Cannibal Christians - David Rea - Maverick Child (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac

Download Cannibal Christians - David Rea - Maverick Child (Vinyl, LP, Album)
Label: Capitol Records - SKAO-548 • Format: Vinyl LP, Album Gatefold • Country: Canada • Genre: Rock • Style: Folk Rock, Country Rock, Blues Rock

Deep thought lyrics and wistful acoustic jammy playing. Solid late-night charmer. Local Midwest obscurity, details invited.

The short-lived Smoke Rise you had to look at the back cover and album labels to find the band namefeatured the talents of bassist Randy Bugg, non-performing writer James Lineberger and brothers Gary guitarHank keyboards and Stan drums Ruffin. From a marketing standpoint Paramount seemed to have considerable faith in the band, allowing them to release a double album, 23 track concept piece. With a plotline having something to do with the life and times of Joan of Arc, the results clearly weren't for everyone.

Sure the lyrics were occasionally clumsy and the plotline was incomprehensible without the accompanying booklet. That said, backed by strong pseudo-progressive moves, strong melodies, nice harmonies and enthusiastic performances, material such as the single 'Love Me', 'Survival', 'Run, Run' and 'Back In the World' wasn't half bad.

Needless to say, commercially the set went nowhere. A cross-religious rock oratorio composed by a fairly well-known vocal coach, this album is quite enjoyable and occasionally 'psychedelic' not unlike the St Pius X Seminary Choir or John Rydgren's "Cantata", although the most likely source of inspiration was "Jesus Christ Superstar".

It's an expensive, pro-level production with a huge chorus and some beautiful, folk-flavored melodies and rich and varied arrangements with rock, jazz and classical elements. The opening track could be put on a mix tape and blow a few minds. Pick this LP up if you find it cheap. Melodic guitar rock with good vocals, some horns. Promo copies came with a glossy promo photo, sheet, and a black plastic outer bag. Rural hippie folk and country-rock with some Christian moves. I probably wouldn't have bought this album had I known this was a horn rock outfit 'course I could've opened up the unipack sleeve and seen concert photos that show trumpet player Michael Green and sax man Rick Kellis On the other hand, I would have missed a chance to score an LP produced by the ever eccentric David Axelrod and in this case it turns out my distaste for horn rock was largely misplaced.

I know absolutely nothing about this band other than I think they were based in Los Angeles and the line up consisted of bass player California guess he couldn't afford a last namedrummer Larry Devers, sax man Rick Kellis, keyboardist Jo Jo Molina and guitarist Don Phillips.

With all six members contributing material, you can categorize most of this set as a blend of topish pop the bouncy title track and 'white boy blues-rock'. Mind you, I'm not telling you that this set is going to change your life, but as far as the horn rock genre goes, this is pretty good. Amateurish, melodic Jesus rock with off-key vocals and some nice jammy guitar. The vibe is too mild-mannered and the sound too generic to garner serious 'rock' credits. A mix of originals and covers.

The title track is probably the best thing on board, with a CSNY feel. Christian proggy folk and rock mix, recorded at Magic City Studios in Bogalusa.

Keyboard-heavy sound with synth, organ, clavinet, electric guitars and various percussion instruments. Offbeat prog recorded at Sound Soft Christian gospel folk with classical chamber music flourishes and the typical Jesus praise, lofty yet somewhat croonerish male vocals, light electric instrumentation.

A dreamy, nocturnal, night before X-mas mood in places that is not without appeal, but all over this one's for genre specialists only. Like all four Paupers tracks, it also came out on Electric folk-folkrock with female vocals on well-known custom label. As many of the lesser genre LPs, the generic Jesus praise and semi-incompetent music drowns out any personal expression. For believers only, with a couple of female vocal tracks the most listenable.

Leonard Feather produced the Verve LP. Dreamy pop femme duo, Alyce and Rhae Andreace, backed by big name jazz guys. Jazzy, spooky tripped out pop. High-school project LPs of which the first is of no particular merit, while the installment has some cool tracks and an extraordinary psychedelic cover.

The album is sometimes credited to the Maniacs, but their contribution is just that one track. Decent second tier southern rock band with some good material on their only known album. The good tracks are genre friendly songs full of hard rocking duel guitars shooting it out like gunslingers as the rhythm section pins it all down with the standard shuffling back beat that's commonly used by all southern rock bands.

On the downside, the album's cluttered with a few insipid ballads as lame attempts to be accepted commercially. These weaker songs have some poorly conceived synthesizer parts that I find even more detracting from the band's chances at success. Hard rock guitar fans should appreciate the heavier material. B Dallas, TX. Soft pop with some psych moves. England Dan and John Ford Coley went on to commercial success as a duo.

Rural rock band with blues moves, featuring Moon Martin. Friendly rural hippie s-sw and folkrock with guitars, drums, flute and violin. Obscure teenbeat in a cool car cover. The crude packaging and lack of credits make this reminiscent of the many privately pressed albums from the US Eastcoast of the same era, and the similarities continue with the amateur crooner pop and square oldies on the disc.

An unusual LP for the Canadian '60s scene, but except for Quebec completists it's hard to see anyone take an interest in it. Straightforward Christian s MOR with male lead vocals, female backing harmonies, and a live-recorded? Of no immediate interest unless you're a big New Seekers fan. Led by Tom Costello who wrote, arranged and produced the material.

It's actually pretty good baroque psych pop. Littleknown album with cover showing the guy out in a field hugging his acoustic guitar, which may tell you what it sounds like. Good Southern guitar-rock despite the late release date. Garage pop with flowery moves similar to Grass Roots. Power trio doing blues-rock with all covers except one instrumental, on the same label as the 2nd Reign Ghost and the first Christmas. Electronic sound textures.

With Brian Eno. Imagine It's All Meat minus the organ and the psych moves. The last track has a Bay Area groove-rock feel. Worth hearing. Obscure local bonehead hardrock in simplistic street-sign cover. This sells for decent money on occasion, but a renowned student of the field describes it as "dullsville". Spiritual meditation folk sounds from ex-Gentle Soul guy on the Maharishi trail.

It opens with a lecture on the virtues of transcendental meditation, followed with music in the expected style. One-sided LP on same custom label as Frolk Haven, typical 70s hardrock with mostly covers in an elaborate gatefold sleeve.

Lounge and country moves. Ex-Homer but nothing like that great group. Unfortunately, the vocals come in and the melody simply mimics the hook, Black Sabbath-style, and the effect is pretty disappointing.

Throughout this album there are great instrumental moments, but as with a lot of prog bands they spent way more time writing the breaks than they did the songs, and this ends up being a mixed experience.

This is another band with an under-utilized female vocalist, by the way. The LP is sometimes shown as self-titled, as there is no title on the front cover.

Instrumental progressive jazzy rock virtuoso guitarist showcase. Steele plays several multitracked guitars on each track with all sorts of effects including fuzz, wha-wha, phasing. Some MOR tracks but mostly it's funky or psychy explorations with excellent, complex playing throughout. Steele had an earlier and more common LP on Ovation. The album title is reasonably apt here, as this album does get loud here and there. The album also has a few decent soulful ballads, a bit of boogie blues the weakest songs hereand some straightforward, un-heavy rock.

The singing is a little too AOR for my tastes and some of the songs are awfully repetitive, but the band can play. Some of the best lead guitar is on the mellower songs i. Seems like they were influenced not only by heavy bands, but also the Guess Who and even Three Dog Night. A bit AOR-ish, but some underground vibe.

Styx-inspired melodic hard rock-AOR with professional sound and some progressive rock leanings, with keyboard and ace guitar leads. Guitar-dominated band somewhere between hardrock and metal. The cover shows stills from a slasher movie the band made.

Excellent, delicate folky singer-songwriter baroque Victoriana dreamer sensitive reflections with Harry Palmer Ford Theatre playing guitar and producing. Orville also worked as a movie actor in the s and 90s. Excellent LP has all the westcoast moves.

Most of the album is pretty good, though and the mix makes it an interesting product of its time. This is the kind of album that makes hunting down and collecting obscurities worthwhile. Apparently Storch was the singer in The Vagrants who also included a pre Mountain Leslie West, but you would never expect that or hear any garage roots in this amazing album.

What this album is is something that blows Food and similar "spooky" soft psych albums out of the water and could only be described as Tim Buckley gone mad crossed with Bowie and Gandalf. He is a singer who can go from soft and world weary to wailing and melodramatic in two seconds and always sound confident. Every song is amazing, even the closing instrumental which is purely classical music on a rock record!

The dark mood and tripped out ambience we search for in all melodic psych songwriter albums is here, and the funny thing is he sounds more like a band than over half of the "groups" who tried to record this kind of album. The lyrics also are a plus, bizarre and meaningful at the same time including a song about lesbians "Lynn and Sue Are A Country".

An absolute unique masterwork well worth searching for and known to almost no one. Probably the weirdest of all Elektra albums. This is not a rock or folk album, as most people will tell you, but an experimental music record. Some of it is pretty interesting, but some is pretty annoying too. Infamous hoax of supposedly "Australian" band doing Bo Diddleyish teen-beat; in actuality the work of some shrewd NYC business pros. Long ago disinherited by garage fans due to its bogus nature, but the music isn't without merit, including two drum-heavy hit 45s.

Copies have been found with a paste-on sheet, or in blank covers. This LP has sold for decent money on occasion. Parodic melodic covers. Obnoxiously bad falsetto crooning versions hence the name of soft rock staples like "Hey Jude" and "I left my heart in San Francisco". A DJ vanity project? Westcoasty folkrock with female vocals. The use of electric violin adds an It's A Beautiful Day-feel. A French pressing also exists. Orchestrated soft-rock with nice vocals.

Nothing is especially original here, but it is pleasant throughout. In spite of the fact all twelve songs were sung in French, the debut was nothing short of spectacular.

Showcasing a largely original set, the album featured a great mix of radio-friendly pop and tougher fuzz-propelled rockers. Huard had a fantastic voice that was more than capable of handling the entire spectrum of material in their diverse repetoire and the rest of the band played with an intensity that you simply don't hear very often.

Curiously both tracks are credited as Sultans compositions, as is a Kinks cover. Other highlights included the two singles pulled from the album. The band's second studio set, 's "Express" displayed creative growth. Showcasing a mixture of originals and popular covers this time crediting the original writersthe album made it clear these guys had been listening to lots of Byrds 'Pour Qui Pourquoi' and English bands such as The Kinks and The Zombies "Les Filles".

Unlike many of their contemporaries, these guys managed to do more than merely be imitative. Take a song like the original 'To Say You're Sorry'. A great song, it's also one of the earliest slices of country-rock I'm aware of. Simply put, every ingredient required for a massive hit was here including great songs, fantastic performances and a willingness to experiment check out the "Eleanor Rigby"-styled strings on "Tout Ira".

While most Quebec-based bands were reluctant to record anything in English, The Sultans broke with that tradition including several English performances on the album. It's simply a crime that they didn't enjoy an American hit with something like "Bring Her Back", "Fade Out" or their raunchy cover of "Sticks and Stones". Subtitled 'their spectacular goodbye', this LP chronicled the group's final concert before some 6, fans at Montreal's Starovan Club.

From a technical standpoint the collection isn't exactly state of the art. The screeching fans and the echo laden sound recall something from rather than To be honest the album occasionally sounds like it was recorded in a large bathroom. The covers Beatles, Them, Motownare energetic if predictable, but LP sure to check out their hyperactive cover of "Can I Get a Witness". In contrast the original numbers are largely killer, including the near perfect pop track "Pour qui Pourquoi", the fuzz-propelled rocker "Tu est Impossible" and the pretty ballad "Pardonne-Moi".

Simply a great album that I keep coming back to and one of the few live albums I'd give a four star rating to. Twilight zone multi-octave vocal exotica princess backed by an acid rock band. Fuzz, organ, and her haunting vocals, what can you say but amazing. Les Baxter produced and wrote all but one tune. The remainder of her oeuvre is outside the scope of this archive.

The debut was recorded at Sound 80 in Minneapolis. Connecticut teen folk with a live Burnt Suite track. Jammy rock with a mild funk feel. Poorly recorded and echoey. Seldom seen local macho lounge-rock thing with two good, dark psych-rockers which recall Freeman Sound. These guys had photos of Merle Haggard and Johnny Cash in their dressing room, no doubt.

Once this rather familiar experience has played out the album has little to offer, but the excellent opening track and the overall Southern redneck lounge ambience may attract some. Standard rock setting with keyboard, some horns, and occasional fuzz and feedback leads. Very rudimentary packaging. Prog fantasy concept, with heavy guitar, organ, moog, flute. Obscure, home-made album covering various roots styles, with good male and female vocals Jean sounds a little like Joan Mills and strongly varied acoustic arrangements.

Hard to say exactly what they were aiming for, but as a local time machine into country, trad folk, hobo, ragtime, and other retro moves it's neat. Most surprising is a cover of the Coasters' "Searchin'". Also some Hoyt Axton tunes, and no originals. An authentic feeling "Big Rock Candy Mountain" with alkie lyrics intact is strangely arresting.

Remembered mostly for their great hit 45, the LP has some other moments of interest including an unexpected Sonics cover, but could be regarded as a typical 'Nuggets' band quickie LP.

Despite the date, this album is well-loved by 70s hard rock fans. The guitar sound is really grungy, and the opening and closing songs are killers.

The lyrics are typically stoopid. Musically material such as the title track, 'What More Can I Say' and '' featured an interesting mix of blue-eyed soul, downbeat bluesy moves and a mild jazzy vibe. In spite of some truly downbeat lyrics 'Schizophrenic Susan Minnick' and the oddly MOR-ish 'Hell of a World' the results are actually much better than you'd anticipate. Mind you the set's far from perfect. Talbert's voice certainly won't appeal to everyone and the horn arrangements and strident female backing vocals will certainly turn off quite a few folks.

Talbert recorded at least two other albums. T C Phoenix, AZ. Native American doing s melodic rock and folk with mellotron and unusual vocals, also two heavy rock tracks. Has been hyped but not likely to blow you away. T C B Ottawa, Canada. Jazzy horn rock with psych-prog touches and female vocals. The guitar setting is occasionally expanded with bass.

Released on the famed custom label, this should interest some specialist collectors. No relation to the famous Alabama band, this is a very obscure inch teenbeat LP from the same era. Primitive local release of late-period 60s club band doing Beatles and soul covers, along with a few originals. Very heavy Leonard Cohen influence, but makes LC seem cheerful by comparison. Even the one song that is upbeat, almost good-timey, has a dark undertone. Terlazzo is accompanied on many tracks by a beautiful haunting female backing vocal which is often wordless.

Several tracks have fine electric guitar leads and solos. I rate this at the top of the loner folkie heap. There is indeed a notable Leonard Cohen influence but Terlazzo needn't be embarrassed, as this is simply the genre he belongs too, and he does it well, with a personal voice and inventive arrangements including spooky female harmonies and sparse folkrock arrangements. I counted three excellent tracks with "Seven stars over Sicily" a favorite, several more good ones, and only one dud.

Terlazzo would continue to record after this debut and is still active as a performer and poet. Weak hardrock on a 5-track, 45 RPM incher, some prog moves with keyboard. Lounge rock covers. Folky soft psych melodic moves sounds a couple years earlier.

Nice LP. Some of it is heavy, some in a more refined pop style. There are a few christian lyrics here, lots of lead guitar, and some good hooks. Easy going pop with one strong instro fuzz organ jam. E-z studio flower power with effects, female vocals, and an out of control horn section. Produced and arranged by Robert Allen and Ray Ellis. This is a pretty decent post-Hendrix hard rock album by teen-looking guys who show no fear.

The songwriting is kind of hit and miss, but this is one of the better albums in the genre. Strange mix of rural sounds and jazzy prog, religious vibe. A bit of a mess, really. Ex-Upside Dawne. E Canada. This is a terrific early psych album, somewhere between garage rock and popsike.

The songs are consistently catchy and they grow on you. One of the very best of its kind. Cool die-cut cover. Dumb band name, though. Their second album dispenses with the popsike in favor of a much heavier sound. An underrated band. Both LPs were also released as US pressings with the same catalog number. Cy has one of those smooth voices that shows practice and polish but not soul or even natural skill. Some copies of this debut came without sleeve.

Little-known singer-songwriter guy in the light-jazzy Neil Diamond nightclub direction. The first LP is with band and smooth brass; the second LP is acoustic solo and has been put down, despite the high going rate. Upstate collegians, basement prog moves with horns and deep thoughts. On the same custom label as Collective Tools. However, this one seems to be generally disliked by those who have heard it.

The result is an interesting piece somewhat lost in time, with some eastern influence and an almost evil post-hippie feel to it. Only one song has a particularly psychedelic feel to it, but the album should appeal to fans of loner folk or moodier folk-rock.

Titcomb went on to release three more LPs. Hippie folk rock covers with CSNY sound. Lynne Hughes is a pretty powerful singer, and adds appeal to an album of rock and blues-rock songs by this Charlatans offshoot a number of these songs were originally done by the Charlatans. Rhythmic piano and occasional congas create a propulsive rhythm that works well with the laid-back structure of the songs. A male singer on four songs is solid, but nowhere near as exciting as Hughes.

A few songs are in a less effective good-timey boogie style. Side one is much better than side two. Overall, a worthwhile and enjoyable album. Recorded on the heels of the Midwest hit 45 title track, the album offers a mixture of original material and popular covers. In spite of their happenin' image long hair, sideburns, pendants Cannibal Christians - David Rea - Maverick Child (Vinyl Nehru jacketsthese guys were pretty lame.

Anyone expecting to hear cutting edge psych was bound to be disappointed by the group's overwhelmingly MOR attack. Without wanting to sound like a snoot, the album's actually worth a spin if only for the cheap laughs which include some of the year's worst harmony vocals a couple of the band members literally sounded like their voices were breaking and for one of the lamest Beatles covers we've ever heard "She Loves You".

Looking for hard rock? This ain't the place. A sleeveless LP of local unknowns doing mostly blue-eyed soul covers, indicating an eastcoast origin.

Hispanic group with cool Santana sound, heavy guitar rock great leads and latin groove on the melodic cuts. Post-nuclear holocaust story with audio collage of electronics, musique concrete, synthesized speech, and all sorts of sound effects.

Sounds like the Dreamies doing the music for a Stephen King audio book! Recorded live at the Mousetrap in Louisville, '70s funky barband rock. The male lead has a very feminine sounding voice. Genesis-style progressives, with string guitars, acoustic guitars, electric guitars, bass, synth, tablas, drums, autoharp, tape effects, bamboo flutes, recorders, shruti box, mandolin, piano. Good and diverse rockers with rhythm guitar and harmony vocals similar to Happy Jack era Who.

Also some dreamy melodic tracks. Produced by Snuff Garrett. Underrated and underpriced, maybe in part because of the cheesy album cover.

Nothing here is truly great, but all of it is very good. Out of the twelve songs, five of them do have a trashy, reckless and loud garage aesthetic combined with an early hard and attacking rock sound. Too bad this band wasted their time playing cover songs and not able to muster enough motivation to write and record original music. If this album only had the three best cover songs and everything else blazing originals, its value would skyrocket and out survive all the overhyped praise from delusional record seekers.

A recurring short song gives the album a coherent concept. No real standout songs here, but this is well-played and consistent. Great eyeball album cover. Sleazy lounge rock with Traffic covers. Related to the Soul Survivors. Occasional Dead moves. Sells for good money at times, but proceed with caution.

This is another one of those obscure earlys acts that fans are beginning to latch on to as a minor collectable. To be truthful, the first couple of times I listened to the LP it didn't do much for me. That said, we've gone back to it several times and it does have a distinctive charm that grows on you. Largely self-penned, musically the trio bounced all over the place.

In contrast, the flip side offered up a much more rock oriented sound. Probably the basis for some references giving the trio a psych label, on the sitar-propelled 'Thoughts' the collection's stand out effort'Lizzie' and their cover of Joe South's 'Walk a Mile In My Shoes' the trio bore a stronger resemblance to The Jefferson Airplane.

In typical exploito fashion, this LP contains no writing credits, no performance credits and no production credits although the back panel carried a ton of technical data on the way the record was cut. That said, the result was a charming slice of period psychedelia. Clearly a throwaway collection, the set offered up a mixture of surprisingly impressive originals and popular covers such as the Hendrix title track and a cover of the The Box Tops' "The Letter" mis-titled as "A Jet".

Won't appeal to everyone, but for those of you into this weird subgenre, it's an undiscovered underground pseudo-classic! One track appears on the Endless Journey comp. Vocal harmony late '60s pop from a young band, with some minor psych shadings. This used to be a bargain bin title, but has been attracting some attention of late. Includes what sounds like a pro-draft song.

Goofy-looking club band with sax and organ on well-known New England label, packaged in great full color cover like most Fleetwood releases. Despite its cool appearance, this is a musically unexceptional record with zero garage appeal, and not many people seem to like it. Obscure distorted folkrock with some heavier moves and harmonica and synth here and there. UHF FL. Spacy prog hardrock. Good hard guitar runs, amateur synth moves. Heavy rural Southern blues rock.

Budget psych exploitation job along the lines of the Fire Escape, all covers but crazed enough to be at least marginally interesting. Can be scored fairly easily. The version of "Psychotic reaction" has been comp'd on Relics vol 1.

Kim Fowley project. Heavy psych rock. Over the top distorto fuzz exploitation, ridiculous vocal. Rumored to be the Firebirds. Mostly instrumental heavy prog. Excellent guitar, some flute, vocals in French.

Blissville sure makes you want to hear more of Jeff's work; indeed, I can't quite fathom why he'd never appeared on my own personal radar before. David Kidman. Jeff Talmadge - The Spinning World Bozart Records Singer-songwriter, acoustic guitarist Jeff Talmadge is an impressive talent from Austin, Texas who we haven't heard of this side of the pond for the usual reasons: own label, no distribution, no PR company, no UK tour and no national radio play.

We are privileged at NetRhythms that sometimes we get sent music that we wouldn't otherwise get to know about. Who is Jeff Talmadge? His website gives a little background information about the man, ' Associate Baseball Scout for a major league baseball team, Capitol Hill spin doctor, award-winning poet, practicing lawyer Jeff Talmadge is a man of multiple talents and many hats. The Spinning World is an album of polished songs which I've found easy to play again and again and hard to chose a favourite from.

Care and craftsmanship are evident throughout - the lyrics are sharp and insightful, wry and witty, the musicianship with the assistance of Stephen Bruton on slide guitar, mandolin and mandola is excellent and on the twangy side of folk, and the backing vocals from Iain Matthews and Eliza Gilkyson are a joy.

Throughout the collection of eleven songs the professional production by Bradley Kopp is bright, full and warm with acoustic guitars, gentle bass and percussion, strings cello and violin and touches of accordion and harmonica.

His latest release, Bad Tattoo, which I've yet to hear, brings back several players from The Spinning World plus and she's always a ' plus ' Annie Gallup on backup vocals. Want to hear more? You may download soundclips from his website before clicking on to Amazon.

We may live in a spinning world but Jeff Talmadge's albums are for those important ' time out ' moments - lay back and enjoy! Singer-songwriters of the Saharan desert, the Touareg ex-rebels Tinariwen, birthed distinctive blues grooves - intense and enthralling - now taken up by the young seven-strong Touareg blues-rock band Tamikrest.

Their name "Tamikrest" is Tamashek the Touareg language for "union" and "knot" - a symbol for the desert, language and culture which unifies and binds them. And unified they are. A western band might be considered "tight" but Tamikrest are another thing entirely. The slow-paced caravan of bass-driven rhythms, electric guitars, tunes layered with claps and harmonies punctuated by the ululation of female backing singers and even echoes of the Eagles and a few reggae beatsbecome trance-like. The words of lead vocalist of Ousmane Ag Mossa in the Tamashek language seem totally comprehensible to the Western heart, even if to the ears they aren't.

It's the universal voice of pain and passion of struggle, of war, the beauty of the desert, of travelling grooves and - ultimately and hopefully - prayers for freedom.

If you need an actual translation, the sleeve notes are also in English and French. John Tams - The Reckoning Topic. John Tams rocks - oh, yes he does! You don't believe me? You think he's all songs of desolation, Napoleonic adventure and industrial turmoil? Think again, my friend. Just as it was surprising to realize that Unitythe album before this, was Tams' first solo outing, it's still a little shocking that, with more than 30 years' experience and a hand or two in at least one of folk-rock's seminal albums, Home is only the second collection to carry the Tams monicker.

And, as might be expected, he's learned a thing or two with all those years under his belt. One of those lessons is to keep your material varied, for that way is the path to holding the attention of your audience. Thus, possibly with that thought in mind, he's penned some stirring uptempo firecrackers and sprinkled them, like hundreds and thousands, across his latest home-baked offering. The first of them, to draw the punters in, is track number one, You don't know me anymore. With telling, hurting observations, it concerns a man's realization that the relationship with his lover has lost its spark.

But, though the song brims with sadness, it's sung to a strident beat pushed along by Keith Angel's drums, swollen by the lovely rich tones of Alan Dunn's Hammond organ and lifted by the first of many fine lead guitar breaks from Graeme Taylor.

In stark contrast to the superficial happiness of the album's opener, track two is like a damp, overcast afternoon stood among the ruins of a derelict northern mill. Featuring just Tams - singing and playing guitar, bass and keyboards - and Angel, it's dark and doomy, with the percussionist really coming into his own. His marimba soaks through the melody with all the persistence of a relentless drizzle at the same time as his staccato drums seem to mimic short, sudden downpours.

The song has a bleak beauty that's hard to ignore. In The ballroomTams slips into his pumps for the first of two songs marking the lure of the dance.

Littered with characters looking for something they'll not find in this palais de danse, the song's filled with a sadness not entirely bereft of hope.

Dunn again shines, initially on piano accordion and then with a delicious Hammond organ pattern filling the latter half of the song. Red gown starts with Tams' acoustic guitar and vocals, and the organ, this time played by Barry Coope, before Taylor lets rip with a perfectly measured lead break. Unlike The ballroomthe lyric is filled with the excitement and expectation of an evening's fun: "Throw away your troubles, lose them one by one and come on put your dancing shoes on".

But it's historical ballads at which Tams excels and Home has a belter right at its heart. She was an angel all in my eye, which made me from my colours to fly".

He is eventually betrayed, court martialled and executed with a timely warning to all young men who fall in love. Other top-notch tracks on a top-notch album are: Right on time - Tams solo with his acoustic guitar - The traveller and Bound east for Cardiff.

It may say John Tams on the front of the package but due credit must go to his fellow players, each of whom more than earns his crust here. In addition to the already mentioned Taylor, Dunn, Angel and Coope, Andy Seward 's bass is bang on the money throughout. Home is an album that reveals new treasures with each play. It's a natural progression, and a more than worthy follow-up, to Unity and it's stating the obvious to say that any who enjoyed Tams' first album will love this.

JT call Home sorry! They've roped in the talents of Chris Coe, Alan Dunn, Charlie Hart and Clare Taylor; Chris Coe's is certainly the dominant presence, contributing some extraordinary vocals, hammer dulcimer and even some clogging! Personally, I could easily have done with three times as much music, but the absorbing and riveting nature of what there is proves a sufficiently poignant and effective tribute to the fishing communities around the tragedies of which the play is based.

Named for a favourite hiking spot in the Adirondacks region of northern New York state, this is the new project by Mike Ferrio, the former frontman of Tandy which came to an end with the death of multi-instrumentalist fellow member Drew Glackin. Deciding to start over rather than continue without Glackin's integral input, Ferrio assembled a collective of musicians who played with names such as The Silos, Ron Sexsmith and the Guthries plus violinist Eleanor Whitmore to put together what he describes as 'an artistic project for a lost friend.

Recorded live on vintage analogue equipment, the songs inevitably deal with the big issues of death, friendship, life and love, the music embracing elements of soul, rock, folk, gospel, and Americana with instrumentation that includes organ, horns, harp, strings and, notably on the wide open prairie skies ambience of More Than A Feeling no, not that oneharmonica. With tracks clocking in between two and a half and six and a half minutes, it's clearly a work born of great personal emotion, Ferrio's dusty timbre leaking wistful reminiscence and sadness but also, as with the uptempo The Seven Sisters, alight with hope.

Lyrically there's much religious imagery alongside that of mortality and transience with, as on the sparsely arranged The Perfect Circle with its otherwordly background ambience, calls to make the most of the 'diamond days', before 'your deal goes down. One to let wash over you as things like Requiem For Andrew, On Faith and Heaven In The Haze with its gospel choir seep into the soul, it's both a poignant, reflective elegy and the birth of a new future.

You know you're good when such an august figure as Steve Earle is in your corner. Just how good is demonstrated by the fact that yours is the first music he featured on his radio show. Rarely has a set of songs contained such an impact and achieved it so deftly. Tandy draws you into an intimate and personal world until you're not so much a listener as a welcome confidant.

Ferrio's voice sits squarely in the middle of some gossamer delicate melodies and, throughout both albums, tracks build thoughtful layer upon thoughtful layer until they become utterly irresistible. Ferrio is joined on his endeavours by kindred spirits Ana Ege and Malcolm Holcombe. While both Ege and Holcombe are talented musicians, it's the combined spirit and determination of the three to cosset and comfort the music that provide the albums true delights.

Tandy may not shout from the rooftops but its music is deafening in what it has to say. Ferrio and co display an unerring accuracy in getting to the root of every note and word, there is not a wasted second on either album. Musicians like Ferrio, Ege and Holcombe don't deserve labeling, leave that cheap trick for lesser talents.

Two for the price of one - with a bonus track on each! There's two ways of looking at this. Either Tandy's publicist is pursuing the 'less is more' line of thinking or the band prefers to let its music do the talking because biographical details are scarce.

Whether they are roots rockers, rock n rollers or something completely different, I'm A Werewolf hits with the force of an express train.

A malevolent harmonica stalks it, like some unseen predator in the night, you can almost taste the fear. If you have a gravelly singing voice and write the kind of deep, dark songs that fit that voice perfectly, then there are certain people you must expect to be compared to. Tom Waits is one, Tom Ovans and Warren Zevon are a couple of others and Ferrio slots right in with them, however this is an album that has as much light as shade.

Without cooling the white-hot intensity of the rock 'n' roll, the album moves into Bait. To describe it as 'lighter' would be wrong but it's certainly airier than its predecessor. Listening to Tandy is akin to being caught in a vice-like grip, even if you wanted to escape there's no chance. All you can do is sit tight and listen intently, the effort is rewarded by the tender Evensong. After the maelstrom to hear a heart being poured out is a startling moment.

It's brought into even starker relief by the almost operatic feel to Misery Boys, a song of distinct parts - neither the lyrics nor the melody are there merely to support each other - which come together to produce a much grander whole. Singer-songwriter Mike Ferrio is occasionally joined by Ana Egge, their duets creating the sense that he's Gram, and she's you-know-who!

Incidentally, Cannibal Christians - David Rea - Maverick Child (Vinyl, in terms of packaging this CD ought to be regarded as the benchmark against which all self-released albums are judged. The package includes a lyric booklet, sticker, personally signed band photograph and the video for Girls Like Us - all mightily impressive for a release limited to a mere five hundred copies. This would, of course, matter not a jot were the music not so captivating.

To A Friend is an album as intimate as it's title suggests, a mature, crafted meditation on the past, which is destined for 'buried treasure' status in the future.

Tandy - The Lowdown Gammon Fronted by gifted songwriter Mike Ferrio who has a voice somewhere between John Prine and Steve Earle, the New York quartet have been making the rounds now for some six years, totting up three self released albums along the way. With a rising awareness of their brand of Americana and now signed to a proper label, they've taken the opportunity of gathering together the best of the old tracks with a couple of new numbers for good measure.

The presence of tabla on Becky California is indication that they're prepared to explore beyond the usual roots rock fence without sacrificing their distinctive rural mood, and if more recent numbers such as The Truth Is Better Than A Lie or the Byrdsian pedal steel driven Sister Golden Hair are stripped down, the more musically fleshed out likes of The District Doctor, Shine and Ted are no less convincing testimony to the band's keening charms.

Their Lichtenstein's Oriole album pricked up ears when they played the UK a few years back, and it's good to revisit their lollopping bluesy collaboration with the late Dave Von Ronk on Lorna and be reminded of the Steve Earley I Signed A Circle and the simple but complex storytelling childhood reminiscences of Pictures of China.

Tandy's latest album ' Lichtenstein's Oriole ' is an ornithologist's delight: the sleeve notes fold out to make a nice poster for your wall! Artwork out of the way, the music is pure joy: rootsy, rocking alt. The album drives along with acoustic and electric guitars from Ferrio and Jay Sherman-Godfrey, aided by Dobro and lap steel from session man David Hamburger, fiddle from Miss Darlene, Sibel Firat's cello, cajun accordion from Charlie Giardano and Ferrio's harmonica.

It's a fine, fine album with hidden depths and secrets beneath the instant pop appeal. At the Bar Club and a pub gig, Rosie O'Grady's in Camden, in May, they produced as perfect a sound as a band can make, even with a slightly changed line-up, without losing any of the vitality or magic of the album. Maybe it's the other way round - the album perfectly captures the ' live ' Tandy.

Well, the album was mostly recorded ' live ' in the studio and they have at least three elements working perfectly together in both album and ' live ': Tom McCrum's acoustic sticks drumming on tour he used just brushes and acoustic sticks on snare and never missed a beat. Virginian Miss Darlene's fiddle was a smoothly mellifluous constant.

Mike Ferrio controlled the whole with his songs: poetry which is sharp, literate, quirky and funny. Language can be percussive in its own right; here the words roll rhythmically along, as much an instrument as his harmonica. And there were no jokes or wisecracks between songs - just straight into one great song after another. An album to hug to death and buy for special friends. I hope they come back to the UK soon. Rochdale's Will Tang hasn't exactly taken the conventional route to gaining UK recognition.

He made his name in Hong Kong by starting off in the burgeoning blues and jazz scene before going on to be a highly rated session harmonica Album) playing for, amongst others, Jackie Chan. From there he went on to his first record deal and paling 10, seater stadiums.

After a further four albums he decided to come home to the UK, settle in Manchester and release his debut UK album. Opening with the eponymous title track, Will sets about realising the boast of the album's title. There is certainly a big change from his last album, The Other Side although eight of the thirteen tracks on offer are from that very same album.

The title track is acoustic rock that has him in the same class as Paulo Nutini and David Gray. Troubles Down, one of the new songs, is sedate country rock with well executed slide guitar. On My Way, another of the new tracks, stays in the acoustic vein and sees him straying away from the blues. This shows a level of sensitivity and vulnerability.

He beefs it up a bit for The Other Side, which heralds the return of the electric guitar and, more importantly, the harmonica. This gritty, blues influenced rocker is a welcome addition.

Red City Blues returns to an acoustic setting and is not a blues, as such, but rather a slinky rocker. Something Special is a new one and although it is upbeat, it is unmemorable. Stories is more soft acoustic rock but Love Bites is a bit harder and his voice suits this.

He gives the harp another airing on Time Of Day and the fuzzed vocal adds to the overall stormy effect. Drifting is not the blues classic as you may have expected but another acoustic rocker, this time much in the style of the aforementioned Mr Nutini. The last official track is Sun Down, which is a harmonica blues which is short, sweet and cuts the soul.

There are two bonus tracks, remixes of Travellin' Man the normal mix of which is not on the album and Love Bites. The former is a contemporary acoustic blues and the latter adds snappy drums from Geoff Holroyde to give another gritty modern blues. They say that a change is as good as a rest so Will Tang must be completely rested for his next charge for widespread recognition.

A Hong Kong harp player, you've got to be kidding? Well, I'm not and William Tang has as much right as anyone to express his love of the blues. The opener, Walkin' Round is excellent and a song that any U. It is a very good introduction to the playing of William and he has surrounded himself with good musicians. This is a 'live' studio album and gives us a feeling of how the band would sound in an intimate club - fantastic.

It's Alrite rocks - it's another Tang song and guitarist Murdoch produces some good slide guitar before William goes almost apoplectic at the end. Sweet Little Angel is a B. King song and he has done the right thing by not trying to sound like the great man and there is some more strong guitar work from Murdoch.

The Thrill Is Gone is the song made famous by B. King but William's voice is not really suited to this but the interesting use of harmonica redeems it. It is an instrumental finish to a good album and, like the other tracks, is held together by the tight drumming of Mark Menezes. Canada's Tanglefoot have become one of that country's most popular exports, with a loyal following in the UK largely due to their storming, swashbuckling appearances at festivals.

In the flesh they've an almost overwhelming, distinctly larger-than-life presence which draws you into their stirring and passionate music: intriguing and powerful stories drawn from episodes in Canadian history are couched in universally well-crafted settings. One special thing about Tanglefoot is that even though the band's always had a strong "corporate identity" as a performing unit, each of its members is a more than capable front-person when taking the lead role on a song.

There's a wide gamut of emotions on display, from Al's deliciously menacing theatrical portrait of the Bishop on Boot Soup and guitarist Steve Ritchie's charming swing-idiom retelling of When Dad And Uncle Archie Lost The Farm, both of which contrast nicely with Tanglefoot's tremendous, lively take on the traditional Paddle Like Hell done in authentic French-Canadian dialect, naturally!

The band's newest recruit, flamboyant fiddle player Sandra Swannell, contributes loads more than just a pretty face and some spirited musicianship, and not just in the vocal-harmony department but in the shape of a fine song, the story of Maggie, which fits in really well with the rest of the group compositions. Steve's anthem For The Day another well-harmonised acappella item forms an ideal closer. Maybe you'll feel that the brief sequence of slightly silly extraneous outtakes tacked on at the end should have been left on the cutting-room floor, but at least you can exit before they start.

Any mild sense of underplay at moments during the set is only apparent while memories of the band's massive live presence remain in your mind; what's important is that Tanglefoot still make a suitably big sound even on disc and they're on splendid form both vocally and instrumentally here.

After five studio albums and even more UK tours, the big hairy ones have finally got round to releasing a live CD. Captured Alive brings right into your living-room or bedroom, car or privy!

Recorded in Toronto over three nights in May last year, and following hard on the heels of the release of their successful Agnes On The Cowcatcher CD, this minute selection of definitively passionate, full-frontal Tanglefoot performances marks a watershed in the band's development.

It acts as both a swansong for the retirement of original member Joe Grant from performing with the band although he continues to write for them and as an introduction to new recruit, fiddler Terry Snider they appear together on the set's finale La V'la M'Amie. If you don't already know Tanglefoot from their many riotous UK festival appearances thus far, take heart: I need to come clean myself, for during the early years of their career I was wondering what all the fuss was about.

I couldn't deny their energy, passion, musicianship and artistry, but somehow their larger-than-life presence, at least on CD, seemed overly concerned with maximising the impact with over-the-top delivery and a certain amount of posturing, which, although designed to impress, left me somewhat cold in the end.

But more recently I've been a bit of a convert even though it's still the case that not all of their material totally convinces meand not only because experiencing the band live is a whole different kettle of fish. Quite simply, Tanglefoot are a top-flight live act, working hard, giving value aplenty with their supercharged, upfront performances of folk-tales that veer credibly from the good-natured and cheekily witty to the tragic and highly poignant, counterpointed by a true instrumental versatility and a hell of a stage presence.

Tanglefoot are true showmen, who know how best to present their uniformly strong material and how to please an audience and keep their interest throughout a set. There are no longueurs, and every song's a winner, whether rollicking or thoughtful. With 14 songs ranging far and wide through the band's healthy back-catalogue, together with five intros, and all encased in a handsome, heavy-duty digipack with photos, lyrics and notes, Captured Alive is as essential for the Fan as for those who still need convincing of Tanglefoot's already legendary status.

A sure-fire chart hit? What's new? That's the way it's always been for those of us who have found our music in the margins; the ' word ' passed by a friend, a great review in an American magazine, a link on the internet.

We find our music under the radar. Michael Tarbox's unpretentious foursome, with himself on guitars and vocals, Jon Cohan on drums and percussion, Daniel Keller on violin and vocals and Johnny Sciascia on bass fiddle and vocals, strut their raw, rootsy rockers with a genuine feel for the soul of the South. It's unpasteurised and so real you can taste it.

Fresh arrangements guarantee you're not left with that ' jeez, there goes another blues standard again ' feeling. The core of the band started with Joss Clapp acoustic bass and Rob Armstrong cittern. Having worked together intermittently as a duo, they were soon joined by Ben Murray accordion and Jon Redfern drums and ultimately Emma Hancock fiddle.

This is their second album, and although it does not feature Emma, still gives a good impression of the band as they are today. Not folkrock red in tooth and claw, but a much more subtle variation.

There are tinges of Bert Jansch, celtic, cajun, jazz, and other influences even Pink Floyd on a pot puree of memorable tunes and songs. The rather down beat title track kicks off the album - actually it's a bit of a grower - followed by a splendid instrumental, Russian in feel with Celtic overlays.

Next up is the sprightly song ' Fires ', featuring some nice accordion and acoustic guitar. Next up is a real gem - ' Dark Eyed Sailor '. The well known trad song given a drop dead gorgeous acoustic arrangement.

The CD is worth buying for this track alone. Finally, is ' Bagels ', another well played and enjoyable tune set. All in all, a real gem of an album, and one to add to anyone's CD pile. From the name alone, Tattie Jam might be deduced to be either frivolous or fusionist, but although this Scottish duo incorporate elements of those traits they're embraced as entirely positive qualities that don't overstay their welcome.

Here we have two very accomplished instrumentalist-singers: well-respected cellist Seylan Baxter who's also a member of Ken Campbell's Ideal Band and a collaborator with Alaskan harper Cheyenne Brown and multi-instrumentalist Ruaridh Pringle who plays guitar, tenor banjo, octave mandolin and didgeridoo.

Each of them is intensely but wholly naturally capable of switching between lead and supporting roles during the course of a song or instrumental set, as the music demands, and their open-minded versatility enables them to maintain a constant freshness of approach that, though employing a necessary measure of thoughtful pre-arrangement, also retains both a healthy degree of spontaneity and the all-important element of surprise for the listener within the unusual flavourings and often strange twists and turns of text and texture.

In this way, Tattie Jam always manage to tread the fine line, and maintain the all-important balance, between the contrasting elements of their musical personalities, allowing each of these to percolate to the surface at the appropriate moments. Their respectful attitude to tradition is given due weight, while the slightly more facetious side of life is not neglected, being cheekily conveyed in a lively Scottish fashion. Entertainment value is high throughout the disc in fact, as is the level of invention in the musical arrangements.

Razor released three albums on Attic but after the third was released, the band felt it was essentially going nowhere. Attic had managed to get European distribution for their product but the promised release of their music in the US and Japan never materialized.

Razor approached Attic and asked to be released from their deal; Attic complied. They released two albums and then started having line-up problems which ended in Carlo being the only original member left. Reid, Armstrong, and Mills re-formed Samhain under the new name S. Carlo mended fences with his former band mates in and the existing line-up of S.

At the turn of the millennium Mills returned to Razor and inCampagnolo returned to replace Armstrong. The band is still performing and recording to this day. They remained together through several line-up changes but Dekouchy and Myke kept the band going right into By the age of 12, he was playing banjo and guitar. During this period both Neil Young and Joni Mitchell urged him to write his own material. Its success was followed by several other CBC projects.

During most of the s Rea took time to raise his three children, playing only short tours, selected festivals and recording projects such as a David Maloney album.

The album was co-produced with Michael Knapp and recorded live, in two sessions, in Placerville, California. Rea died the day after his 65th birthday October 27, Adams and Pilon moved back to Ottawa and formed heavy metal at Witchkiller. A major US tour with Rush failed to yield any notable response in album sales or favourable press and a headline Canadian tour ended in a fist-fight between Cochrane, a road manager and bassist Jeff Jones.

Otis Gould. Executives were impressed with his writng and offered him an advance plus cost of damages when his car was robbed while he was in that first meeting. He was signed to London Records in Jerry Doucette co-founded the band when he was 11 years old. The band lasted five years before Doucette moved to Toronto to begin a long musical career that would include Tribe, Brutus, Abernathy Shagnaster, Alexis, Homestead and his own successful solo career.

Distributors MCA were concerned that their name sounded too much like another of their bands Stone Furyso they asked them to change theirs, and Refugee was born. The band was actually pleased with the Michael Fury album, which was written predominantly by principal songwriter Hunter, and had been recorded for a different label.

They planned a 6-concert, day tour of the country, but things quickly fell apart when forces in the new racially charged government conspired against the band to make the tour impossible and therefore make the government look inept. When they finally made it to the airport, the Canadian ambassador had to do some fancy talking and dealing to convince security who had been bribed by government officials to let the band leave.

Such was the haste of their departure that the members of the band got separated from each other and their equipment on different flights to different parts of the world, but they all eventually made it back to Canada — as did the equipment.

The band spent the next two years playing regularly, pretty much anywhere they could get a gig, including 29 dates in the US opening for Jeff Paris. Once again they established themselves as a premier live act, but the constant touring did nothing to boost sales or make their name known to more people.

He took the job and spent 4 years on the road touring the world. While touring as a cover band to make ends meet, Hunter left and Northern Union eventually mutated into an Eagles tribute act called New Kids In Town and then Desperado.

He gave up music full time to become and ordained minister and led parishes in Toronto and Niagara On the Lake. As is the fate with most bands, the unit split up in Soon the bassist left and Bryden snuck in former Columbus bassist Joe Gallant. The album was released in January However, the band fraught with internal conflicts once more and destroyed the band.

Bryden and Squires moved on once again and hooked up with drummer Rich Richter and bassist Russ Erman who reclaimed the name Reign Ghost with the new comrades more than willing to become the New Reign Ghost. Bryden went on to join Christmas aka Spirit of Christmas and their first album, coincidentally was released by Paragon in July on the exact same day as they decided to release the 2nd Reign Ghost album.

Lawrence Market which attracted large crowds. Reno was named an Officer of the Order of Canada in She has appeared in several more movie roles over the years and has never stopped recording. In the award was expanded to 10 nominees and was nominated again against even newer pop music acts such as Arcade Fire and Justin Beiber who won. They moved from Toronto to the UK in where they were not well received before returning to Toronto. A second single followed in after they changed their name to Raja before the band folded.

Albums Volume 1 Backburner BB Soon they realized the horn section was too unwieldy and brought in guitarist Tielli to take the place of the horn section. The initial run of 1, sold-out over the course of a year and would be re-mastered and re-issued a decade later on CD. He was replaced by Wojewoda. The event was renamed The Fall Nationals and became an annual event through Tim Vesely announced he wanted to leave the band in September to focus on his own project called The Violet Archers.

The production was a collection of performances recorded at their Ultrasound Showbar residency in April However, neither Rothchild nor Mohawk were content with this line-up and continued their search. By Januarythe newly formed Supergroup without Finley and Gerber are asked to be backing musicians on the debut album by newly signed solo artist David Ackles.

Still without a drummer, ex-Daily Flash member John Keliehor is brought in for the recordings. Not long into drummer Billy Mundi ex-Mothers Of Invention is the final piece to the puzzle completes group who soon gather in Los Angeles to begin rehearsals at a Hollywood theatre.

Soon the group is touring with the likes of Love and Taj Mahal while headlining their own shows from Los Angeles to New York and every stop in between. They stay throughout November in New York. Rhinoceros returns to New York to play The Scene, but have to cancel a second show after the sudden, unexpected departure of Penrod. Meanwhile, Rhinoceros return to Los Angeles briefly to record their second album with producer David Anderle.

In July Doug Hastings leaves to return to L. The group was devastated by the decision and after the Boston shows Alan Gerber quit. The band continues on their tour of the eastern seaboard throughout December and into early Edwards leaves soon after and is replaced by Richard Crooks ex-Dr.

In DecemberCrooks leaves and is replaced by drummer Malcolm Tomlinson. The band had a complete member change but broke up in ; Fonfara and Weis would go on to become top session players in L. In they teamed up with Harding and Tatroff to form Rhythm Mission. Rhythm Mission broke up in and the Jazzmanian Devils continued on. Managed by Grant Gabriel, they would become quite popular on the Toronto club scene.

In the band attracted interest from Columbia Records and were the first Canadian black band to ever sign with a major label. Ricketts would assemble his own band that year and record for Columbia as well.

He Album) eventually move back to Jamaica and commute to Toronto as needed for his solo career. In the band reunited to record on Version Records which would also be the home of material by Glenn Ricketts. The Calgary band was formed in and went through many incarnations before settling on the line-up of Leger, Brisson, Lapchuk, McDowell and Moller.

The band has released thirteen albums and toured Canada at least a dozen times. Albums Ripcordz Are Go d! The band would change its name to Willapuss Wallapuss when they recorded for Yorkville. He would also end up creating two musically diverse record labels — Double M for pop material and Hard Core for dance music.

While running these operations he recorded several solo singles for Double M and recorded a full album under the studio name Roadhouse. It also got as high as 15 on the CHUM chart. Manager and fellow Canadian, Brian Chater put together a touring band to promote the record. Murphy was not part of the live act. He is currently a successful songwriter in Nashville. Alas, the record did not fair very well nor the non-LP follow-up singles in The band split up in ; Lagoudontis is now a real estate agent in Toronto, Ontario; Lee went on to be a Rod Stewart impersonator for many years.

He died in from prostate cancer; Michael Kamino died March 27, In recent years his session work and co-writing has kept his career hopping.


No Hay Luz - Tozcos - Mundo Artifical EP (Cassette), Feel Like A Dum Dum - U96 - Replugged (Cassette, Album), Got TheWorld On A String - Billy Daniels - Roaring 20s (Vinyl, LP), Just A Little Bit More - The Stuarts - Just A Little Bit More (Vinyl), String Pull Job - John Hiatt - Two Bit Monsters (CD, Album), You Dont Have To Grind - K-Kat - Osiris (File, MP3, Album), Si Eres Tu (If Only You) - Joe Loco His Piano And Rhythm - Poco Loco With Joe Loco (Vinyl, LP, Album, Bloodthirsty (Thirsty Instrumental)


  1. Maverick Child Written-By – David Rea: A2: Bad Luck Blues Written-By – David Rea: A3: Little Lady Margaret Written-By – David Rea: A4: Blue Yodel #9 (Standin' On The Corner) Written-By – Jimmie Rodgers: A5: Cannibal Christians Written-By – David Rea: B1: I May Be Gone Written-By – David Rea: B2 /5(7).
  2. Feb 12,  · In , Felix Pappalardi produced (and played on) Maverick Child, and dragged his buddies Corky Laing and Leslie West into the studio, where they laid down a version of Robert Johnson's "Hellhound On My Trail" with Rea singing lead. David Rea is also credited as co-writer of Mountain's hit "Mississippi Queen"/5(2).
  3. Feb 12,  · In , Felix Pappalardi produced (and played on) Maverick Child, and dragged his buddies Corky Laing and Leslie West into the studio, where they laid down a version of Robert Johnson's "Hellhound On My Trail" with Rea singing lead. David Rea is also credited as co-writer of Mountain's hit "Mississippi Queen"/5(9).
  4. David Rea: Maverick Child (LP, Vinyl record album) - Features work from Leslie West on guitar, David Briggs on piano, and Felix Pappalardi on bass! Titl -- Dusty Groove is Chicago's Online Record StoreBrand: Capitol (Label).
  5. Maverick Child, an Album by David Rea. Released in on Capitol (catalog no. SKAO; Vinyl LP). Genres: Singer/Songwriter, Folk Rock. Featured peformers: David Rea (guitar, vocals), Felix Pappalardi (producer), Bob D'Orleans (recording engineer), Gene Eichelberger (recording engineer), Bud Prager (executive producer), Gail Collins (cover art, photography), /5(1).
  6. - Taken from the USA Maverick Child release notes (since removed), author unknown: "A beautiful album in its own merit. Rea walks the thin line between folk, blues and country, and writes songs like nobody else. David Rea also constitutes the musical link between Mountain and Fairport Convention.
  7. Prime classic Springsteen double album, circa ! The River finds Bruce a few years removed from the massive breakthrough that was Born To Run, and seemingly starting to let go of the darker tone of Darkness On The Edge Of Town, though still with some shadows of it. Definitely a creative high LP, Vinyl record album.
  8. The sweet second album from the Raspberries! The Rasperries were all about the songcraft, bringing sort of an unpretentious, midwestern charm into original tunes that build from the sophisticated pop of the breezy LA scene – much more so than on the Brit Invasion-learned debut album. Fresh relies a bit more on a softer acoustic groove than the debut, with .

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