Saturday, 2 September 2017

Reaktor 4 “Pannschüppenczewski” 1975 Germany Private Kraut Prog

Reaktor 4 “Pannschüppenczewski” 1975 Germany Private Kraut Prog

The only album of kraut-progressivschikov from Bottrop, with great difficulty restored by the craftsmen of the studio "Railroad Tracks" on the basis of only one saved copy (the master cassette was discarded). Complemented with live recordings, the work was republished in 2017......

There is only one single dub plate of this LP, i. e. one individual copy, which was given as a present to the band's drummer, Reinhold Stania, in 1975. It was unfortunately played too often and is therefore damaged significantly; the master tape was thrown away. Great efforts have now been made to restore and decrackle the LP as far as possible in the Kerpen Railroad Tracks studio, which is probably the best-equipped studio worldwide for this purpose. The result is highly superior to the original, but it is unfortunately still unsatisfactory, especially tracks one and three - more improvement was simply not possible. Only the bonus tracks are perfect. The music is experimental and session-like, not trying to meet high standards, with transverse flute and without vocals. Apart from one gig they had in Essen-Rellinghausen, by the way, Reaktor 4 never had concerts outside their hometown, Bottrop, which is situated in the Ruhr area. Interesting mainly for collectors striving for a complete collection. .....

 01. Fantasie in E 
02. Kassiopeia 
03. Grillenvorbeiflug 
04. Muttertag 

05. Kassiopeia (live) 
06. First cry 
07. Menetekel

Catch Up “Vol. 1” 1975 Germany Jazz Funk Fusion

Catch Up “Vol. 1” 1975 Germany killer Jazz Funk Fusion

This treadmill met as members of Max Greger Sr. his orchestra in the early 70's. Greger junior studied earlier at the Munich Academy of Music and was a fan of Oscar Peterson, Herbie Hancock and McCoy Tyner. Over the years, he has played with international jazz sizes like Ack van Rooyen, Benny Bailey and Herb Geller (and wasting time together with Schmaltz-delivering Peter Herbolzheimer and Udo Jürgens). Switzerland Charly Antolini studied in Zurich's birthplace and has played with Wolfgang Dauner, Barbara Dennerlein, Art Farmer, Dusko Goykovich, Albert Mangelsdorf, Nils Henning Ørsted Pedersen, Baden Powell and a number of others. Milan Pilar first studied at Prague and later in Munich. The latter had the root idea of ​​this album. Max Greger and Charly Antolini have been on tour in Germany in the winter of Steve Hooks in the winter of 2003. Greger is also currently playing in Thomas Schöfer Quartett. 

Catch Up features a moody jazz based on clear melodic structures without the need for excessive musical spectacle. The keys are laid in multilayered layers, the percussionally-embossed piano and old-fashioned Moog dominate, varied with some floating electric piano, groovy organ and slurred mellotron. The rhythms are hot with many South American features. The sum of it all can remind something about Weather Report from the same period, but stripped of blowers, of course! Joe Zawinul is, as most people also know, raised in central Europe (Vienna) within a similar cultural circle. 

Catch Up and A Night Without Dreams are the platinum highlights with complex start-and-stop rhythm that includes warming congas drums on the former and Herbie Hancock-like soft elpiano tones on the latter. Lydia has a more symphonic feeling, not least because of mellotron-powered strings, and plenty of acoustic breakbeats from a time before pre-programming started. Here it almost resembles Schicke, Führs & Fröhling, a trio that is not unknown to connoisseurs of German symfo rock. 

This album is more enjoyable than inspirational, it lies and wonder in the background without attracting so much attention. Good music in the car that will give less speedboats than if you should listen to Chuck Berry and less accidents than you should hear on driving trip hop. The question is only if you were going to be sacked by Catch Up. However, if you like to fantasize about a recurring Weather Report from the same period of time with a slightly hippere lounge jazz feel and a little less goodbye tendencies then this might be worth checking out..... Dag Erik Asbjørnsen....

A1 Catch Up 
Written-By – Charly Antolini, Max Greger Jr. 
A2 Bordun 
Written-By – Charly Antolini, Max Greger Jr., Milan Pilar 
A3 Onkel Joe 
Written-By – Milan Pilar 
A4 Moonlight On A Baldhead 
Written-By – Milan Pilar 
A5 Lydia 
Written-By – Charly Antolini, Milan Pilar 
B1 Blues For The Kaiser 
Written-By – Milan Pilar 
B2 A Night Without Dreams / The Little Things That Make Us Happy 
Written-By – Milan Pilar 
B3 Spinning Wheel 
Written-By – Thomas*

Slapp Happy “Sort Of” 1972 UK Germany UK Avant Prog with Henry Cow members

Slapp Happy “Sort Of” 1972 UK Germany UK Avant Prog with Henry Cow members

Digitally remastered edition of this 1972 release. Slapp Happy were formed in Hamburg with Dagmar Krause on vocals, Anthony Moore on guitar, keyboards and vocals and Peter Blegvad on guitar and vocals. Blegvad was an associate of the German group Faust and this recording was made in1972, in the band's studio, using their musicians and producer Uwe Nettelbeck. It is a passionate debut, with witty melodic songs offset by Dagmar's unique vocals. Blegvad proudly proclaimed it as "Naive Rock, the Douanier Rousseau sound".....

Slapp Happy's debut unveiled a band that was not so much an avant-rock group as one that seemed primarily interested in toying with rock conventions, as if such subversion was more inherently worthwhile than playing it straight. That meant that at its least impressive, it didn't qualify as either good avant-rock or good conventional rock, instead lumbering along with self-consciously jagged tunes. It sounds best when Dagmar Krause's vocals come to the forefront, as on "Heading for Kyoto" and the downright poppy "Blue Flower," a pretty folk-rockish number that lifts a hook from the Velvet Underground's "Femme Fatale." "Who's Gonna Help Me Now?" is strange roots-rock, and "Sort Of" a surfish instrumental that sounds like a postmodern "Telstar," all contributing to the feeling that the band was more concerned with tongue-in-cheek eclecticism than moving toward a settled Richie Unterberger........

Wonderful !! Slapp Happy has made it into the Archives !! This group of intelligent individuals ; Dagmar Krause (vocals/piano/perc.), Anthony Moore (Keyboards), Peter Blegvad (guitars/sax/vocals) were helped out by some members of Krautrock band Faust (on drums, bass and sax) for this release. The songs are firmly in the avant-pop mould, featuring catchy melodies with strange arrangements and sounds - a kind of marriage between commercial and uncommercial ideals. Here, Dagmar sings so sweetly, not her aggressive, 'Teutonic' warbling she is closely associated with.
The rhythm section provides a certain 'looseness' to the songs, with Blegvad's acidic guitar tones chiming through the air in an effort to shred your ear-drums, and his singing is somewhat harsh - quite inaccessible, yet the format in which these textures are conveyed is undeniably 'pop'. Difficult to actually 'pin down' highlights, as most tracks are of equal high quality - opening track 'Just a Conversation' is a concisely written song, with wah-wah guitar and brief acoustic interlude, and gorgeous singing from Daggi. 'Paradise Express' features Blegvad on vocals, and a neat sax workout from Faust's Gunther Wusthoff, complete with a loveable melody. 'I Got Evil' is an eccentric sounding song, weird singing, even weirder synth (or is it a kazoo, or manipulated sax.....?) and amusing lyrics. 'Little Girl's World' is a quaint track, with Daggi playing the 7/4 middle section on piano. It's back to Blegvad for the rather psych sounding 'Tutankhamun', with another fuzzy solo (is it an organ? Anthony Moore, what are you doing??). Quite unique. 'Mono-Plane' is the long track (6.50) and is a groovy, repetitive riff jam from Blegvad, and, perhaps, is their nod toward Krautrock.

'Blue Flower' reminds me of cheerful country music, with more piano playing and singing from Dagmar. 'I'm all Alone' is a soft ballad sung by Dagmar, which just floats along, again featuring Gunther's sax playing. 'Who's Gonna Help Me Now' is another softer track, similar in mood to the previous track. 'Small Hands of Stone' is an almost ethereal sounding piece, with some sax playing from Peter Blegvad and hypnotic piano playing from Moore. 'Sort Of' is an instrumental ditty that is extremely catchy and fun. 'Heading For Kyoto' is a well arranged, percussively oriented track, with excellent progressions, wah-wah guitar and superb singing from Dagmar. With this LP (Recommended Records re-issue) a lovely 'etched' 7" entitled 'Alcohol' (by Blegvad) was included, and is a *very* strange atonal piece of music with bizarre poetry 'sung' by Blegvad. Curious, but not 'Slapp Happy' as such. A minor treasure.

It's not surprising that they eventually joined forces with Henry Cow, as both bands shared similar attitudes both within the music, and about the music.....
by Tom Ozric ....................

Maybe due to the band's unwillingness to promote this album with live gigs and everything else one would assume goes hand in hand with a music career, - Slapp Happy remained somewhat obscure at the time of this release. It's kinda sad, especially when you start to listen to this riveting and unassuming debut album simply called Sort Of......Slapp Happy. The meaning behind the title escapes this listener, but what does shine through in the most charming way, is the feet thumping, psychedelic whiskey shooting straightforwardness of this thing. Sure, you probably saw the RIO avant sticker applied here on PA, and thought to yourself: "Ahhh it's one of those unlistenable albums with people playing drainpipes and castrated frogs.... Count me out!" - upon running screaming in the opposite direction. Such thinking is pure madness though, and if anybody out there is reading this review and maybe even feels on the fence about this sort of music - or just think they've pigeon-holed the entire genre by listening to a couple of albums from Zappa and Henry Cow, I urge you to take a chance with Sort Of. It could well be your introduction into a world of shiny things with teeth. 

Having said that, you could be lead into thinking otherwise, as Sort Of sports a couple of big hitters inside the more experimental side of rock music. 3 members from Faust lend a helping hand in this recording - and you also meet a young Peter Blegvad who back then sounded far more occupied with dirty gritty hard rock, than what he later got associated with. Finally there's the tiny pixie named Dagmar Krause, who sings like a female version of David Surkamp. Allrighty then.... 

The thing is - this debut is far from being an avant garde release. It's only in the details you hear traces of what was to come. The Faust input feels strangely in line with the surrounding psychedelic blues rock n' folk style, and if I didn't know any better, I'd say it sounded like a quirkier Big Brother with Janis singing from the insides of a helium bubble. 

The crunching spillonking guitar antics of Peter Blegvad are what's running things here. Often coming off as a distorted blues man, he propels this venture forward with a steadfast easy digestible Chuck Berry lick. Much of what you hear wouldn't feel out of place in a Woodstock setting, where the rhythm n' blues framework got stretched to fit whatever agenda put on the menu, whether that was the Latino spicings of Santana or the hippedi hop pop of Sha-na-na. On here, you are faced with the German lineage of the blues. What the Amon Duuls proposed to do with it - that underground gelatinous raw blues feel, even if you won't find much in the way of free-form composition or amazing LSD freak-outs on Sort Of. The sound is very much an echo of the psychedelic blues rock happening in the late 60s. 

It's first when you dig a little deeper that you start to hear those quirky bits. The side of the record that screams for unorthodox measures and iron fisted koalas. Like I mentioned earlier, it is indeed a subtle shading to the proceedings, but it helps pull the album up from the everyday blubber of 1970s blues rock. It's in the spastic percussion touches that continue to embellish the music throughout the album. Something that Faust were masters at. Just hearing the drums on some of these tracks makes me think of the wilder side of Ginger Baker. Keeping a straight beat without implementing the high hat or snare drum like they were meant to is a very hard thing to do - especially when the track you're supposed to be backing is a rockabilly tune with a severe need of a 1 and 4. Yet on here it works, and does so beautifully and with refined subtlety. What? We're talking about Faust here - aren't we?!?!?! 

This is what sets the album apart from other such psychedelic blues rock affairs of the time: unusual backing ornamentations like a twittering saxophone, bar-room piano, mumbling snuffling percussions, unorthodox drumming and the unique vocals of Madame Krause. For those of you who've heard horror stories about this woman's vocal chords, don't believe any of it! She's as charismatic and powerful as she is integral to this band's sound. The minuscule traces of German accent that lie at the tail-end of her phrasings are abnormally beautiful, and I honestly wouldn't have it any other way, and just so you know: I usually despise accented vocals. Furthermore, she doesn't even sing that much on this debut. Blegvad belts out his booming blues voice just as frequently, and the flip flopping effect of the Minnie Mouse tinged psychedelics of Krause and the big meaty elk booms from Blegvad match perfectly the music surrounding them. 

Sort Of is far away from being representative of this band's future career, but it is a wonderful meeting between the States and Europe. This is where the blues fuelled psych rock dances with the quirkier side of the European avant garde eccentricities, yet without ever loosing it's natural heritage.... by Guldbamsen

Produced long before Slapp Happy crossed paths with Henry Cow to make thorny, avant-garde RIO material, their debut album Sort Of is still interesting as a brace of delightful art-pop tracks. Taking an eccentric approach to the sort of jangle pop singer-songwriter material in vogue at the time, and mixing up the lead vocals between Dagmar Krause, Peter Blegvad and Anthony Moore to avoid one contributor being inadvertently seen as the band leader, it's a delightful bit of subversive pop. RIO fans expecting something along the lines of In Praise of Learning may find themselves disappointed - gosh, they're even trying to sound accessible and enjoyable! - but most listeners approaching with an open mind may find there's hidden depths Warthur .

“This is a piece for the serious prog-rock and Krautrock collector. With backing by Faust, this was produced by Uwe Nettelbeck at the legendary Wumme Studios in Germany.” Perhaps this is another reason why the German issue of this album (Polydor Germany record and Polydoor Germany cover) are so much more common than the UK edition. “The female vocals are by Dagmar Krause who has an almost unique vocal style, and the material is reasonably easy on the ear, less avant grade than when the main two members moved to England and teamed up with Henry Cow. The Faust backing sound will be familiar to fans and the songs are quite varied, they have a quirky style that will be familiar on the Virgin-era Faust albums.” 

This is a straight-from-vinyl rip. So for those of you who like to hear the difference between a German and UK pressing might appreciate this. For those of you who are simply Slapp Happy fans, or Faust fans, that it is a straight-from-vinyl rip might not mean much to you. Still it’s pretty hard to find. Enjoy!..

Slapp Happy is the most favorite band of mine. Finally, I start writing about them. I could not write about them until now because I was anxious if I can write well. (My love for them is so strong!) And there are already good sites about Slapp Happy and Dagmar Krause. I was not sure if I can write something new; I am still not sure about it. But it may be better writing something than not writing anything. 

Slapp Happy is made of three persons. No one can substitute members. They are Dagmar Krause (Henry Cow), Anthony Moore (Henry Cow), and Peter Blegvad (Henry Cow, The Lodge). Pre-history of Slapp Happy started with the episode of Anthony Moore. British born Moore contracted with German Polydor, and released two albums and recorded one more album, which was refused to be released. They are very avant-garde, experimental, Dadaistic, non-sense, fake minimalism music, produced by Uwe Nettlebeck, who also produced Faust. Naturally, these two albums didn't sell at all. So, Polydor demanded more pop and commercial album to Moore. 

Then, Moore and his American friend Peter Blegvad started to play more pop music. German born Dagmar Krause, the girl friend of Moore, used to be the member of German soft rock band, the City Preachers. But she couldn't sing at that time because of the voice problem. According to Belgvad, which can be a joke, because Belgvad's singing was too bad, Krause started to sing suddenly and took a vocal part of the band. This is the story of how Slapp Happy was started. 

This debut album was also produced by Uwe Nettlebeck and backed with Faust members. Dagmar Krause's singing is very pure and innocent, it kills me. The songs are simple and primitive pop. Naive rock, according to Peter Blegvad. Particularly, I love the songs Krause sang, Blue Flower, I'm All Alone, Who's Gonna Help Me Now, Small Hands of Stone, Heading for Kyoto. On the other hand, songs Peter Blegvad sang, Paradise Express, I Got Evil, Tutankhamun, Mono Plane, are not very good. His singing was not so good at that time. (His singing improved much in his post-Slapp Happy solo albums.) Title tune, Sort of, is the strange guitar instrumental like the Ventures. 

When this album was re-issued by ReR in 1981, it was with one-sided bonus single Alcohol . It is a Belgvad's out-take song probably recorded in 1974. Sort Of was out of print for a long time, but it was re-released as a CD in 1999. This CD version includes the bonus track Jumping Jonah, the B-side of the single, Just a Conversation. ......AirStructures" 

In the early 70s Anthony Moore was exploring different avant garde musical techniques, working in Uwe Nettlebeck’s studio in Wümme. Anthony recorded and released two experimental albums Reed, Whistle and Sticks and Pieces from the Cloudland Ballroom on Polydor. As he was approaching his third album, Polydor had lost their patience with his highly experimental and unmarketable albums. So Nettlebeck suggested that Anthony write and record an album of “straight” songs. One thing led to another and Anthony convinced his old school friend Peter Blegvad to come to Hamburg to form the band Slapp Happy with Anthony and his girl friend Dagmar Krause. The three of them entered the studio and recorded Sort Of with Faust as the backing band. It is not clear to me why Tapete has chosen to reissue this album, they offer no explanation. I own a copy of the 1999 Voiceprint reissue. And as far as I can tell, the Voiceprint and Tapete reissues are identical, including the same bonus track. So if you already own a copy of an earlier reissue, there is no need to invest in this latest version, unless you are a collector wanting a copy from each label. Now, if you have not heard Sort Of and are leery about the music given Dagmar’s vocal performances on releases such as In Praise of Learning, do not be put off. Sort Of is a collection of 13 songs with the vocal duties about evenly split between Anthony, Dagmar, and Peter. And Dagmar’s voice is quite pleasant and mellow throughout. The music is quite enjoyable even with the band’s twist on the current musical styles of time. Anthony wrote some straight up rock and roll songs, several country rock inspired tunes, a couple of cabaret tunes predating the popularity of Steam Punk, and some pop-psych. Also of note is the funky beat on “Mono Plane” and the avant rock Asian hybrid of “Heading for Kyoto.” Worhty of investigation if you do not already own a copy or unfamiliar with Slapp Happy's early Henry Schneider...

Line-up / Musicians 
- Anthony Moore / keyboards, vocals 
- Gunther Wusthoff / saxophone 
- Dagmar Krause / piano, vocals 
- Peter Blegvad / clarinet, guitar, vocals 
- Slapp Happy / main performer 
- Werner Diermaier / drums

A1 Just A Conversation 4:02 
A2 Paradise Express 
Saxophone – Gunther Wüsthoff 
A3 I Got Evil 2:30 
A4 Little Girl's World 
Piano – Dagmar Krause 
A5 Tutankhamun 2:17 
A6 Mono Plane 6:50 
B1 Blue Flower 
Piano – Dagmar Krause 
B2 I'm All Alone 
Saxophone – Gunther Wüsthoff 
B3 Who's Gonna Help Me Now 2:25 
B4 Small Hands Of Stone 
Vocals, Saxophone – Peter Blegvad 
B5 Sort Of 2:15 
B6 Heading For Kyoto 3:00

Jimi Hendrix & Stephen Stills "At Stills Basement" 21.05.1968.(bootleg)

Jimi Hendrix & Stephen Stills  "At Stills Basement"  21.05.1968.(bootleg)
These tracks were not recorded in Stills' basement on May 21, 1968. Only one track features Stills, and it was recorded in 1970. Much of it doesn't feature Hendrix at all. 

Jimi Hendrix & Stephen Stills [aka. "Stills Basement Tape 21 May 1968" / "Stephen Stills Basement Jams"] (Collector's Disc / 2001 / 1CDR) 
(Outtakes & Jams 1968-70 plus fake material with no Hendrix involvement) 

1.San Francisco Bay Jam #1 (10:32)
2.San Francisco Bay Jam #2 (7:23)
3.San Francisco Bay Jam #3 (9:24)
4.San Francisco Bay Jam #4 (6:37)
5.Mellow Jam #1 (2:55)
6.Old Times, Good Times (3:42)
7.Cool Jazz Jam (11:31)
8.Middle East Jazz Blues Jam (9:27)
9.Mellow Jam #2 (6:31)

Barry Goldberg ‎ “Barry Goldberg” 1974 US Psych Blues Rock Blue- Eyed -Soul

Barry Goldberg ‎ “Barry Goldberg” 1974 US Psych Blues Rock Blue- Eyed -Soul

Produced by Bob Dylan (who also sings and plays percussion) and Jerry Wexler and spotlighting Barry Goldberg the songwriter (his keyboard playing usually stole the show), this 1972 LP won widespread praise but the version released has been haunting Barry for decades. The missing Muscle Shoals vocals have now finally been replaced; unreleased songs join Shady Hotel ; It s Not the Spotlight ; I ve Got to Use My Imagination (Barry wrote the Gladys Knight smash), and more. A long-awaited CD debut and restoration!.....

Fantastic ... How could it not be with that lineup of all-star musicians and producers! Super rhythm section with highly refined and perfectly delivered grooves. The bass, organ, guitar, percussion, and horns are all at the "top of their game" excellent. Get it, you won't regret it if you love southern cooked rhythm and blues with masterful sophistication and taste.....By  Goodtimer.

Barry Goldberg has been flying under the radar forever, the man who always seemed to be there in the thick of things, quietly, unobtrusively making the engine hum, keeping the wheels turning, while the spotlight was often trained directly on...somebody else. 

Goldberg's self-titled album from the early '70s was finally HIS chance to shine, after years of supporting people with names like Buddy Miles, Jimi Hendrix, and his longtime hometown Chicago compatriot, Mike Bloomfield.

Bob Dylan produced this album for him because Dylan regarded Goldberg as a friend, ever since Bloomfield, Goldberg and Al Kooper had helped him start this new thing called "Folk-Rock" when Dylan decided to play an electric set at the 1965 Newport Folk Festival. (Goldberg had also played with Bloomfield on Kooper's classic "Super Session" album in '68, after leaving the Electric Flag, a great but short-lived band he'd started with Bloomfield.)

But when Goldberg's album came out, around 1974, Rolling Stone magazine panned it, knocking Goldberg for his singing. Barry had always been known primarily for his brilliant piano and organ work, and for his record-producing, but he was not a bad singer, by any means. What happened, Goldberg explained years later, was that the late Jerry Wexler (who was a friend, a great record producer, and someone who wanted Goldberg to succeed) insisted that the vocals needed to be re-recorded, after Goldberg had worked closely in the studio with Dylan.

"Bob told me, 'Leave the vocals just like they are, they're fine. Don't let anybody mess with them.' They had a vibe to them," Goldberg recalled.

But Wexler, who had the power to do so, came in and told Goldberg they had to re-work the vocal tracks, and that's where things took a wrong turn. "It's bothered me all these years," Barry said. "Here I had this great opportunity to work with Bob, to have him produce me--which he never did for anybody, ever--and it just didn't turn out right."

In 2009 Goldberg was given the chance to remix the album using the Dylan-produced vocals that they'd recorded along with the assembled musicians right there at the Muscle Shoals studio, and the record has finally come out on CD for the very first time. And here's the most remarkable thing of all: "Barry Goldberg" is a fabulous album.

It is clearly a lost classic from an era in rock when there was "something in the air," and gifted musicians like Goldberg had the ability to capture that ephemeral "something" in their music. Call it magic, because that is quite possibly precisely what it is, and what we're hearing.

Of the 13 tracks here (there is an unlisted final track, the beautiful "Dreamin'," plus two other previously-unreleased songs, whereas the original vinyl album only had ten songs, and those with the Wexler-produced vocals that Goldberg didn't feel good about), there is not a single weak one.

Goldberg, the "Illinois Boy" he sings about in "Orange County Bus" (one of two songs written with Gail, Barry's "Big City Woman," who is still his wife), shines once more throughout this great collection, with his songwriting, his keyboard playing, and yes, with his singing, too, which is honest and heartfelt.

The songs "It's Not The Spotlight" and "I've Got To Use My Imagination" were written with the great lyricist Gerry Goffin, former husband of Carole King and one half of the legendary pop songwriting team, Goffin & King. These songs became hits for other artists (in the case of "Imagination," a very big hit for Gladys Knight & The Pips) around the time that Barry first recorded them.

But Goldberg is certainly no slouch when penning his own lyrics to his music, as he does on three of the best tunes here, "Minstrel Show," "Stormy Weather Cowboy" and "She Was Such A Lady." The last named tune is one that Dylan himself ought to consider recording for his next album. One might wonder if, when Goldberg first played it for him, Dylan thought to himself, "Hmm, this song sounds like something I would write..."

That figures, because Barry was surely open to learning whatever he could from Dylan's early music ("early" as in mid-Sixties to mid-Seventies) and from Dylan's many songwriting successes. That's aside from the fact that NO songwriter of that era, whether personally-acquainted with him or not, could help being influenced by Dylan.

The inspiring "Stormy Weather Cowboy" ("Try and remember, hope isn't dead...") and the self-effacing, lay-it-all-out-there ballad "She Was Such A Lady" are definitely two of Goldberg's greatest songs.

If you love classic rock, you will love "Barry Goldberg," an incredibly musical album, with all those great Muscle Shoals musicians backing Barry, and even Dylan himself singing background vocals on certain tracks. If there was a better reissue of an album in 2009, I know nothing about it.

The Stormy Weather Cowboy rides again.....By Steve Roeser............

Barry Joseph Goldberg (born December 25, 1942, Chicago, Illinois) is a blues and rock keyboardist, songwriter and record producer

As a teenager in Chicago, Goldberg sat in with Muddy Waters, Otis Rush, and Howlin' Wolf. He played keyboards with the Paul Butterfield Blues Band backing Bob Dylan during his 1965 newly 'electrified' appearance at the Newport Folk Festival. He formed The Electric Flag with Mike Bloomfield in 1967, and later formed the Barry Goldberg Reunion in 1968.

Goldberg's songs (some of which co-written with Gerry Goffin) have been recorded by many musicians including Rod Stewart, Gladys Knight, Joe Cocker, Steve Miller, Bobby "Blue" Bland, Gram Parsons and B. J. Thomas.

Goldberg's first professional recording session was "Devil with the Blue Dress On" / "Good Golly Miss Molly" by Mitch Ryder & the Detroit Wheels. Among the albums he contributed to are Leonard Cohen's Death of a Ladies' Man, The Ramones' End of the Century, The Flying Burrito Brothers' The Gilded Palace of Sin, and Super Session which featured Michael Bloomfield, Stephen Stills, and Al Kooper.[citation needed]

Goldberg also has co-produced albums by Percy Sledge including Blue Night (Grammy nominated and WC Handy soul album of the year) as well as Shining Through the Rain, Charlie Musselwhite, James Cotton, The Textones plus Bob Dylan's version of Curtis Mayfield's "People Get Ready".

In 1992 he played keyboards with the Carla Olson & Mick Taylor band, which resulted in the live CD Too Hot for Snakes, featuring the talents of artists like Ian McLagan, and Jesse Sublett, and John "Juke" Logan.

In 1994, Goldberg and Saul Davis produced Blue Night by Percy Sledge, which featured Bobby Womack, Steve Cropper, Mick Taylor, Greg Leisz, Bob Glaub, Ed Greene, Mikael Rickfors, the Waters... and songs written by Rickfors, Gregg Sutton, Pat Robinson, Carla Olson, the Bee Gees, Quinton Claunch, Fats Domino, and Otis Redding.

By 1999, Goldberg both wrote and performed the theme to the Disney Channel original movie Smart House, entitled "The House is Jumpin'," with Phil Shenale and Sterling Smith, with vocals by Chan André. He wrote the song with Jill Wisoff and Joel Diamond.

2004: Shining Through The Rain by Percy also co-produced by Davis and Goldberg, featuring Larry Byrom, Denny Freeman, Clayton Ivey, Ed Greene, Phil Upchurch, Bob Glaub, the Waters, Jakob Dylan... and songs by the Bee Gees, Mikael Rickfors, Carla Olson, Jackie Lomax, Earl Carson, Bobby Moore.

In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley – A Tribute!, playing piano on the songs "Pills", "I'm A Man" and "Before You Accuse Me". (produced by Carla Olson). Carla also produced Barry's "Stoned Again" album which featured Denny Freeman, Mick Taylor and Ernie Watts.

In 2005-6, he toured with the Chicago Blues Reunion featuring Nick Gravenites, Harvey Mandel, and Corky Siegel. Their debut CD reached #2 on the Billboard Blues Chart and received a four star review from Rolling Stone magazine's David Fricke.

On July 7, 2009 Goldberg's self-titled 1974 album was reissued with never before released tracks and a restored sound. The album was produced by Dylan and Jerry Wexler..........

- Barry Goldberg - guitar, keyboards, lead vocals
- Eddie Hinton, George Terry, Jimmy Johnson, Pete Carr - guitar
- David Hood - bass
- Rule Yarborough - banjo
- Roger Hawkins - drums
- Jimmy Evans - conga drums
- Arthur Jenkins, Bob Dylan, Jerry Wexler, Ralph MacDonald - percussion
- Al Lester - fiddle
- Barry Beckett - keyboards, vibraphone
- Harvey Thompson - tenor saxophone, flute
- Ronnie Eades - baritone saxophone
- Charles Rose - trombone
- Harrison Calloway, Wayne Hill - trumpet
- Bob Dylan, Brenda Bryant, Margaret Branch, Pat Smith, Pete Carr, Tex, Tom Bernfeld - backing vocals
- Bob Dylan, Jerry Wexler - producers

A1 Stormy Weather Cowboy
Backing Vocals – Bob Dylan, Tex (28), Tom Bernfeld
Written-By – Barry Goldberg
A2 Shady Hotel
Written-By – Barry Goldberg, Gail Goldberg
A3 It's Not The Spotlight
Backing Vocals – Brenda Bryant, Margaret Branch, Pat Smith
Written-By – Barry Goldberg, Gerry Goffin
A4 Silver Moon
Backing Vocals – Bob Dylan, Pete Carr
Written-By – Barry Goldberg
A5 Minstrel Show
Backing Vocals – Bob Dylan, Pete Carr
Written-By – Barry Goldberg
B1 (I've Got To Use My) Imagination
Backing Vocals – Brenda Bryant, Margaret Branch, Pat Smith
Written-By – Barry Goldberg, Gerry Goffin
B2 Orange County Bus
Backing Vocals – Tom Bernfeld
Written-By – Barry Goldberg, Gail Goldberg
B3 She Was Such A Lady
Written-By – Barry Goldberg
B4 Big City Woman
Backing Vocals – Bob Dylan, Pete Carr
Written-By – Barry Goldberg
B5 Dusty Country
Written-By – Barry Goldberg, Paul Rosenberg (3)


1966 Blowing My Mind (LP Epic ; réédité en CD chez Collectables and Acadia)
1968 There's No Hole in My Soul (LP Buddah ; réédité en CD chez One Way)
1969 Two Jews Blues (LP Buddah Records ; réédité on CD: One Way)
1970 Street Man (LP Buddah)
1970 Ivar Avenue Reunion (RCA 4442)
1972 Barry Goldberg & Friends (LP Record Man)
1974 Blasts from My Past (LP Buddah)
1974 Barry Goldberg (LP Atco)
1976 Barry Goldberg & Friends Recording Live (LP Buddah)
2002 Stoned Again (Antone's/Texas Music Group) produit par Carla Olson et avec la participation de Denny Freeman, Ernie Watts, Mick Taylor, Gregg Sutton…
2003 Live (Unidisc)
2006 Chicago Blues Reunion (Music Avenue)

Olympians "Olympians" 1970 Greek Pop Rock

Olympians  "Olympians" 1970 Greek Pop Rock

Olympians mp3 plese log in first…..
full discography on discogs

Olympians are a music band that started in a basement in Norwich around two years ago with a guitar, bass, some drums, and a song about the board-game Risk. Now equipped with another guitar, two keyboards, a glockenspiel, a trumpet and four bellowing voices, Olympians just keep on growing. Their sound has moved from twiddly guitar-pop to brass-infused synth-drenched megatunes, exploring everything from drones to barbershop harmonies along the way. 
Olympians are a five piece band from Indianapolis, IN who write indie music in the vein of Jimmy Eat World and Death Cab For Cutie. With Ryan on Vocals, Guitar, Max on Vocals, Keys, Guitar, Ryan on Drums & Percussives, Daniel on Trumpet, Keys, Vocals & Patrick on Bass Guitar, Guitar, Olympians are currently writing new music to follow up on their EP You Are My Inspiration
Olympians were also a late 1960s - early 1970s Greek pop music group. They were founded by Pashalis Arvanitidis (vocals, bass), Vagelis "Sporos" Koutsotolis (sax), Koulis Kaloyannidis (guitar), Dimitris "Jack" Lazaridis (drums) - members of the group "Brahms" and Alkis Kakaliagos (piano and hammond organ) member of "Vips". 
Their first big hit was the song "O Tropos" (meaning The Way, Greek: Ο Τρόπος). The combination of greek lyrics with the modern european dance music (shake) and rock 'n' roll brought them great

Σαν μέλη του γκρουπ εδώ εμφανίζονται οι: 
Πασχάλης Αρβανιτίδης (lead vocals, bass) 
Άλκης Κακαλιάγκος(piano, organ) 
Δημήτρης Λαζαρίδης (drums)

Alkis Kakaliagos (Piano, Organ [hammond]) (ex-member of "VIPS")
Paschalis Arvanitidis (Voice, Bass)
Vagelis "Sporos" Koutsotolis (Saxophone)
Koulis Kalogiannidis (Guitar)
Dimitris "Jack" Lazaridis (Drums)

1 Το Κορίτσι Tου Μάη (Venus) 
2 Για Ποιάν Αιτία 
3 Τώρα Που Έφυγε ο Αλέξης 
4 Περνούν Τα Χρόνια 
5 Μικρή Ζωγραφιά 
6 Δεν Είσαι Συ 
7 Μείνε κοντά μου 
8 Τώρα Μη Φύγεις 
9 Καλοκαιρινό Αγέρι 
10 Κοριτσάκι 
11 Γράψε Στ' Αστέρια τ' Όνομά Σου 
12 Όνειρα Περιμένοντας 
Bonus Track 
13 One More Time 
14 Go Man Go 
15 Hopeless Endless Way 
16 Συμπόσιο (Ορχηστρικό)

johnkatsmc5, welcome music..







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Hi`s Master`s Voice

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music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958