, where they used Moog synthesizers and sequencers for the first time; the result was a relentless, trance-inducing barrage of rhythm and sound, an electronic update of the late-'60s and early-'70s classical minimalism embodied by Terry Riley. Though mainstream critics were unsurprisingly hostile toward the album (it obviously made no pretense to rock & roll in any form), Phaedra broke into the British Top 20 and earned Tangerine Dream a large global audience.
The follow-ups Rubycon and the live Ricochet were also based on the blueprint with which Phaedra had been built, but the release of Stratosfear in 1976 saw the use of more organic instruments such as untreated piano and guitar; also, the group added vocals for 1978's Cyclone, a move that provoked much criticism from their fans. Both of these innovations didn't change the sound in a marked degree, however; their incorporation into rigid sequencer patterns continued to distance Tangerine Dream from the mainstream of contemporary instrumental music.
Baumann left for a solo career in 1978 (later founding the Private Music label), and was replaced briefly by keyboard player Steve Jolliffe and then Johannes Schmoelling, another important member of Tangerine Dream who would stay until the mid-'80s. In 1980, the Froese/Franke/Schmoelling lineup was unveiled at the Palast der Republik in East Berlin, the first live performance by a Western group behind the Iron Curtain. Tangerine Dream also performed live on TV with the Munich Philharmonic Orchestra one year later, and premiered their studio work on 1980's Tangram.
Mike Oldfield had shown the effectiveness of using new instrumental music forms as a bed for film on Tubular Bells, and in 1977 The Exorcist's director, William Friedkin, had tapped Tangerine Dream for soundtrack work on his film Sorcerer. By the time the new lineup stabilized in 1981, Hollywood was knocking on the band's door; Tangerine Dream worked on more than 30 film soundtracks during the 1980s, among them Risky Business, The Keep, Flashpoint, Firestarter, Vision Quest, and Legend. If the idea of stand-alone electronic music hadn't entered the minds of mainstream America before this time, the large success of these soundtracks (especially Risky Business) entrenched the idea and proved enormously influential to soundtrack composers from all fields.
Despite all the jetting between Hollywood and Berlin, the group continued to record proper LPs and tour the world as well. Hyperborea, released in 1983, was their last album for Virgin, and a move to Zomba/Jive Records signaled several serious changes for the band during the late '80s. After the first Zomba release (a live concert recorded in Warsaw), 1985's Le Parc marked the first time Tangerine Dream had flirted with sampling technology. The use of sampled material was an important decision to make for a group that had always investigated the philosophy of sound and music with much care, though Le Parc was a considerable success -- both fans and critics calling it their best LP in a decade. Tyger, released in 1987, featured more vocals than any previous Tangerine Dream LP, and many of the group's fans were quite dispirited in their disfavor.
Schmoelling left in 1988, to be replaced by the classically trained Paul Haslinger and (for a brief time) Ralf Wadephul. Optical Race, released in 1988, was the first Tangerine Dream album to appear on old bandmate Peter Baumann's Private Music label. Several more albums followed for the label, after which Haslinger left to work on composing film scores in Los Angeles. His replacement, and the only other permanent member of Tangerine Dream in the years to follow, was Edgar's son Jerome Froese (whose photo had graced the cover of several TD albums in the past). Another record label change, to Miramar, preceded the release of 1992's Rockoon, which earned Tangerine Dream one of their seven total Grammy nominations. The duo continued to record and release live albums, remix albums, studio albums, and soundtracks at the rate of about two releases per year into the late '90s. Meanwhile, the influence of Tangerine Dream's '70s releases upon a generation of electronica and dance artists became increasingly evident, from the Orb's indebted ambient techno to DJ Shadow's sampling of Stratosfear's "Invisible Limits," heard on "Changeling," from 1996's Endtroducing....
During the early 2000s, new material surfaced at a slightly slower rate. In addition to a handful of studio albums -- including 2005's Jeanne d'Arc, for which Froese was first joined by Thorsten Quaeschning, a musician who would figure into several subsequent TD releases -- and a couple soundtracks (Great Wall of China, Mota Atma), there was "the Dante trilogy" (Inferno, Purgatorio, and Paradiso, released from 2002 through 2006) and the five-part "atomic seasons" (with titles like Springtime in Nagasaki and Winter in Hiroshima, created for a Japanese man who survived the bombings of both cities). During these years, keeping tabs on archival releases, both live and studio, was more challenging than ever; most prominently, there was The Bootmoon Series, comprising audience and soundboard recordings of performances dating back to 1977, as well as reissues of the first four albums and several anthologies. Despite so much focus on the past, epitomized by 40th anniversary concerts that took place in 2007, Tangerine Dream remained equally connected to the present. Sadly, however, the group's long journey under the continued creative guidance of Edgar Froese came to an end when Froese died suddenly of a pulmonary embolism in Vienna in January 2015 at the age of 70.
OFFICIAL SITE
TO THE TOP
2 Polar Radius 05:39
3 Heart Throb 04:30
4 A Matter Of Time (Red Canyon Remix) 09:09
5 Rim Of Schiaparelli 06:11
6 Barnabas The Messenger 07:36
7 Burning The Bad Seal 05:12
8 Silvery Ice Lake 05:57
9 Shadow And Sun 07:48
10 Morning Sun 03:22
11 Le Combat Des Épées (Director’s Cut) 16:44
Tracks 1, 2 By Edgar Froese & Johannes Schmölling
Tracks 3, 9 By Edgar Froese & Ulrich Schnauss
Track 4 By Chris Franke, Edgar Froese & Paul Haslinger
Tracks 5, 6, 7, 8, 10 By Edgar Froese
Track 11 By Thorsten Quaeschning
The selected titles consist of new compositions, re-recordings and carefully compiled material from various Tangerine Dream releases. BOOSTER VII is the final release of the BOOSTER series.
BIOGRAPHY/AMG
by John Bush
Without doubt, the recordings of Tangerine Dream made the greatest impact on the widest variety of instrumental music during the 1980s and '90s, ranging from the most atmospheric new age and space music to the harshest abrasions of electronic dance. Founded in 1967 by Edgar Froese in Berlin, the group progressed through a full three dozen lineups (Froese being the only continuous member with staying power) and four distinct stages of development: the experimentalist minimalism of the late '60s and early '70s; stark sequencer trance during the mid- to late '70s, the group's most influential period; an organic form of instrumental music on their frequent film and studio work during the 1980s; and, finally, a more propulsive dance style, which showed Tangerine Dream with a sound quite similar to their electronic inheritors in the field of dance music.
Froese, born in Tilsit, East Prussia, in 1944, was little influenced by music while growing up. Instead, he looked to the Dadaist and Surrealist art movements for inspiration, as well as literary figures such as Gertrude Stein, Henry Miller, and Walt Whitman. He organized multimedia events at the residence of Salvador Dali in Spain during the mid-'60s and began to entertain the notion of combining his artistic and literary influences with music; Froese played in a musical combo called the Ones, which recorded just one single before dissolving in 1967. The first lineup of Tangerine Dream formed later that year, with Froese on guitar, bassist Kurt Herkenberg, drummer Lanse Hapshash, flutist Volker Hombach, and vocalist Charlie Prince. The quintet aligned itself with contemporary American acid rock (the Grateful Dead, Jefferson Airplane), and played around Berlin at various student events. The lineup lasted only two years, and by 1969 Froese had recruited wind player Conrad Schnitzler and drummer Klaus Schulze. One of the trio's early rehearsals, not originally intended for release, became the first Tangerine Dream LP when Germany's Ohr Records issued Electronic Meditation in June 1970. The LP was a playground for obtuse music-making -- keyboards, several standard instruments, and a variety of household objects were recorded and filtered through several effects processors, creating a sparse, experimentalist atmosphere.
Both Schulze and Schnitzler left for solo careers later in 1970, and Froese replaced them the following year with drummer Christopher Franke and organist Steve Schroeder. When Schroeder left a year later, Tangerine Dream gained its most stable lineup core when organist Peter Baumann joined the fold. The trio of Froese, Franke, and Baumann would continue until Baumann's departure in 1977, and even then, Froese and Franke would compose the spine of the group for an additional decade.
On 1971's Alpha Centauri and the following year's Zeit, the trio's increased use of synthesizers and a growing affinity for space music resulted in albums that pushed the margin for the style. Atem, released in 1973, finally gained Tangerine Dream widespread attention outside Europe; influential British DJ John Peel named it his LP of the year, and the group signed a five-year contract with Richard Branson's Virgin Records. Though less than a year old, Virgin had already become a major player in the recording industry, thanks to the massive success of Mike Oldfield's Tubular Bells (widely known for its use in the film The Exorcist).
Tangerine Dream's first album for Virgin, Phaedra, was a milestone not only for the group, but for instrumental music. Branson had allowed the group free rein at Virgin's Manor Studios, where they used Moog synthesizers and sequencers for the first time; the result was a relentless, trance-inducing barrage of rhythm and sound, an electronic update of the late-'60s and early-'70s classical minimalism embodied by Terry Riley. Though mainstream critics were unsurprisingly hostile toward the album (it obviously made no pretense to rock & roll in any form), Phaedra broke into the British Top 20 and earned Tangerine Dream a large global audience.
The follow-ups Rubycon and the live Ricochet were also based on the blueprint with which Phaedra had been built, but the release of Stratosfear in 1976 saw the use of more organic instruments such as untreated piano and guitar; also, the group added vocals for 1978's Cyclone, a move that provoked much criticism from their fans. Both of these innovations didn't change the sound in a marked degree, however; their incorporation into rigid sequencer patterns continued to distance Tangerine Dream from the mainstream of contemporary instrumental music.
Baumann left for a solo career in 1978 (later founding the Private Music label), and was replaced briefly by keyboard player Steve Jolliffe and then Johannes Schmoelling, another important member of Tangerine Dream who would stay until the mid-'80s. In 1980, the Froese/Franke/Schmoelling lineup was unveiled at the Palast der Republik in East Berlin, the first live performance by a Western group behind the Iron Curtain. Tangerine Dream also performed live on TV with the Munich Philharmonic Orchestra one year later, and premiered their studio work on 1980's Tangram.
Mike Oldfield had shown the effectiveness of using new instrumental music forms as a bed for film on Tubular Bells, and in 1977 The Exorcist's director, William Friedkin, had tapped Tangerine Dream for soundtrack work on his film Sorcerer. By the time the new lineup stabilized in 1981, Hollywood was knocking on the band's door; Tangerine Dream worked on more than 30 film soundtracks during the 1980s, among them Risky Business, The Keep, Flashpoint, Firestarter, Vision Quest, and Legend. If the idea of stand-alone electronic music hadn't entered the minds of mainstream America before this time, the large success of these soundtracks (especially Risky Business) entrenched the idea and proved enormously influential to soundtrack composers from all fields.
Despite all the jetting between Hollywood and Berlin, the group continued to record proper LPs and tour the world as well. Hyperborea, released in 1983, was their last album for Virgin, and a move to Zomba/Jive Records signaled several serious changes for the band during the late '80s. After the first Zomba release (a live concert recorded in Warsaw), 1985's Le Parc marked the first time Tangerine Dream had flirted with sampling technology. The use of sampled material was an important decision to make for a group that had always investigated the philosophy of sound and music with much care, though Le Parc was a considerable success -- both fans and critics calling it their best LP in a decade. Tyger, released in 1987, featured more vocals than any previous Tangerine Dream LP, and many of the group's fans were quite dispirited in their disfavor.
Schmoelling left in 1988, to be replaced by the classically trained Paul Haslinger and (for a brief time) Ralf Wadephul. Optical Race, released in 1988, was the first Tangerine Dream album to appear on old bandmate Peter Baumann's Private Music label. Several more albums followed for the label, after which Haslinger left to work on composing film scores in Los Angeles. His replacement, and the only other permanent member of Tangerine Dream in the years to follow, was Edgar's son Jerome Froese (whose photo had graced the cover of several TD albums in the past). Another record label change, to Miramar, preceded the release of 1992's Rockoon, which earned Tangerine Dream one of their seven total Grammy nominations. The duo continued to record and release live albums, remix albums, studio albums, and soundtracks at the rate of about two releases per year into the late '90s. Meanwhile, the influence of Tangerine Dream's '70s releases upon a generation of electronica and dance artists became increasingly evident, from the Orb's indebted ambient techno to DJ Shadow's sampling of Stratosfear's "Invisible Limits," heard on "Changeling," from 1996's Endtroducing....
During the early 2000s, new material surfaced at a slightly slower rate. In addition to a handful of studio albums -- including 2005's Jeanne d'Arc, for which Froese was first joined by Thorsten Quaeschning, a musician who would figure into several subsequent TD releases -- and a couple soundtracks (Great Wall of China, Mota Atma), there was "the Dante trilogy" (Inferno, Purgatorio, and Paradiso, released from 2002 through 2006) and the five-part "atomic seasons" (with titles like Springtime in Nagasaki and Winter in Hiroshima, created for a Japanese man who survived the bombings of both cities). During these years, keeping tabs on archival releases, both live and studio, was more challenging than ever; most prominently, there was The Bootmoon Series, comprising audience and soundboard recordings of performances dating back to 1977, as well as reissues of the first four albums and several anthologies. Despite so much focus on the past, epitomized by 40th anniversary concerts that took place in 2007, Tangerine Dream remained equally connected to the present. Sadly, however, the group's long journey under the continued creative guidance of Edgar Froese came to an end when Froese died suddenly of a pulmonary embolism in Vienna in January 2015 at the age of 70.
OFFICIAL SITE
TO THE TOP