(2002 ´CrossCut´) (126:50/23) Enhanced CD - kommt mit einem Bonus ´Live´-Videostück, ´Stagger Lee´, featuring Sonny Landreth / comes with a bonus ´live´ video track featuring Sonny Landreth. -- . Nach vier Studioalben im Verlauf von acht Jahren war die Realisierung eines Live-Albums für Hank logische Konsequenz - und für die meisten seiner Fans die Erfüllung eines Traums. Das letzte, selbstbetitelte Album konzentrierte sich auf die Songs von Hank und liess wenig Raum zur instrumentalen Entfaltung. Wer Hank einmal ´live´ erlebt hat weiss, mit welcher Intensität und ausgeprägten Soli er seinen Songs eine extra Portion Spannung verleiht. Und exakt dieses gewisse Etwas, das nur auf der Bühne passieren kann, ist perfekt eingefangen worden. Der Sound ist unglaublich nah an dem Erlebnis vor der Bühne, direkt und kraftvoll und mit einer Transparenz, die es in diesem Masse bei Liveaufnahmen nur selten gibt. Loose Gravel sind eine hervorragend eingespielte Rhythm Section und der perfekte Support für Hank. Das zusammen würde schon genügen, um über zwei Stunden ein äußerst entspanntes Rockkonzert zu Hause geniessen zu können. Doch der besondere Höhepunkt passiert auf CD #2. Als besonderer Gast wurde Sonny Landreth aus Louisiana eingeflogen. Er gilt bei seinen Fans und Kritikern gleichermassen als Gitarren-Zauberer. Seine Art, Slideguitar zu spielen, ist einzigartig auf dieser Welt. Zu hören, mit welch unglaublichem Einfühlungsvermögen er mit Hank als Gitarrist auf der Bühne kommuniziert, laeßt mir Schauer den Rücken herunterlaufen. Zwei der weltweit besten Slidegitarristen auf einer Bühne - was will man mehr? Wer abseits vom Blues auf exquisiten Gitarren-Riffs und -soli steht, kann kaum besser bedient werden! Kommt im acht-seitigen Digipak / on his last, self-titled album Hank´s focus was on the songs. The arrangements were tight, not allowing to stretch-out on guitar. With four studio albums in the catalog, Hank felt it was time for a live record, an album all his fans have been waiting for! Who ever had a chance to experience Hank Shizzoe & Loose Gravel ´In Concert´ knows about the extra portion of intensity, power and feeling that can only be produced on stage, in front of a supportive audience. This live double-CD brings you more than two hours of the finest in American style roots rock. The sound is just perfect. You´ll get the impression of shuffling in front of the stage, without having to leave the ambience of your living room. Loose Gravel featuring the fabulous Michel Poffet on upright bass, and the rock-solid Christoph Beck on drums, are the perfect support for Hank´s extensive guitar, and slide guitar soloing. The trio recordings alone would be a gem. But CD #2 is giving you extra value. Exclusively for the live recording sessions last September, we flew Sonny Landreth in. The slide guitar player from Louisiana is member of the top-five club of excellence, one of the finest players on this planet. His interplay with Hank and the band is amazing. That part of the show is a real highlight, both in instrumental versatility, and human experience. This is the album, Hank´s fans have been waiting for. It´s also a good start for all those that love great guitar music. HANK SHIZZOE - voc/gtr/bouzouki, MICHEL POFFET - upright bass, CHRISTOPH BECK - drums. Special guest: SONNY LANDRETH - slide gtr (12 tracks).
(2003/CONCERT PRODUCTION) 22 tracks (76:06) rare themes and radio show excerpts from the 50s - some dubbed from discs / sehr selten Radioaufnahmen, Titel bzw. Erkennungsmelodien, Promotion-Singleveröffentlichungen etc - einiges von Platte/Azetat überspielt aber noch OK (und sehr rar)
(2000/Elvis Unlimited) Paperback, 23x26 cm, 96 pages, complete illustrated with full page color photos of Elvis on stage 1972-1975. Plus Audio CD ´Stories by Ed Bonja´ (17:35 Min.). - From the Foreword by Ed Bonja: When I thought about writing this book about Elvis, I asked myself what I could possibly add to the volumes that have already been written about Elvis Presley - The King Of Rock ´N´ Roll. Elvis has been researched and analyzed by so many writers that we now know about every step he ever took, every song he ever sang, every girl he ever dated, every breath he ever took, every word he ever spoke, and on and on and on.... When I looked further into this situation, I found that the large majority of those who have written books about Elvis didn´t know him, never met him, never even saw him in person - either on stage or off, and, certainly, never took a photograph of him. Well, that made me feel that I did, indeed, have something to write about Elvis which almost none of the other book writers have. I met Elvis; I knew Elvis and spoke with him on many occasions over the years; I photographed Elvis in the 1970´s as the ´Official Photographer for the Elvis Presley Show´, I worked as the Elvis Presley Show´s Tour Manager, I saw Elvis in person perform over 1000 concerts and the list could go on and on, but you get the idea! In any case, the photographs I have taken of Elvis will comprise, by far, the largest part of this book and show Elvis in many wonderful ways. My photographs of Elvis have been used on dozens of Album Covers, Single Sleeves, CD´s, and for nearly everything that required a photo of Elvis in the 70´s. Wow! I got so excited about this possibility that I am now thinking in terms of ´series´ of Elvis Books. ...and so I began! - Ed Bonja was the official Photographer and Tour Manager for the Elvis Presley Show from September 1970 through may 1, 1977. His photographs were used on Elvis´ Album covers, Posters, Photo Albums, buttons, etc during the 1970´s, and are still being used by RCA-BMG on CD releases today, with the latest being used on the ´Moody Blue´ CD remake.
(1996 ´Delmark´) (70:15/13) Eine Benefiz-Veranstaltung für die privat-finanzierte Blues-Radiosendung Steve Cushings. Grundsolider, wenngleich wenig spektakuläre Aufnahmen aus dem ´B.L.U.E.S.´ in Chicago - eine typische Bluesnacht in Chicago For 17 years DJ Steve Cushing has aired Blues Before Sunrise, the ´Blues Heritage Showcase´, over Chicago´s public radio station 91.5FM WBEZ, and for the last six years the rest of the country has also had a chance to hear his show via satellite syndication. Broadcast from midnight to 5 a.m., Blues Before Sunrise has long served an audience that includes loyal home listeners, musicians lounging on break, lovers in their living rooms, cab drivers and other service workers pulling the graveyard, and even teen airwave surfers discovering an entire musical world peopled by cats who were hip before them. Blues Before Sunrise showcases blues as part of a cultural landscape that includes jump and jive, rhythm and blues, swing, doo wop, gospel, comedy, and recitation, and never is the music presented as kitsch or retro fashion in the way that some music has been exploited and trivialized. For Cushing the blues is a living African-American tradition with deep roots. As a musician himself bearing substantial credentials with Magic Slim and The Teardrops, the Lee Jackson band and Smokey Smothers and The Ice Cream Men, Steve Cushing numbers among his friends and closest associates the artists on this recording-fellow musicians to whom this is a vital, thriving music as well as a means of making a living. Now gone independent and seeking permanent sponsors, Blues Before Sunrise held a benefit concert at Chicago´s B.L.U.E.S. on October 20, 1996 to purchase satellite time to keep the show on the air. The packed-to-the-doors fund-raiser featured artists Billy Boy Arnold, John Brim, Jimmie Lee Robinson, Taildragger, Big Wheeler, Jimmy Burns, Lurrie Bell, Willie Buck, Lester Davenport, Dave Myers, Sammy Fender and others&emdash;each an extraordinary practitioner of Chicago blues and together a full-credit, higher education history lesson in the blues. The portion of the show preserved on this CD is hair-bristling proof of among other things the constancy of the post-war sound and of the vitality of the ever-fruitful Chicago scene. Vocalist and harp player Big Wheeler leads off backed by Rockin´ Johnny Burgin, Dave Waldman and Cushing, as he was on his 1993 Delmark release Bone Orchard (Delmark 661), performing three original compositions solidly in the musical style of his other two selections, Muddy´s ´I´m Ready´ and Little Walter´s ´Got To Go.´ Gary, Indiana native John Brim reprises four of his now-classic Chess sides supported by some of the original Ice Cream Men (named by Illinois Slim when they played behind Otis ´Big Smokey´ Smothers who was one, and only coincidently also the name of one of Brim´s numbers) Cushing, Dave Waldman, Slim (Tom Morris), and Sho Komiya on bass, and on the last cut, Martin Lange on harp. Billy Boy Arnold still sounds like the young man he was when he waxed classic 45s ´Ain´t Got You´ and ´I Wish You Would´ in the mid-1950s. ´Streetwise Advisor´, a sly paean to the Bronzeville patter of his youth, is followed by a rock-the-house-down musical pastiche that begins as ´Stormy Monday´ and leads into a medley of verses from his mentor Sonny Boy (John Lee) Williamson. Johnny Burgin and The Lazy Boys provide crack period back-up with a contemporary freshness behind both Arnold and Jimmy Burns (they were also the studio band in Burn´s recent release Leaving Here Walking (Delmark 694) and they appear with him weekly at Smoke Daddy´s). Burns makes Jimmy Rogers´ ´You´re The One´ sound brand new, then closes out in thrilling fashion with the soulful, minor-key title track to his CD, a fitting end that effortlessly stretches the blues boundaries. These musicians (all of them heard regularly on Blues Before Sunrise) aren´t ´revival´ acts. They´re out there every day playing music that would never occur to them as being ´old´ or ´retro´ but instead is part of an ongoing cultural tradition. Put this platter on and spin your own private Chicago blues festival featuring some of the best current practitioners of the genre, courtesy of Blues Before Sunrise and Delmark Records. Then go out and see them live. And afterwards, tune in to the show. And may the sun never set on Blues Before Sunrise, or the Chicago Blues. --Justin O´Brien
(2009/Praytome) Hardcover, 21x30 cm, English, 124 pages of notes, rare photos & memorabilia in b&w and color. ´´This book is dedicated to Elvis Presley for showing us all that what we do with our lives will be our legacy; and to my dear friend and mentor, Colonel Tom Parker, who taught me that anything is possible if you only believe - and if you´re a good enough snowman.´´ Foreword by Sam Thompson I am so pleased and honored to have been asked by my old and valued friend, Charlie Stone, to write the foreword to his book about his days with the Elvis Presley Show - Elvis and the Colonel. I met Elvis in November of 1972 through my sister, Linda, who was dating him at the time. I was an officer with the Shelby County Sheriff´s Department in Memphis, and Elvis and I quickly became friends. Elvis was a good friend of my Sheriff in the department, Roy Nixon; and in the Spring of 1973, Roy informed me that Elvis wanted me to go on a concert tour with him. A two-week leave was arranged for me; and that was the beginning of my touring years with Elvis: whenever there was a tour, I would get a leave to work security on the tour. In July of 1976, I left the department and went to work for Elvis on a full-time basis, as a personal bodyguard and tour advance man, providing security for Elvis at Graceland, his homes in California and on all the concert tours,including hotel and airport security.
(See For Miles Records)) 26 tracks Stateside & Columbia - It was in June 1967 that the ´Atlantic Soul Review´ hit Amsterdam to play a concert at its renowned concert hall, the Concertgebouw. The star studded pack-age featured some of the finest talent from the Atlantic and Stax labels such as Sam and Dave, Eddie Floyd, Carla Thomas, Arthur Conley and Booker T and the MG´s. Wilson Pickett had been announced as the headliner of the show, but he appeared to be indisposed and was replaced by Lee Dorsey at the last minute. I had recently been installed as the label manager for the Stateside label at Bovema, the Dutch company that represented EMI Records. Lee´s recordings on the American Amy label were released on the Stateside label in Holland. I was duly consigned to perform the usual hospitality ritual bestowed on visiting international artists that the record company represented. In the case of Lee Dorsey, this proved to be a delightful job. Lee was a happy and easy going character with an infectious grin and chuckle. I spent one of my better nights out, introducing Lee to the various delights that Amsterdam had to offer during the late 1960´s, and I can assure you that he was great and appreciative company. The next evening he proved to be a consummate showman and hard worker as the only non-Atlantic/Stax artist in the ´Atlantic Soul Review´. Lee stole the show and won the hearts of the Dutch soul fans with his segment in the show, culminating in his suggestive and humorous rendition of ´Ride Your Pony´, which caused a near riot in the usually sedate Concertgebouw. Irving Lee Dorsey was born in New Orleans on December 4, 1926 and moved to Portland, Oregon at the age of 10. During the late 1940´s and early 1950´s Lee was a successful lightweight boxer, operating under the nickname ´Kid Chocolate´. He survived a four year stint in the Navy after which he resumed his boxing career. Lee hung up his boxing gloves during the mid 1950´s when he returned to New Orleans. Circa 195658 he met Allen Toussaint, either at a party or in a studio to which he had taken a page of verse in the hope of making a record out of it. At that time the younger Toussaint, born in New Orleans in 1938, had already passed through the R&B group leader and touring accompanist stages to begin his climb through the ranks of local session musicians. During the late 1950´s Lee made his first recordings for Joe Banashak´s Instant label. One of these singles was ´Lottie Mo´, which became a regional hit on which he was backed by Allen Toussaint, who also arranged the track. Marshall Sehorn, who was Southern promotion man, talent scout and sometime producer for Bobby Robinson´s New York based Fury label, heard ´Lottie Mo´ on the radio during one of his visits to New Orleans in 1960. Marshall was duly impressed by the record and Lee subsequently signed to the Fury label. ´Ya Ya´, Lee´s first Fury single, exploded and went to No. I R&B and No.7 Pop on the Billboard charts in September 1961. Petula Clark covered the song as ´Ya Ya Twist´ for consumption on the European market, and reached the UK Top 20 with it. Fury followed ´Ya Ya´ up with ´Do-Re-Mi´ in December 1961 and again Lee scored a considerable hit, peaking at No.27 Pop and 22 R&B on the Billboard chart. ´Do-Re-Mi´ was regularly performed by Georgie Fame and Dusty Springfield. Lee recorded another 3 singles for Fury, but the hits had dried up. A subsequent Fury album contained 15 tracks, Lee´s total recorded output for the label, recorded in New Orleans in 1961 and 1962. Allen Toussaint who wrote, arranged and produced hits for Joe Banashak at this time, also freelanced and almost certainly arranged and co-produced with Marshall Sehorn all of Lee´s Fury sides. Toussaint did not play piano on ´Ya Ya´ according to Kurt Mohr´s Lee Dorsey discography. The backing on ´Ya Ya´ was provided by: Marcel Richardson, piano, Melvin Lastie, trumpet, Harold Battiste, tenor sax, Red Tyler, baritone sax, Justin Adams, guitar, Chuck Badie, bass and John Boudreaux, drums. The back-up on ´Do-Re-Mi´ consisted of: unknown horns, Allen Toussaint, piano, Roy Montrell, guitar, Richard Payne, bass, and John Boudreaux on drums. The Fury label collapsed in 1963 and Allen Toussaint was drafted into the army at the same time Lee returned to his car repair business while his recording career temporarily stalled. During the next few years Lee, still managed and produced by Marshall Sehorn, had a single released on the Smash label and
(2007/BMG) 14 tracks Even today Boney M. still counts as THE hit formation of the disco era. Since their first top hit ´Daddy Cool´ in 1976, one hit followed closely on the heels of the other backed by the group´s fresh pop sound, dazzling costumes and sexy shows. The bubbly quartet, made up of the singers Liz Mitchell, Marcia Barrett, Maizie Williams and the ex-disc-jockey Bobby Farrell, gave such an exciting interpretation of the sound developed by producer Frank Farian that the group was soon to become a permanent guest in what at that time was Germany´s most popular pop show ´Musikladen´. After that there was no stopping the four: in the years 1975 to 1988 Boney M. stomped their way through the charts to chalk up a sensational 38 top ten hits, an impressive 15 of which were No.1 Hits in Germany. A similar success story was written in the UK: 22 top ten hits, five of which reached No.1 of the UK hit parade - with three Boney M. songs even enshrined in the perpetual best seller list of the UK charts - ´Mary´s Boy Child´ which ranks 10th and the single ´Rivers Of Babylon´ with its b-side ´Brown Girl In The Ring´ which even ranks 5th. Boney M. can boast of two unique distinctions. First, Queen Elizabeth II personally awarded Boney M. the title of ´Most Successful Pop Group 1978 in England´. Second, Boney M. was the first western band to be granted permission by Leonid Breschnew, General Secretary of the Communist Party of the Soviet Union, to hold ten concerts in the former USSR. Until today, the pop formation has sold more than 50 million singles and over 60 million albums. Frank Farian´s trophy room contains more than 800 silver, gold and platinum awards which were bestowed on him in recognition of his opulent mix of Caribbean sounds, hot disco beats and black music elements that was to create the most successful German music concept of the seventies and early eighties. His not exactly modest but fully justified comment on this was: ´My success recipe: good songs, good singers and perfect productions. Each little piece has to fit together like a mosaic.´