Comets - Mercy, Mercy (CD) - Hoax Or The Real McCoy? - #282

 Comets - Mercy, Mercy (CD) - Hoax Or The Real McCoy?

I got this CD recently and it all looks like a hoax to me. Collectables wouldn't be the first ones to try and drum up support for a non-existent band, apparently lost in time and then thirty years later a stack of tracks were found for an abandonded LP project. Well, queue up, Collectables, you're not the first ones.

For a start, the information is extremely thin on the ground. Whatever is available on the www seems to be copied from another source, that has in turn been copied from somewhere else and so the story ends. Apparently six kids got together in 1963 at Hill Junior High School in Winston-Salem, Carolina and formed a "musical group" and called their outfit Comets. This isn't Bill Haley's Comets. Just saying.

The members were:

Tim Pepper - Bass (age 14)

Mike Russel - Vocals (age 14)

Joe Stonestreet - Sax (age 14)

Alan Denny - Guitar & Keyboards (age 12)

Mike Hall - Drums (age 10)

Buddy Hobgood - Lead Guitar (age 12)

This fabricated story is also unclear about the "members" ages, as to when the stated years were relevant. Was it in 1963 or at the time of recording (1966). Usually the latter is claimed. But this is already the first benchmark and I honestly doubt that kids between the age of 10 to 14 can produce such a record (or between 13 to 17). This is much too professional and proficient.

These musicians know their trade, there's not a false tone in sight (at least as much as I can tell). Just too sophisticated. This is considering the 1963 date or the 1966 one, it doesn't matter. And the singer's voice is not that of a 14-year old (or 17). This is the voice of a late 20s or even a decade later singer. And the guy is schooled in Soul, Blues and knows exactly what he's doing. It seems like Collectables couldn't even get a fake story straight. The recordings were apparently made for Justice Recording Co, which seems to have been a contract label for everyone in need of a vinyl or tape release.

The tracklist:

1 Mercy, Mercy - Written-By – Covay, Miller

2 What You've Done - Written-By – Denny, Russell

3 The Last Time - Written-By – Jagger-Richards

4 Hi Heel Sneakers - Written-By – Higgenbotham

5 Johnny B. Good - Written-By – Chuck Berry

6 In The Midnight Hour - Written-By – Cropper, Pickett

7 Mr. Pitiful - Written-By – Redding, Cropper

8 Someday You'll See - Written-By – Denny, Russell

9 Memphis - Written-By – Chuck Berry

10 Do You Remember? - Written-By – Denny, Russell

11 I Got You (I Feel Good) - Written-By – James Brown

12 Talking 'Bout You - Written-By – Chuck Berry

The CD (it was released in 1997 - Collectables – COL-0620) is mostly made up of covers (as is to be expected considering the time it was supposed to be recorded and the place all this happened, or so they said. The one thing (amongst many others) that bothers me the most, is the three original songs on offer here. In itself, that wouldn't be cause for suspicion, but it all falls somehow into place. As mentioned above, there's not a whole lot that can be found on the internet. The whole three sentences turned over and over again. If one tries to find traces of the members, you're dead in the water. I did have some luck with AI, but there's no way I can establish accuracy.

The description of their music goes from Garage to Rock to Funk and Soul. A big chunk is actually Soul. As a CD, this works quite well. I even doubt that this was recorded in 1966, by whomever. I'd go for 90s date but I'm still baffled at the reasoning behind this. There's not much money to be made, except when you try to establich your credentials to the next step. And don't let yourself be fooled into the 1966 date because of some imperfections in the sound. This can all be reproduced nowadays.

If it doesn't matter to you wether the band was hiding in a chicken shack or took the world by storm, I can recommend this CD. In the end this is fun, well played and at least yours truly can't find a fault with it. Except that I want to get to the bottom of the story. If anyone reading this has listened to the 12 songs or has further information, please leave a message below. Thanks a bunch.

Cheers

Roland

Elvis Costello & The Imposters - "Button My Lip" (From The Delivery Man) - #281

Elvis Costello & The Imposters - "Button My Lip" (From The Delivery Man)

Normally I don't have the time to write scorching reviews about an album, a song or whatever. I'd like to stay on the sunny side of my musical taste. But sometimes it just happens and there you are. I admit it, Elvis Costello (wether with The Imposters or not) was never my first tier choice. More like towards the back of the room. But not excluded and waiting outside the building like some others. I don't rteally know why I never got to grips with the man. His music just didn't interest me in the way that I had to have his releases. Not one. Recently I've bought a ton in mint condition in a local thrift store for chump change.

Amongst the stuff was "The Delivery Man" and whilst not all CDs were cringeworthy, on a scale of 1 to 10, nothing made it past 6. Unoriginal and lame comes to mind and the songs itself sounded like excuses to try his hand on something others did much better. Comes Friday and the first CD I play is "The Delivery Man", well, the first one and a half tracks anyway. I haven't heard a worse and redundant song for quite a while than "Button My Lip". Everything is wrong with that, I refuse to even consider this a song. It's helpless, not a trace of what makes a musical track a "musical" track. I've a weird section in my collection and there's some stuff where you scratch your head, but some of it is fun. This one is not.

                                  

Reading reviews after the fact, I don't seem to be the only one wondering why something like "Button My Lip" was released. But that's the problem with artists who produce a song, a painting, a film or whatever, on their own. They believe that their ideas are the greatest and there are no checks and balances. Some of them would need to listen, but their entourage consists probably of just yeasayers, afraid of the consequences. While the 4:51 crawled like what felt like an eternity, I became ever more irritated and I didn't need to listen to the rest of this botched attempt at a song. one and a half tracks into the proceedings I removed the CD and changed to QUI FM Blues'n'Rock (Radiostation from France) and God help me, the second song they played was Gary Moore's "Still Got The Blues". Certainly, they come in droves.

Cheers

Roland

Alberto Y Lost Trios Paranoias - Italians From Outer Space (CD) - #280

Alberto Y Lost Trios Paranoias - Italians From Outer Space (CD)

It was the very year of 1977 and I probably came back from a lengthy stay abroad. And back to an office job and one of my lifelines was actually discovering Alberto Y Lost Trios Paranoias and their second LP "Italians From Outerspace". I hadn't heard of the band previously, not their debut and "Skite" came later. The whole story of the band crammed into a recording/release period from 1976 to 1978. They should have been big, but I'm not sure about me, I always had a bit of a phobia regarding major acts (or what I deemed to be major acts). Maybe I got lucky that Alberto Y Lost Trios Paranoias never made the big screen.

                                

The first couple of times, I listened to the album, I heard traces of Zappa (Frank, that is) in their music and I remember talking about it to some friends of mine during that time and I got laughed off. Granted, three of them were Frank Zappa fans and knew definitely more about his music than yours truly. A couple of years ago, I read an assessment re the bands output by a music journalist and specifically the "Italians From Outerspace" and he mentioned certain parts of their music in neighbour's garden to good old Frank. I wasn't relieved or anthything that I was proven not to have misheard, Zappaesk maybe. I just acknowledged the text with maybe a nod.

                                 

The Album has stayed with me and I have several copies on Vinyl. But I forgot all about it for years at a stretch and this with one of the major albums in my collection. Every ten years or so, I plucked the LP from the rack and went back in time when music was great, unrushed and noone was on the hunt for the last made-up in genres. It's amazing, I could have waited twenty years in between each listening session and still remembered every nook and cranny. The only thing I lost (might have to do with old age), the lyrics I knew by heart. These days, I only know what they are all about, but I couldn't sing along anymore. Like I could ever sing. ;-)

And what comes to mind, people probably didn't get it back then. And they still don't. Same with Monty Python, but there at least I had one(!) comrade in arms to fight the good fight. As for Alberto Y Lost Trios Paranoias, I was all alone on the battlefield. Speaking of Monty Python, some parts of this album do remind me extremely of the latter. Just listen to "Whispering Grass" and some others here. 

                                   

Around 1980 the curtain fell and a great band was no more. The album (LP) is quite readily available on the 2nd hand market for a  price that doesn't break the bank. The CDs are a different matter, as the debut and this one here have only been released once and never again reissued. Also some word re the entry of the CD on Discogs: The data is incorrect. First it's a German and not a UK release (even considering that Discogs regards the marked as country of origin - would make this European at the very least) and second, the label is Line and not Transatlantic Records (it says on the inlay TRANSATLANTIC RECORDS, issued under licence to Line Music GmbH). The data on Discogs is heavily compromised anyway, and you're doing yourself a favour to check other sources and compare the information, lest you fall for all the misinformation.

The genre and style is stated as Rock, Rock & Roll, Parody, Prog Rock, Country Rock which I'd take with more than a grain of salt, especially the Prog Rock thing seems to be a bit far fetched. As for the sound, the LPs that I have have a loud and clear cut, while the CDs is so low on volume, I don't have any other Compact Disc that I have to turn up so high to get at least a satisfying listening experience (and I'm not talking about Motörhead-loud). Actually, for listening enjoyment I do prefer the LP in this case. But as stated above, it's easier to get the vinyl than the CD anyway.

Cheers

Roland

Jud's Gallery vs. Gary Moore - #279

 Jud's Gallery vs. Gary Moore

The claim to fame that Jud's Gallery (or rather Jürgen Winter of Jud's Gallery) has, is their court case and on the other end Gary Moore of "Still Got The Blues" fame. I don't have the latter's album and I don't intend to buy it. When the track was released, I thought "Well, not bad, catchy tune and all, but when I want Blues, I listen to Blues". These days I believe that the "Still Got The Blues" song has overstayed its welcome, period. It's not the only one, by far not and tracks being pushed for decades leave a bad taste and one wishes for a track to be lost forever. The list of tracks that you can chase me with, but were welcomed back in the day, is extensive, but these days you can chase me around the block with these staples of entertainment offers. Be it Blues, Jazz, Rock('n'Roll) or whatever. Anyone for "Take Five" by The Dave Brubeck Quartet? Yes, great tune. I've this in LP and CD in my collection. Do I want to hear it again. Not in this life. And so it is with Gary Moore's signature track.

But the story is another one. Jud's Gallery is a band from Offenburg (Germany) and started off in 1971. They never released a recording during their original lifetime, that is until 2001 when Long Hair, the label, released their SWF session tapes. SWF radio station from Germany (Südwestfunk - literally Southwestbroadcast). I was and still am a hardcore fan of German Rock during the most important period (1969 up to 1975) and then it all went downhill, but that's another story. But I had no idea that a band named Jud's Gallerty existed back then. That is, until I became aware of the court case that Jürgen Winter brought against Gary Moore and was aimed at "Still Got The Blues" (the song). And my interest was picqued.

Now, we've heard of court cases here and there, Led Zeppelin the most prominent one, but also George Harrison and may a zillion others. Of course, I had to buy the CD, just to hear it for myself. This is about the song "Nordrach" and the guitar solo towards the end of the track. Quite a similar one used by Gary Moore on his hit record. To make a long story short, Jud's Gallery won the case and a German court ruled in favour of the band (or rather in favour of Jürgen Winter, who happens to be the composer and lyricist of all of Jud's Gallery tracks). The court ruled that the similarities were not a concious effort by Gary Moore to copy another track, but that it was a case of unconcious plagiarism.

The case was settled and Gary Moore's estate was to participate Jürgen Winter in the sales and use of the solo (which you can listen to on "Nordrach" at the 8:20 mark). And, yes, it absolutely sounds like the one used by Gary Moore. Shorter maybe, but that's not the point. There are a few questions I have, why did Jürgen Winter bring the case to court at such a late stage. Just to remind you, Jud's Gallery 1974 (no recordings), Gary Moore's use of the solo 1990 and the decision by the German court 2008. To put in perspective, Gary Moore couldn't have heard the track "Nordrach" at the time: No version was released as there were no commercially available LPs/CDs at that time. It smells a bit, doesn't it?

That is, untoil you find the part about a technician who worked for Gary Moore had previous connection to Jud's Gallery. The piece where I read this, didn't specify what the connections were, but I assumed that he was doing some work for them. Gary Moore might well have gotten this idea from this guy, probably not even aware that the sequence had been used before. Also, and I have to believe this, the way the solo is built, the chords are in use long before Jud's Gallery used this on a track. Same goes for Led Zeppelin, I believe it was for "Staîrway To Heaven" were they face a court action.

QUOTE AI
Led Zeppelin famously defeated a high-profile copyright lawsuit over the opening guitar riff of "Stairway to Heaven." The estate of Randy Wolfe (from the 1960s band Spirit) claimed Jimmy Page stole the riff from Spirit's 1968 instrumental "Taurus". In October 2020, the US Supreme Court declined to hear the case, cementing a previous appeals court victory for Led Zeppelin.
UNQUOTE

The sequence of this opening riff has apparently been used, well, not since time began, but certainly 200 years ago, in what is now called Classical music. The Jud's Gallery vs. Gary Moore case is a topic in many dissections regarding lawsuits with regards to plagiarism. Most important seems to be that Jürgen Winter got his 15 minutes of fame. Don't get me wrong, accountability is something that's needed, but this here smells of greed and opportunity.

To close this, what about Jud's Gallery's "(SWF) Sessions Volume 1" (there is no Volume 2 or counting for Jud's Gallery - seems like a series by the radio station). If you're interested in Rock from Germany during the first half of the 70s, this one is for you. If I buy CDs or LPs from this period in time, I'm more than not disappointed. I realize why bands were not played on the radio and had no place in yesterday's music papers. But the fact that Jud's Gallery didn't have a release back then must be a joke that went wrong. Maybe there wasn't any support or the band was satisfied noodling away in their rehearsal space. I will not list them at numer xxx on my imaginary list, but to me, they're probably among my favourite bands from the era in Germany. It's exactly what I liked about the scene and what I was looking for. There was this vibe and a lot of bands followed through. It was an original music scene and no band sounded like another (and those who did were not worth talking about). Jud's Gallery sound at time grandiose and also well aware of their proficiency. The band should have had a career in their lifetime.

Also the fact that the release on Long Hair shows the band to be more of an instrumental outfit with extremely little vocal duties (the few instances when they use vocals, don't count as highlights of this release). You'll find very few bands who rely on their instrumental ideas and keep it exciting. Jud's Gallery delivers the goods where most bands fail. This has to be my discovery of the year. And I thought I knew the German scene from back then quite well.

Cheers

Roland

P.S.: I completely forgot a fun fact. During research, I came across a few statements claiming, that Jud's Gallery (rather Jürgen Winter) changed the solo (live at gigs) from the original recording to one much closer to the Gary Moore one. Apparently to match the two versions and bolster his claim (and probably hoped that noone would notice). The ruse worked and Jud's Gallery found the proper "experts".

DeWolff & Blues Pills at Z7 on April 7, 2026 - #278

 DeWolff & Blues Pills at Z7 on April 7, 2026

A double bill. I knew  Blues Pills, but I never bothered to dive deeper into their music. There was something missing in their music, too bland, too non-original, too I-don't-know-what. In short, I had no media of theirs in my collection. Had. After the gig, I went away with a couple of albums from their merch table. Interesting performance it was. First,, they come across much more direct in a live situation and it suits them. The band performs a Hard Rock kind of music. There's not much Blues to be heard, it's R-O-C-K- all the way and they did a fantastic job on stage that evening.

Actually, the Blues Pills were second on stage and I had to adjust my opinion about the band in a few minutes. Gone was the kind of feeling that there was something not right about the band. The venue (Z7 in Pratteln Switzerland) has a 100 DB limit (as all others in Heidiland) and I've seen and heard gigs there,where I wished that this limit was non-existant. I'm not sure wether the Blues Pills would have gained from a 110 DB output, but I'm sure, it would have lifted the roof.

I was actually a bit confused when they came on stage and there were those four women. No don't get me wrong, I think all female bands have taken an upsurge during the last decades, at least in the 2000s. And more power to them. It was just, that in my limited knowledge, I only knew that the singer was a women. I had the time to ask AI what was going on and got the reply of three males and one female in the band. Chatting with AI is like pulling teeth at the dentist, it doesn't hurt anymore these days, but it's something you still don't look forward to. My first question actually said that I was standing on the floor and that I was seeing the band on stage and there were four women. 

Maybe AI didn't understand my pidgin English. I repeated the question again, with a slightly different wording and got the reply, yes, there are now two women in the band, the singer and a new bass player. Third attempt. I see four women unless I need a new pair of glasses. Reply: Uh, yes, there are at the moment four females in the band. The drummer is a substitute as the usual one is out of the game for a while because of health issues. The fourth one, I can't remember wether she is a permanent member of the band or just and interim replacement for whatever reason. Me haggling with AI during a gig is worthwhile of a Monty Python skit.

But, actually, I was at the event because of DeWolff, a band I might have heard of, but certainly had no idea what their performance would like to be. I hadn't even listened  to samples of their music online. I got the ticket from a friend who bought it well in advance and was looking forward to the gig, just to have health reasons, serious enough, to cancel his attendance and so I got to widen my horizon. In hindsight, I wouldn't want to have missed the gig. To call DeWolff a "Psychedelic Southern Rock Band" is a bit of a stretch, I didn't hear anything Psychedelic or Southern. There was a band on stage that had an excellent repertoire of songs and they shone. DeWolff opened the evening with an approximate 70 minute set and had to cut it short, or so it seemed, because the Blues Pills were waiting in the wings.

Remembering a round table discussion I had recently with a few "experts" on tags re musical style etc., I'm not sure where to file DeWolff's style. Rock seems to be the best. And that's all there is, folks! The way the band pushed their songs from the stage is remarkable and maybe just fell into my preferences. Unlike some other bands in the genre, the DeWolff's repertoire was like chiselled. No room for a muddy mix, every note loud and clear and no noodling. The band consist of three members and I'm not sure what the current line-up is. DeWolff were founded in 2007 in the Netherlands and are still on the road and in the studio. With almost 20 albums listed on Discogs, they are no slouches.

While writing this, my CD-player worked through the "Live & Outta Sight" album (released 2023). I will certainly try and get some more of their albums, but the aforementioned CD is exactly the problem, while the music is absolutely here to stay, it doesn't represent the band's live performance very well. Too much is held back soundwise and while I can't really complain about the music here, it's all a bit subdued and I doubt I would have bought the album on its strength alone. It needed the push via a live (as in LIVE) performance, It's not just that I should have set the Stereo at 13, I believe one can hear the shortcomings of a tincan vs. live. A bit strange is the use of a trumpet on the CD. Sounds like an afterthought to fatten a song. I believe they played this one at their gig as well, judging from the drum solo within. If you thought these solos are so 70s, think again. This one was and is actually in my top two.

Needless to say (but I'm saying it anyway), the next time either of these bands play in the vicinity, I'm there and will enjoy some handmade music that hits bullseye in my opinion. And I will check their other releases I haven't bought already.

Cheers

Roland

Daddy Long Legs vs. True-Blue - #277

 Daddy Long Legs vs. True-Blue

Thrift shops are sometimes great and more often not. Lately (the last couple of years) I had the feeling I was looking, no, not at things, but at more interesting offers. I've no idea wether this is another purge, this time initiated because people are only streaming nowadays and want to get rid of their media such as LPs or CDs. I believe the secondhand market re Vinyl is hanging on by a thread, still breathing but in ER. The equivalent re CDs is dead and not even a Frank Zappa quip can rectify the situation. There are a few CDs that are still worth something, but altogether ... try selling a bunch. You'll see, there are no takers, except when YOU pay them to take the load off your hands.

And sometimes you come across a band you've never heard of, yet they could be your next door neighbours. You listen to the CDs, because CDs they are most likely and no, it doesn't work out to be a long lost masterpiece of a completely underestimated band. And voilà, we're talking Daddy Long Legs and Tru-Blue.

Don't spend any money on these things, even one EUR is about 99.9 Cents too much ... make it a hundred. Both are of the kind of band you'll find at the local Jazz Night in your very own hamlet. Where the only bands they could afford were local outfits who are usually playing for their moms and dads and their friends (if they have any of the latter at all). Jazz Nights have grown to epidemic proportions and they can be found in every place that has a population of more than 10 cows. They all, and I mean ALL, started out as Jazz Nights or Days or Weeks. It was always and ever Jazz. No Rock, no Blues, no subgenre like R'n'R, RnB and that means in other words, shuffle to Dixie and Swing and pretend it's the roaring twenties again and either a) it's cold as fuck outside (these events are always outdoors or b) it's pissing down cats and dogs or c) the beer is warm, the food is cold, the people you're with take the opportunity to go ape because they recognize a Bix Beiderbecke tune and you're looking for the next beer.

And when Pop and Rock reared its ugly head at these events, it was then, that you got bands like Daddy Long Legs or True-Blue. Just squeezing in a word sideways, these are not the well know Daddy Long Legs (or Daddy Longlegs). And it was then, you'd wish you had the flu and stayed at home. Bu no, you moved from stage to stage and the people you're with couldn't place their butts in one place for more than ten minutes (come to think of it, that was probably the positive side). I have no idea wether any of these two bands ever played at one of these rockin' out events for the elderly and for the ones for whom this is the only night of the year, when they hear something like Pop or Rock.

"Pleading Soul" by Daddy Long Legs is thankfully only a 4-Track, 15:34 minutes EP-CD. They must have been (I assume they don't exist anymore)) from around the Basel area. From what I hear, my first guess is, students. The music sound so lifeless, so academic and there's nothing that makes me want to buy this album and it's one of the bands that would make me leave the the venue after about five minutes.

For a band that made the CD probably with borrowed money from their parents, it's quite a remarkable recording. Spell MOR as MOR as you can and you're there. I don't doubt for a second that the folks murdering their instruments know what they do, but there's absolutely no heartbeat. This is polished until the silver shines.

The singer, a Sarah Cooper, is bloody awful, as she tries to ape a line of top performers. I hear a messed up attempt at Janis Joplin and I really wouldn't buy a secondhand car from her.

The band itself is made up of eight(!) individuals when half would have done the trick. And the backline is guitars, keys, piano, bass, drums, percussion, saxophones and trumpets. The list of people thanked for is longer than the last printed telephone book I saw for the NWS part of Switzerland. I won't part without at least one positive note: Of the four songs on offer here, only one is a coverversion (O. Redding's "Hard To Handle"). And this is amazing, three originals, even they might be so amateurish, they make you cringe. Glad I never got to see them live.

While Daddy Long Legs are only on the fringe of your typical "let the cows fly" one nighters, True-Blue hit the nail squarely on the head. Judging from all the addresses that are mentioned in the insert, the band must hail from the Basel countryside area. The CD has been recorded at the Galery Music Bar (long since closed) and the Maribu (still going strong and trying to inject som culture into our very own hillbillies). Tru-blue is not as sophisticated (or pretending to be) like Daddy Long Legs. And you can hear it. Barely out from their practice room, they take to the stage and play to an audience of ten farmers. 11 Tracks and 10 of them coverversions. A piece of advice, when you rely on other folk's songs, try to give it a twist, otherwise I'll stay at home and listen to my records.

I have an inkling that this CD wasn't really meant for the general public, but for their families and friends "look what we've done Ma". The lead vocalist is better than what we've got from Sarah Cooper. Even though his performance is also somewhat deep in aping and knowing that they come from a farm only a short distance away, this is not a lot street credibility. The sound is not quite as polished as "Pleading Soul" and I can well imagine that this outfit went down well at midnight after the umpteenth pint. Sometimes I hear far far away shades of Alex Harvey. Interesting choice for "Sweet Louise" which is a Steve Walwyn original. The low point is the last song "the Rose" from the film with Bette Middler. What a messed up end to a not promising career.

Cheers

Roland

Joe Bonamassa (And Band) - Zurich Hallenstadion - May 3, 2026 - #276

 Joe Bonamassa (And Band) - Zurich Hallenstadion - May 3, 2026

I can't remember when I became aware of Joe Bonamassa. It was the early stages and I must have filed the name in the place where it says "to be checked out ... if I have the time in future. This usually means never to be seen and heard again. Mind you, it wasn't because of his music, which I mustn't have heard at this time, it was the sheer numbers of artists climbing the ladder into the light. And it never changed, I can't have my paws in everything that the tabloids sell as the next best thing since sliced bread.

The second time I heard (or read) about Joe Bonamassa, I still hadn't listened to his music and ... fast forward, a year or two later, it was still the same situation. My interest was probably nudged via Beth Hart. I can't say how, why, when, where etc., but I can't imagine otherwise. Now, me and Joe (can I call you Joe?) have a strange kind of relationship. While I've bought a number of records (CDs and/or LPs), I'm not queuing up when Mr. Bonamassa is releasing a new album. There's a high probability that I will buy it eventually, but there's no rush. But the thing is, I've bought records from lesser artists and I've not been as picky. On a scale from worse (1) to excellent (6), I'd rate Joe's music at a solid five. Why a five only, I hear you ask? My top positions are fixed and anyway, the differences between a five and a six are minimal to begin with.

Sometimes, me and Joe had a kind of fall-out and this was (and still is) mostly about some statements he's made in interviews. Nothing serious, but enough to get my old 1-bit software into gear. Since I had received a ton of concert vouchers for my last birthday, I needed to bring one up and get me a ticket. The Hallenstadion in Zurich is probably the biggest indoor venue for gigs in Switzerland. I've seen Chuck Berry, Little Richard, Jerry Lee Lewis, Alice Cooper, Gianna Nannini and a lot of others there. The sound is usually very good and you actually can enjoy the music. With a capacity of 13000 plus (standing room only) or around 5000 plus (seated only) or a mix, the place is made for larger events. Yesterday's gig was seated only and even then, it was clear, it wasn't sold out. Joe Bonamassa mentioned from the stage that more than 5000 people were in attendance. That's what maybe the promoter told him. At that number, the place should have been packed. And it wasn't, empty seats and rows of chairs set so far apart, you could think they were making way for a proposed expressway through the hall. A more realistic number would have been around 3000 folks (and no plus).

From the start of the proceedings till the end, the band and Joe himself were in excellent form and presented a mix of the tried and tested as well as deeper cuts (at least to me). And I almost got a lesson, live is where the meat is on the bone. This was one of the very few occasions where I realized, you can have as many records as you want, but there's a difference between home entertainment (wether studio or live albums) and the real McCoy. LPs and/or CDs are but a faint memory of an excellent gig. Even the drum solo (I checked wether there was a time travel involved and it was the mid-70s, but no, it still was 2026 - no back to the future experience) was something to write home about. I can do without another drum solo in my lifetime (and haven't waited for one the last couple of decades) but this one easily made the top two. I can't remember the other one, but there was one, eons ago. One of the most interesting solos ever (and that also includes guitar, bass, organ, tin whistle and bagpipe etc.).

Funny thing, as per Joe, Zurich was their last station on this leg of their current European tour and then he mentioned, that the next day, they were off to the U.K. to play two gigs at the Royal Albert Hall. Reminds me of the British tabloids claiming "Fog In Channel - Continent Cut Off". Wether that story is true or not, it's a good one. The gig was an early one and even Mr. Bonamassa ... uhm, Joe ... mentioned this. Must have been due to their schedule. There was no "special guest" or any other fancy gimmick. Or maybe it was because of us old folks and Joe was considering our health, so that (almost) afternoon performance was o.k. and I made it just in time back to the retirement home. From 7 pm to 9 pm it was an experience, a down to earth one. I'm not sure wether it's an age thing, but lately (the last couple of years), it looks like the quality of gigs has improved, I'm mellowed out, I'm not properly hearing anymore, I slept throught the gig (don't remind me!) or I actually wanted to be at the local Bingo hall and didn't realize. 

Cheers

Roland

Mick Clarke on CD and Vinyl #275

 Mick Clarke on CD and Vinyl

I'm not the downloading type. As in almost never. And the few times I did it was either for a piece I'd written on rockzirkus.de (which has been taken off the net just recently and I have no idea wether it'll be back) or just a plain test (coupon inside the LP-sleeve - but I never used the downloaded file). That's me.

Now, Mick Clarke. I've been on board the MC-train since around the end of the 80s. And I didn't pay any attention wether it was the Mick Clarke Band or the man on his own. Up until around 2007, the releases came from labels such as Taxim, Appaloosa or Line. Taxim was probably the label who really pushed Mick Clarke into awareness (at least on the European circuit). Around the end of the 2010s, there was a cut in labels and most seemed to have gone to Rockford, which I take now as being Mick Clarke's own imprint. 

There was a catch, however. While not impossible, the releases were quite hard to get. At least I couldn't find any in my neighbourhood shop. At the time, I probably relied on the big river, but I can't really recall this any more. But it got even worse. For a while all you had to listen to, was new music on downloads. No LPs, no CDs, just files from wherever you where pointing your browser at. And not too far in the past, I realized that there was mention of CD and LP releases on his website (see Mick Clarke - British Blues Guitar) who release the new music of Mick Clarke.

The media seems to be CD-rs and lathe cuts. Now, I never had problems with lathe cuts, but apparently they are not as sturdy as proper vinyl pressings. The fact that I was handling lathe cuts and CD-rs never occured to me as it was never a benchmark for me. From the production side, this is as good as can be. Slight problems with the sound originate probably from the studio side. Judging the CD "Blues Before Sunrise", it's clear, that this is not a polished to death item. And quite rightly so. Maybe a touch of more brightness would have done the trick, but overall, this is what I want. 

elasticStage are not doing any fiddling with the files they get, what you hear is what their client has recorded or got his paws on. So it's fair to say, you get what the artist wants you to hear. Maybe limited by their home studio or, if they went to the length, an external studio. When you order from elasticStage, be prepared to wait a few weeks, but don't get nervous, it'll all get to you in time. The sleeves and inners are excellent, no cheapo stuff there.

As for me, I'm very glad that the break in releases had an end for me and that I can again listen to Mick Clarke's output in a decent way (and I do not call downloads decent, wether mp3, flac, wav or whatever fancy file comes down the line). And "Blues Before Sunrise" brings back Blues and Bluesrock at its best. 

If you're interested in elasticStage, here's the way to go: Create, Buy & Sell Custom Vinyl & CDs | elasticStage

Cheers

Roland

Lovin' Spoonful - Summer In The City - #274

Lovin' Spoonful - Summer In The City (CD)

I bought this CD (sealed) in a thrift shop just about two weeks ago for the grand total of the equivalent of one Euro. Sometimes I just buy items in these shops to check the music out, not because I'm a fan of their output. I then realized, I had a previous album (LP) of theirs sitting in my collection and that was a "Best Of" and I remembered I had a conversation about a month ago, where we talked about folks claiming the 60s were the best decade for Pop/Rock ever ... at least up to this point in time. My take, people claiming this know their charts from that time and that's it. They never dove into the deep end of the 60s and just dismiss everything that didn't make the top ten at that time.

And truth be told, there were a lot of substandard releases that didn't rightfully go anywhere. And this is where I come in. I realized just now, that I know the Lovin' Spoonful's "Summer In The City" and that's all folks, all I ever needed to know. I must have wiped the presence of the "Best Of" LP from my mind. Fast forward to 2026 and I'm listening to the CD mentioned above (and shown here) and ... seldom there was a more boring and helpless offering on CD by a totally untalented boygroup. Apart from the title song (and as far as I'm concerned only hit and worthwhile song), I began to ask myself, who on earth would record the other nine tracks that can be found here.

This is like almost all fillers and no killers (save the "Summer In The City" which has its merits even now). Nine of these tracks are a showcase of someone trying to fit musically in to the scene as it were back then and failing miserably. I've no idea wether the selection here is representative and I don't want to further inquire. Give it a miss, except when disaster is your middle name.

Cheers

Roland

R.I.P. # 273

R.I.P.

Two that have passed recently.

Joe Ely

It was July 4, 1991 when I witnessed the Flatlanders (including Joe Ely) on stage at the Montreux Jazz Festival. One of the best gigs I've ever seen at the lake. And if memory serves, Doug Sahm joined them on stage. From then on, I was a lifetime fan of the band. And there are even a few Solo Joe Ely CDs in my collection. 

Raul Malo

The Mavericks. Great, great band (in the beginning). Let's say, the first four albums and then it went all downhill and they became a MOR Pop band. But they will be forever a light at the end of the tunnel for me. I didn't like the fact that they took a hiatus for a couple of years, even though this was during their depression era, and popped up unexpectedly again (probably the money was in short supply). But they never caught up with their earlier success again. Still, when it mattered, they were a great band.

Cheers

Roland

Remaster Or Remix # 272

Remaster Or Remix

Personally, I shy away from each remix and rather look for an original copy. I truly believe it's a joke when someone who's just out of his/her diapers thinks he/she can put their stamp on decades old recordings, when they were not part of the initial process (and in most cases weren't even born). Although I don't collect the Beatles, I think the remixes (of which I haven't heard one) is one of the cheats that need to be pointed out. I put myself into the position of a collector of the releases of said group and I want the original sound. Not someone's interpretation of it.

Remasters are a different topic and tastefully done, are actually quite welcome to me. They don't really alter what the original product is and the changes are mostly quite subtle. But the real spirit of the music recorded and produced is still there and I don't have to listen to some Steven Wilson (to name but one) crap, "reinventing" stellar records with an updated mix half a century after the fact. Of course, I know this is all marketing and the labels would like to sell you the same old same a hundred times over. Ultimate remix! Just like it should sound! In glorious forest green wax! With new liner notes by the butcher down the street! With a hole in the exact middle of the record!

I believe, I own only one remix and that is a Deep Purple one. As in the band Deep Purple, in case you'll ask. And frankly, I either saw it too late or it's actually a set with a remastered and a remixed version. I can't remember exactly and I'm too lazy to dig for the item now. Which brings me to an interview I've read in the German language Classic Rock with Roger Glover of Deep Purple (the band) fame. The first page about Remaster and Remix can be seen in full. It's a case of opposition to remixes and Roger Clover is very clear about it, there is no reason for a "remix". It was done the way it was done and it should stay that way. To read between the lines, one can easily extract that noone has the right to do a remix (legal matters notwithstanding).

The very short version:
How well do you know Steve Wilson? I've never met him.
Have you ever heard his music before? No.
What do you think about his new version of "Made In Japan"? Paice and I have chosen the tracks on the original album and it's kind of sacrosanct to me.
So, the Original version is the best? Yes, that's the one who's catapulted us into stratosphere.

I know, it's all about money. Used to be and still is. But I don't buy one word the marketing gurus try to push at me. And, I hope for the sake of Steven Wilson, he's doing this for his bankaccount only. Which is okay with me, you have to pay the bills somehow. As for any value in artistic expression, you might as well sell snakeoil in the old West.

Cheers

Roland

Dr Feelgood Remasters 2025 (CDs and LPs) - # 271

 Dr Feelgood Remasters 2025 (CDs and LPs)

"News" from the Dr Feelgood release front. The first four albums will be on the market in a remastered form. That's all folks!!! There's absolutely nothing for a Dr Feelgood fan to get excited about. I checked some of the websites that announce the upcoming release and the general view is like, you don't need it. Not if you already own the albums. I'll give it a pass, but that's me.

And a couple of the following albums are on the web as being released for the 50th anniversary, albeit with the same release date as the remastered ones, that is late July 2025. Excuse me? In any case, this seems like a typical moneygrabbing exercise. Thank you, but, no, thank you.

Cheers

Roland

Desert Wind - Rider In The Rain - # 270

Desert Wind - Rider In The Rain - 270

I'm shifting records from one room to the other and back and think "I might as well put some CD in the player" and the first one that's in my grip is the Desert Wind's "Rider In The Rain". Normally I would take it out of the slot and dispose it in the trash, never to be seen again and never bother my tired old soul. But then, I'm staunch supporter of the local music scene. In my case, local is the whole country (others would call it their backyard).

Country music (or what's called Americana for the xxx years) and it's so bad, it doesn't even qualify for the weird section. I don't doubt that the band is pretty much qualified on their instruments and on the mics. But, Jesus Christ on a bike, I've never heard such a slick and boring presentation of C&W. Or rather it's what the band was thinking it sounded like and the way it's needed to be presented in the land of Cows ... and I'm not talking about the US of A. When they try their luck at the biggies, say "Folsom Prison Blues" or worse still "Mamas Don't Let Your Babies Grow Up To Be Cowboys", you really have an idea what the term "To Whom The Bells Toll" really means.

This is not music for a rowdy bar, it's more like something to be found in a Sunday afternoon matinee while you nod off on a diet coke. It has zero street credibility and it sounds like this. But what can you expect coming from a band with their personnel raised on the sunny side of life. I mean, they've not been to (or in) Hindelbank, much less to Folsom Prison. Aside to being one of the most unbelievable CDs I ever heard, this is boring as well. After a few tracks your feet will go to sleep and you start longing for Motörhead.

There's nothing I could find on the internet about Desert Wind, but do believe that the band doesn't exist anymore. The CD was recorded in 1998/1999 and the outfit seems to be hailing from a nearby hamlet. Maybe, just maybe, I could have seen and heard the band at a local village event and wonder, would I have stayed throughout the whole gig? It will forever be a question without an answer.

Cheers

Roland

The Lords - And At Night (7") - # 269

The Lords - And At Night (7") - # 269

The Lords, a band from Germany I've been obsessed with since the days I couldn't even spell their name properly. They started off in 1959 as the Skiffle Lords and it was an eventful journey. They disbanded in the early 70s and the singer (Lord Ulli) set our for greener fields with a new outfit, named "New Lords". Just to reform The Lords sometime later. But this is not the story about the band (who's still a working outfit after many line-up changes and sometimes they even play live but are really in their final stages. For people of a certain age having had the fortune to listen to Beat music from Germany (a very good scene) when it was en vogue, the name means a lot.

I'm still after some of their rather hard to get 7"s and a special Cover for the "IV" LP, otherwise known as "Good Side Of June". This 7" I'm talking about is actually one of their best known tracks (of which there is no shortage) and is usually to be found in the retail version, with this sleeve.

I just came across a seller, who's dealing in 7"s for which he produces custom made sleeves of high quality and this one had me up in a second. I've never seen this picture (although I'm not 100 % sure, might have been in a Bravo magazine back in the 60s). I just had to buy it, despite the fact that I have the single several times over. There's even a Typo, the A-side track is called "And At Night" and not "And The Night". How I love these quirks.

Cheers

Roland

Give The Beat, Maestro! - Archie Hämäläinen Special - LP - #268

 Give The Beat, Maestro! - Archie Hämäläinen Special - LP

Subtitled "Story Of Järvenpää Rock-A-Billy 1981-92, Finland", this is really the musical story of one Arto Hämäläinen, aka Archie and on this release also Artcien and a ton of monikers like Grande Archie or even Lil' Archie. Don't ask me! Calling him Archie seems to be the way to go. At least, I've never heard anybody call him by any other variation of the name.

We recently had the Black Slacks release on HT Production and I've heard it through the grapevine (actually, it was Ari again - kiitos), that there was a 12" in the making, collecting Archie Hämäläinen's musical adventure throughout the decades. I did place an order, I believe sometime in mid-2024 and it got here around the end/beginning of 2024/2025. And it occurs to me, something like this can only happen in Finland. A label releases a 12 " (although very limited and if I'm not completely mistaken, already sold out) of music that was very local. I can't go to any length about the scene in Finland in the 80s, as I have zero idea. All I know, each and every person there is born with a musical instrument in hands and take it from there. Kiitos to Archie and to HT Production for making this possible.

Archie was of course the axe man of Doctor's Order and keeps on going with other bands, still releasing CDs and LPs and seemingly not slowing down. The fact that he had a musical life before Doctor's Order, was actually known to me. I've heard bits and pieces and the road stories were few, but they sounded believable. I need to point out, they never came from Archie, he did keep quiet about what went on before, it was always well informed sources that spilled the beans. Archie wasn't always a guitar player, that much was clear from the tales heard. He did his stint as a drummer and as a saxophone player (the latter is not confirmed).

I hope the scan showing the reverse of the 12" cover is large and clear enough to get all the information across, the bands, the line-ups, the tracks etc. If you think now that you've bought the Black Slacks 12" that came out recently and you didn't need a rehash of the same, think again. The Black Slacks songs here are not the ones you've got on the earlier release on HT Production (except "Love Me") and with the latter, I'm not sure it's the same take. I'm quite bad at analyzing musical matters so deeply. My short term memory doesn't work this way. I can actually do it, but it takes out all the fun in what I'm listening to.

What is it you are listening to on this 12"? It's mainly Rock'n'Roll in one way or the other (with shades of R&B) and something I didn't expect. Lil's A. Big Band with two tracks are flying the experimental flag. First I thought that my copy of the record was somehow damaged or that it had non-fills, but apparently not. I still don't know where those two tracks go. And that's me with a rather large collection of Noise, Industrial, Free, Experimental etc., just flabbergasted. Especially the track "Nivram", by a guy called Hank Marvin (of course, Shadows). Although I don't know the finnish language, even I can make out what C-Kasetit means. Cassettes and in amazingly good shape (more than thirty years after the fact). Sure there are some drop-outs, but the overall condition seems to have been good. The sound is mostly much better than what you'd expect from four decades old tapes.

Another track where it's quite obvious that the tape has had some problems, is Black Slacks "Blue Days-Black Nights", you'll hear it towards the end of the song, a complete change in sound. However, overall the audio is much better than I expected (and I wouldn't have complained if it were worse) and doesn't take away from your listening pleasure.

Although this is a "Archie Hämäläinen Special", the focus back then, wasn't on the man. Archie was part of the bands offered here and there wasn't any reason to shine on these recordings. They sound all like group efforts (except a few where Archie is mentioned as vocal/all instruments). Speaking of which, there are a few instances where he plays the bass as well. One other fact that's worthwhile to mention, the number of originals is outstanding. Of the 22 tracks presented here, 13 are covers and 8 are copyright Arto Hämäläinen (plus one to a Kolmas Nainen).

Why there were only 88 copies released, beats me! I could imagine that this is because of tax exemption purposes, much like the U.K. with their private pressings of up to 99 copies. In any case, it's very worthwhile to keep an eye on the finnish scene, past, current and in future.

Cheers

Roland

Doctor's Order - On Stage - # 267

Doctor's Order - On Stage - # 267

Amazing! Doctor's Order seem to have an endless supply from their vaults, praising past glories and showing the way it was back then. Here's a new record (10") released at the tail end of 2024 on Talsti Records (PED, PDLP6702) and (at the moment) quite readily available from some dealers in Finland (Swamp or Jungle for one, but I'm sure others carry the 10" as well). I have to say, I wasn't aware until I got wind of it (thanks Ari). Tempi passati, but Doctor's Order are still relevant to this day. To me, to you and to everyone else and if you've never heard of them, it's about time you get one (or two or three) CD/s or one of the vinyl offers and have a rockin' good time.

The release came as quite a bit of a surprise, as those gigs were certainly not being recorded with a view of releasing them to the public about 15 years later. I remember the band doing quite a few tapes (on DAT, if I recall correctly), but that was mainly to check their performance on the previous night. They shouldn't have worried about the latter, it was always great and who cares about a wrong note here and there. Not that I heard any. Their gigs were about a great night out with stupendous music on the thirteen. You want to discuss pressing matters what with your office mates, leave me alone! There are more important matters than chewing the fat with your co-workers. Doctor's Order was such a point and they were so each and every time. Hard working, hard playing, hard partying and just a joy to be at one of their gigs.

The line-up on this record is the last working one before Kimmo died, much too early I hasten to add. And I think, the band couldn't have found a better drummer to fall into the slot. Doctor's Order did have two other steady drummers before plus a few who took the stool when needed. But it was among the three main guys that the drum sticks were passed and each one has made his marks on the sound. 

Of course, having listened to all of their previous commercial output, one does have expectations and hopes. Even for releases that are latecomers. The first gig I ever saw hit me like the proverbial train at 120 miles per hour and it was great. And the gigs kept on being great. Doctor's Order never varied their trademark sound beyond recognition, yes, there were changes, but overall, they kept to their output. And this was rough and ready R'n'B (British style), some hard Blues and, yes, a ballad or two. Imagine one of their gigs and suddenly, shortly before the end, they come in with a slow one (kind of) or an instrumental, it didn't work, never did. You can't cut off a bullet train with a slowie. It's the second set and the folks in the audience want the band to go full speed ahead and in comes a cheek to cheek feeler. But I believe, Doctor's Order realized it and, if not refraining from it, at least cut down.

The line-up

Arto "Grande-Archie" Hämäläinen - Guitar
Kimmo "Mighty Man" Oikarinen - Drums & Backing Vocals
Teppo "Teddy Bear" Nättilä - Bass & Vocals

The track "So It Is" is forever ingrained in my brain. It was so about twenty years ago and it's still my favourite. Yes, Doctor's Order did more than a handful of exceptional songs, But I'll never tire of "So It Is" and a record that starts with that track in a live setting is just unbeatable/amazing/great/not from this world. I have no idea what the state of this tape was, when it was handed over to the label, but I assume that it needed some touching up. When I listened to the 10", I was actually amazed at the quality of the sound, maybe wishing a bit of a brighter touch, but this is counting beans. It was a bit like "Back To The Future", there's me at my first Doctor's Order gig in Lahti (I think it was) and "So It Is" and the rest blaring out of the speakers. Everyone claiming that time travel is not possible, on the contrary, it is.

Cheers

Roland

The Death Of Vinyl!(?) - #266

The Death Of Vinyl!(?) 

A few days ago, I saw this ad in a music magazine. Titled "The Death Of Vinyl!" and I went, oh no, not again. Some folks once again pretending to have the answers to all of our problems in their hands, while all they really want is a bigger slice of the cake. I quite clearly remember the guys from Austria who made a claim about their HD vinyl, which, at that stage, was still unborn. And the claims were ridiculous and at least it was clear to me, that this was going to be a failure. I hate it when I'm being proved right (or so it goes), but I was correct from the start. After a few updates which led to nowhere and burning a few millions, they called it a day a few years later and filed for bankruptcy. A shame really, that I didn't place a bet on it.

And now this outfit, claiming to press their records (mind you, limited numbered prototype pressings only) with a sugarcane material. I know of the PVC environmental problems with records since last year only. I had no idea. But really folks, I can't imagine this stuff ending up in a river or the sea or even some landfill (if the latter way of disposing still exists). What gets me here is the blatant way of trying to cash in on a real problem (same with TV ads for washing powder and the like, who claim if you're buying their product, you'll be the savious of the world). Spoiler: You're not, you're part of the problem. We all are.

Oh, and these are biodiscs! But truth be told, if you want to do something for the environment, there are much better ways to care for nature. You don't have to stuff the pockets of some outfit with cash, because of their ridiculous claims. And an ad that repeats itself throughout the one page several times, has lost all credibility with me anyway. And now for the most important question, how long do we give them before they fold their world saving operation. My money is on those four records and that's when it's back to normal procedure. 

Thank you for a laugh!

Cheers

Roland

P.S.: And using food to waste on luxury product is not environmentally good. Not for records, not for fuel, not for anything that's made out of foodstuff except food.

Dirt Road Band – Righteous (CD 2024) - # 265

Dirt Road Band – Righteous (CD 2024)

Steve Walwyn – Guitar, Vocals

Horace Panter – Bass

Ted Duggan – Drums

formed the band about five years ago and it was intended as a side job. A well-guarded side job, you have to say. Only when Steve Walwyn was shown the door by "Dr. Feelgood" and initial rumors, excuses and lies made the rounds (again!), the new job of the ex Dr. Feelgood and "Dr. Feelgood" guitarist gradually came to light. I have no idea what the reasons for Steve Walwyn's dismissal (after 32 years of service) were, but the "reasons" seem pretty hollow and mendacious and above all I had a déjà vu and that is Pete Gage.

Well, it was July 2024 and after some start-up time, DRB (as they also call themselves) came around the bend with their debut. For the most part, you have already heard the songs on the internet (except for me, I have become a total internet music objector). But the little I had heard involuntarily was impressive. You can't skip so fast without something sticking. But the DRB website is a good place to start. Under Dirt Road Band you can find everything you need/want to know about your favorite band.

As I said, Steve Walwyn, 32 years of service with Canvey's Finest (of which neither Canvey nor Fine for a few years). The rest of the team, after Pete Gage's forced departure, always seemed to me at odds with reality and, I admit it, Steve Walwyn was one of them. As a guitarist a big number, but as someone who was tempted to make the stirrup holder for Kevin and Phil, unfortunately went for the ride and was held responsible just like the rest. Of course, I had still bought his solo album "Instinct To Survive" from 2015 and his earlier ventures (pre-Dr. Feelgood) still remain in my collection.

What is interesting about DRB's "Righteous" is the musical direction, which they themselves describe as hard, punchy blues rock. Yes, you can do it, but for me it's quite a surprise (and a good one at that) that Steve doesn't carry a Dr. Feelgood backpack. It's actually blues-rock in the style of the genuine English R&B scene. 100% to the point and as a bonus, all 10 tracks are originals written by either Steve Walwyn or Horace Panter. And all of them are high level songs. If you like the trio format in blues rock, you've come to the right place. Another surprise is the vocal delivery. The aforementioned solo "Instinct To Survive" cannot be compared to this CD and of course I know what an excellent Axeman Steve Walwyn is, but his vocal performance impressed me.

His comrades-in-arms have the Specials or Badfinger in their CV, amongst others. So no amateurs and you can hear that. Tight is of course the attribute that you use as a tag. "Worry No More" is a boogie as served by the best and perhaps the track that is probably most reminiscent of Dr. Feelgood. Some guests also shine on the CD:

Nikolaj Torp Larsen. Organ (Track 4)

James Oliver: Guitar (Track 5)

Sam Powell: Harmonica (Track 9)

Bob Jackson: Piano (Track 10)

It will be a bit difficult to experience the band live. Most of it takes place in the U.K. and as I noticed, there were also a few gigs in Spain. One can only hope that the tours will spread a little more in the direction of the rest of Europe. Unfortunately, the distribution of the CD is not really state of the art, not even Bandcamp offers a physical copy. Download yes, but I got my CDs directly from the band (available under the link mentioned above) and this is easy peasy. The first 250 copies are signed. Ah yes, something I noticed, with 10 tracks on the CD and a running time of just over 45 minutes, that's quite long for an R&B (British style) offering, but extremely entertaining.

Cheers

Roland

P.S.: This piece was originally written in German and I used the translation tool in Word to make life easier for me. It looks strange and I believe I must iron some quirks out. But that is for another day. Let me know wether the meaning comes through.

P.P.S.: I touched the tex up here and there. Much better in my opinion now. But I do admit it, translation software has made quite a leap forward.

P.P.P.S.: And here is the original (if you want to brush up on your German language skills) Dirt Road Band – Righteous (CD 2024) – Rockzirkus-Blog