The Tex Pistols Band

3 guys I have known for along time Scooter, Dik and Brian and a new friend on facebook Boyd. Great music check them out!

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The Tex Pistols Band couldn’t be much further from Texas, and nobody in the band is from Texas, but that doesn’t stop these four Minneapolis vets of stage and studio from producing some seriously kick butt music. The sound is classic yet new all at once. From Neil Young to John Hiatt, Steve Earle to Steve Winwood, throw in some Eagles and Beatles and stir in a little jam band and you get the Tex Pistols Band.


TexPisFB-PP-5393-X2“I really didn’t think this was any special project at first. Just another group to play with, but with guys I really respect and admire. But early on, and I mean within the first three or four gigs, it started taking on a life. It’s like we all try to impress each other both live and in the studio, and it’s that pushing of the envelope every time that makes it fun for us and I think the audience as well”.- Boyd Lee

TexPisFB-PP-5470-X2“For me it was when we got started on the record. When we started writing for it and recording, I knew we had something. When the opportunity to mix it with our friend, Grammy Award winning engineer Tom Tucker (Lucinda Williams, Prince) came about, I knew it would be “off the hook”. Tom had recently bought “Flyte Tyme” studios and I believe we’re the first record mixed there since the glory days of Jam & Lewis. When it was done and we started getting the first feedback, I knew I wasn’t the only one feeling this way about the band. The CD speaks for itself”. – Scooter Nelson


“I’m in a great band with my three best friends, making and recording the coolest music. The Well runs deep with this combo, everyone brings his own expertise to the table. I get to play my guitars and hang with my buds…doesn’t get any better.” Brian C. Peters


“I have never been involved in a more satisfying musical partnership even after years of producing, engineering and playing on countless projects. The ease and understanding of the process between us can only be described as pure joy. As we went deeper into the recording of “Fully Loaded” I realized this wasn’t just another CD, this was a great opportunity. In the studio or at a live show, the talent and life experience each person brings to the party makes it an ultimate adventure.” Dik Shopteau

Tex Pistols Band-Closer to Nowhere


Country roots – spot on song writing, serious vocal harmonies, gritty and real, with musicianship not often heard these days.
Genre: Country: Americana
Release Date: 2008

The dynamic second release from one of the upper Midwest’s best Alt-Country, Americana groups. Soul touching melodies, fresh pop/rock and killer musicianship-highlighted through emotive vocals, soaring harmonies and smoking hot guitars.
Genre: Country: Americana
Release Date: 2011

Acoustic Key Sunday Night

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We will be playing The 2-disc Deluxe Edition expanded and resequenced the order of the original album. Introductions from the original album were combined with their corresponding songs and the Deluxe Edition added about an hour of extra content, including songs by Leon Russell, Don Preston, and Claudia Lennear. The new edition also added other famous Joe Cocker covers such as “The Weight”, “Something”, and “With A Little Help From My Friends”, all of which were absent from the original release.

Original 1970 double album liner notes

“Music From The Original Sound Track”

Including, for your delight, Cosmic Kiddies, English Roadies, Children with the Answers, Cooking Italians, Presidents of Recording Companies, Acrobatics and Displays, The Odd Sane Dog, The Space Choir, Assorted Sound Freaks, and All Elements of the Truth.

The Mad Dog Diary

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11th March 1970.  Joe Cocker flies into Los Angeles with the intentions of recuperating from grueling months on the road and forming a new band to perform with during the coming summer.

12th March 1970.  Dee Anthony (of Bandana Management) flies into Los Angeles bearing the tidings that a seven-week Joe Cocker tour, to begin eight days later in Detroit, has been negotiated and advises Joe that the Musician’s Union, immigration authorities, and promoters involved should be mightily chagrined (to the point of barring him from performing in America henceforth) should he fail to go through with it.

13th March 1970.  Leon Russell, hearing of Joe’s plight, offers his services in forming and playing in a band for Joe to take with him on his tour.  So great is his prowess on the telephone that, by day’s end, ten musicians have been assembled and rehearsals begun.

14th March 1970.  Some three hundred people turn out to watch the new band (which now includes eleven singers as well as ten players) rehearse for twelve hours on the A&M sound-stage.

15th March 1970.  Another twelve-hour rehearsal is held and a private airplane is hired.

16th March 1970.  Eleven more rehearsal hours are put under the collective belt.

17th March 1970.  Yet another marathon rehearsal is staged, this one recorded in its entirety, with “The Letter”/“Space Captain” single resulting.  The entourage, henceforth known as Mad Dogs & Englishmen, now numbers thirty-six, including the musicians, three sound men, two secretaries, three roadies, managers, wives, lovers, assorted children, and other animals.

18th March 1970.  Someone proposes that the whole tour be filmed.  Another, bigger, airplane is ordered to accommodate the five-man-film-crew supplemented entourage, which now numbers forty-three.

19th March 1970.  These forty-three crowd into the new Super Constellation and wing to Detroit, where their first live performance occurs the next day.

27th and 28th March 1970.  Four appearances later Joe Cocker, Mad Dogs & Englishmen arrive at the Fillmore East, wherein this album was recorded in its entirety, the lion’s share coming from the Friday evening shows.

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facebook linda wolf photography

-Mad Dogs & Englishmen Tour-Photographer: Linda Wolf

16th May 1970.  After playing their last show together (in San Bernardino, California) and then kissing, embracing, flashing back sentimentally, and crying the odd tear, Joe Cocker, Mad Dogs & Englishmen go their separate ways, but not before having bestowed upon each of us who saw them or have heard this album or will see the film of their adventures a generous dose of joy.


– John Mendelsohn
Vendor of the Cosmic Comma

Side One


(Mick Jagger-Keith Richard) Gideon Music Inc. BMI


(Titus Turner-Henry Glover) Tangerine Music Inc. BMI

(Arthur Hamilton) Saunders Publications Inc. ASCAP

(Leonard Cohen Stranger Music Inc. BMI

Side Two

(Dave Mason) Irving Music Inc. BMI

(Leon Russell-Bonnie Bramlett) Skyhill Publishing Co., Inc./Delbon Publishing BMI


(V. Simpson-N. Ashford-J. Armstead) Baby Monica Music/Reneigh Music BMI

Side Three

(Henry Glover) Jay & Cee Music BMI
(Isaac Hayes-David Porter) East/Memphis Music Corp. BMI
(Otis Redding-Jerry Butler) East/Memphis Music Corp./Time Music Corp. BMI


(Bob Dylan) M. Witmark & Sons ASCAP

(Leon Russell-Bonnie Bramlett) Skyhill Publishing Co., Inc./Delbon Publishing BMI

Side Four


(John Lennon-Paul McCartney) Maclen Music Inc. BMI

(Matthew Moore) Skyhill Publishing Co., Inc. BMI

(Wayne Carson Thompson) Earl Barton Music Inc. BMI

(Leon Russell) Skyhill Music Co., Inc. BMI

Musical Arrangements: Leon Russell, Chris Stainton


LEON RUSSELL (Master Of Space And Time) # guitar, * piano

CHRIS STAINTON (The Foxy Prince Of Roll) $piano, + organ

DON PRESTON (The Gentle Giant) rhythm guitar

Carl Radle
CARL RADLE (The Mad Professor) bass

JIM GORDON (The Rock) drums

SNAKEY JIM KELTNER (Floats Like A Butterfly, Stings Like A Bee) drums

Chuck & Sandy
CLOUDY CHUCK BLACKWELL  (Direct From The Taj Mahal) percussion and drums

Sandy Konikoff
SANDY KONIKOFF (Purveyor Of The Sphincter Phone) percussion

bobbie torres

jim price
JIM PRICE (The Price Is Right) trumpet

Jim Horn & Bobby Keyes
BOBBY KEYES (The Ruby Lipped Essence Of Lubbock, Texas) Tenor sax


The Ladies


PRODUCED BY DENNY CORDELL (Lunar Tea Cake Snake Man) and LEON RUSSELL for Tarantula Productions

Recorded on March 27-28, 1970 at Fillmore East, New York
Location Engineer: Edwin Kramer
Mixdown and Master Engineer: Glyn Johns, M.B.E.
Design: Tom Wilkes
Photography: Jim McCrary, Cosmina Andee Cohen
Packaging Concept: Craig Braun
Illustration: Ron Wolin
Leon Russell appears with love from Shelter Records
Don Preston courtesy of Stax Records
Write for a free, full-color catalogue.


A&M RECORDS & TAPES A&M Records, 1416 N. La Brea, Hollywood, California 90028. Mfg’d. by Sound Packaging Corp. Printed in U.S.A.

SP 6002


UCRlogoJoe Cockers Top 10 Songs


 Good Bye Your Music Lives on….

Joe Cocker, who has died aged 70, was a Sheffield-born singer who came to be considered one of the greatest white blues and soul vocalists. With a voice that could rage, bellow, rasp, screech or – if circumstance demanded – be unexpectedly yearning and vulnerable, he was capable of taking any song and making it his own.

Cocker proved this conclusively with his first and biggest hit, a cover of the Beatles’ With a Little Help From My Friends. Replacing the Fab Four’s cheerful, music-hall arrangement with his own tortured reading, Cocker topped the charts and so stunned Woodstock the following year that he established himself as rock’s most incendiary white soul singer.

It was a role for which he was perfectly suited. Honing his voice on a bottle of bourbon and 80 cigarettes a day, Cocker spent much of the Seventies in an alcohol and drug-fuelled haze. He reached the bottom in 1974 when the curtain was lowered on a performance in Los Angeles in which, having appeared in a vomit-encrusted jacket and cast-off jeans, he curled into the foetal position and was unable to continue.

But he was a survivor, for whom hair, sideboards, beard and stomach might come and go while his voice, if occasionally croaky, never let him down. Returning to the charts in 1982 with the Oscar-winning ballad Up Where We Belong, the theme to the hit movie An Officer and a Gentleman, Cocker enjoyed an Indian summer of sell-out tours and renewed chart success.

Cocker lived the stereotypical life of the blues. A wild man who earned – and paid for – his headlines, his career would have ended but for the majesty of his voice. He rarely wrote songs, but had no need. He had his own constituency. As Life magazine observed, he was “the voice of the blind criers and crazy beggars and maimed men who summon up the strength to bawl out their souls in the streets”.

John Robert Cocker was born in Sheffield on May 20 1944. He left Sheffield Central Technical School at 15 to work as a gas fitter and perform as Vance Arnold, in which guise he supported the Rolling Stones and the Hollies at Sheffield City Hall.

As Joe Cocker’s Big Blues he recorded the Beatles’ I’ll Cry Instead, but the record failed to register. After a tour of GI bases in France and another stint with the Gas Board he teamed up with the keyboards player and bass guitarist Chris Stainton, and formed the Grease Band, whose first single, Marjorine, dented the foot of the charts.

It was the release of With a Little Help From My Friends that propelled Cocker into the big time. Claiming that he had worked out the arrangement in the outside loo of his father’s house, his trembling, tumultuous performance invested the song with such poignancy that the Beatles took out full-page advertisements in the music press praising his version.

But Cocker’s signature was not confined to his voice. His onstage mannerisms – legs bolted to the floor while his hands, arms and upper body convulsed – caused him to be likened to “a dancer in a wheelchair”. When he appeared on the Ed Sullivan Show some members of the audience found it so distasteful that the singer was largely obscured by dancers.

Despite this, America embraced his furnace-like roar. His first album, With a Little Help From My Friends (1969), consisted mainly of covers bent on the anvil of his voice into personal and definitive readings. Throughout 1969 he toured extensively, appearing at all the major rock festivals, including Woodstock, at which he gave a towering performance, cementing his reputation as one of the biggest voices and most compelling acts around.

Joe Cocker! (1969), which included a turbulent rendition of Leon Russell’s Delta Lady, proved the valedictory outing for the Grease Band, who had become little more than a background to his vocals.

But without a band, and with a touring contract to fulfil, Cocker assembled 21 musicians, wives, hangers-on, managers, roadies, children, a film crew, a spotted dog and a bus driver and set out across the States on the chaotic “Mad Dogs and Englishmen” tour, performing 65 concerts in 57 days.

The experience, in addition to the cavalier range of substances Cocker ingested, so exhausted the singer that he was forced to return to Sheffield to recuperate. As the album Mad Dogs and Englishmen (1970) and its accompanying single, Cry Me a River, stormed the American charts, a desolate Cocker was dividing his time between his parents’ house and the pub, lamenting “the three o’clock break – that’s the endless gap between lunchtime and the pub opening again at six o’clock”.

His only appearance, as he wrestled with his demons and life-threatening addictions to whisky and heroin, was a supposedly triumphant homecoming at Sheffield City Hall. But, singing alongside the Mad Dogs veteran Rita Coolidge, his performance merely confirmed that his recuperation remained incomplete, and 1971 passed in a haze. On one occasion he met Princess Anne in a nightclub and, temporarily confused, thought she was his girlfriend. It took a pair of policemen to convince him otherwise.

He found the strength to resuscitate his career after seeing Ray Charles interviewed on television. When Charles was asked: “Who are the greatest living blues singers?” he answered: “Aretha Franklin, Marvin Gaye and Joe Cocker.” Inspired, Cocker returned to the stage. He toured America and Europe, but was forced to leave Australia overnight with six of his band members to avoid 18 charges, including assault, having already been fined A$1,200 for drug offences.

Rarely uninfluenced by hard-core addictions, and suffering memory lapses, Cocker relocated to Los Angeles in 1973 and – when he could make it to the studio – continued to enjoy periodic chart success. By now completely incapable of writing his own songs, he remained such an idiosyncratic interpreter of other songwriters’ material that the omission was scarcely relevant.

Despite his “foetal” performance before the press in LA in early 1974, Cocker’s voice ensured that the curtain never quite came down on his career. The tumult in his life may even have helped, both in the increasingly ravaged grandeur of his singing and in attracting songwriters keen to benefit from such a uniquely rough-edged, wounded instrument. If his behaviour tested the patience of his record companies beyond endurance, a series of albums – I Can Stand A Little Rain (1974), Jamaica Say You Will (1975), Stingray (1976), Luxury You Can Afford (1978), Standing Tall (1981) – performed creditably, as did the singles culled from them.

And for all his troubles Cocker retained the affection of his industry. When he sang the Crusaders’ I’m So Glad I’m Still Standing Here Today – a song specifically written for him – at the 1982 Grammy Awards, he received a standing ovation and renewed record company interest. It proved a turning point. Up Where We Belong, his duet with Leonard Cohen’s long-time backing singer Jennifer Warnes, was propelled by the success of the Richard Gere/Debra Winger film An Officer and a Gentleman to become his first American No 1. It also won the Oscar for Best Film Song.

On the back of this success he filled large arenas in the US and Europe, especially Germany, where his popularity had never waned. He enjoyed a triumphant return to Sheffield almost 10 years to the day after his last drug-fuelled appearance there.

Joe Cocker at the London Palladium in 1987 (ITV/REX)

Attracting higher quality songwriters, such as Jeff Lyne and Bryan Adams, he enjoyed greater success. Civilised Man (1984), Cocker (1986), Unchain My Heart (1987), One Night Of Sin (1989), Night Calls (1992), Have a Little Faith (1994) and his last album, Fire It Up (2012), all achieved platinum sales.

He also recorded songs for movies, including You Can Leave Your Hat On for Adrian Lyne’s 9½ Weeks, in which he turned Randy Newman’s sly voyeurism into a tidal wave of restrained lust. The singer observed: “I suddenly made a lot of friends. They kept coming over and wanting to see the director’s cut of Kim Basinger stripping for Mickey Rourke.”

Renewed success brought a relative harmony to the singer’s personal life. Supported by his new wife, Pam, whom he had met at Jane Fonda’s house while he was living in Santa Barbara, he rejected heroin, forsook spirits for beer and, after a long struggle, overcame his nicotine addiction. He rejoiced in less turbulent times and bought a ranch in Colorado that he rechristened the “Mad Dog Ranch”. There he raised animals, grew his own food, opened a café and indulged his passion for fly-fishing.

By now bearded, balding and portly, the singer was one of the music industry’s most celebrated survivors and was accorded the appropriate respect. He released occasional albums of “new” material, regular “greatest hits” and “live” collections and even covered his own covers. Capable of filling Old Trafford, he also performed for the Prince’s Trust and the usual flotilla of charity fundraisers.

These included such occasions as Nelson Mandela’s 70th Birthday Concert, the Concert for Berlin after the dismantling of the Berlin Wall, the inauguration of President Bush and the Queen’s Golden Jubilee. But however civilised the setting, Cocker’s voice remained defiantly and magnificently un-housetrained, and his movements on stage as pained as ever.

He is survived by his wife Pam, whom he married in 1987, and by a stepdaughter. His brother, Victor, was chief executive of Severn Trent.

Joe Cocker, born May 20 1944, died December 22 2014


Beacon Dolphins_1andrew Surfing_6

One day while searching for treasure on the Little Bahama bank we encountered a pod of spotted dolphin.
We had a scooter in the water and they were very interested and stayed for some time…enjoy

stewart and lindsey – Hollie Stephenson – Dave Stewart at it again!

a new dynamic duo , blues blasters , soul searchers, gospel wailers. This duo consists of One Young Man who has a Classic Unique Voice with the power of a Juggernaut and One Elderly Statesman of Rock with an armful of Vintage Guitars and a Headful of Crazy Experience.



just finished recording orchestra on last track of Hollie Stephenson Musicalbum here at Legendary Ocean Way’s an amazing album ! photo by Michelle Shiers Photography

Hollie is a 16yr old singer songwriter from North London completing her first album Produced by Dave Stewart to be released in 2015 .



f you haven’t yet heard about Somebody’s Darling, an inventive rock band from Dallas, Texas, chances are you will soon. The group has played relentlessly over the last five years, clocking in over 500 shows through multiple headlining tours, numerous festival stops and supporting great artists like Shovels & Rope, Lucero and Divine Fits.  The group has gained such a strong reputation across Texas – with their frenetic performances and energetic live show – that they were recently honored by Red Bull Music and invited to become an official Red Bull Sound Select Artist.

SD is spearheaded by lead singer Amber Farris, whose unrefined yet tender vocals belt out blistering songs that command the attention of anyone in earshot. She’s oft-likened to great singers such as Bonnie Raitt, Susan Tedeschi and Erika Wennerstrom (Heartless Bastards), but there’s no borrowing, and you can’t really make comparisons.

Adult Roommates, available September 16, is the band’s third full-length release and their first new recorded music in two years. Fans of My Morning Jacket, Wilco, Dawes, and the Black Keys will appreciate the band’s unique sound – with roots in live expression rather than that studio-perfected sort of vibe, drawing on a range of vintage influences.


Amber Farris – Lead Vocals / Guitar

David Ponder – Lead Guitar

Wade Cofer – Bass / Vocals

Michael Talley – Keys / Vocals

Nate Wedan – Drums

The Songwriter’s Solstice: June 21 1998

SS Cover
The Songwriter’s Solstice: “A Celebration of South Florida Songwriters” was recorded before a live audience at the Rinker Playhouse, The Kravis Center, West Palm Beach, FL, June 21, 1998. Presenting 14 songs from this diverse group of south Florida’s top original artists,

Songs Artists
Step By Step Jim Collier
Lately Box Elder  942014_185705604918035_1071573626_n
I Am Blue Marie Nofsinger  RNC TAMPA PROTESTS\
The Lion’s Den Ron & Bari  r&b
Hustle & Bustle Mad Dogs & Irishman  EPSON scanner image
With You Without You Amy Carol Webb  amy-carol-webb-360x300
At Last Legacy   download
Road Not Taken James London  
Figure 8s Marianne Flemming  press_photo1
Two Of Hearts Grant Livingston  LivingstonPromoPhoto5
The Motto Reads  Bradley Ditto  newguitX2
Days of Rain Rod MacDonald  393312_4586383824636_209486649_n
Stairwell From Heaven Human Beings humabeings

You Are The One Jim Collier & Friend  

By Bill Meredith(Originally appeared in the Free Press, West Palm Beach, FL, 3/99)
Summer in the county

For better or worse, the 1990s made the compilation CD unto an ultra-commercial art form. So it’s not surprising that there’s finally a compilation CD for Palm Beach County. Songwriters’ Solstice is well-recorded, well-produced, and it’s available at a music store near you for $12. With 14 songs on the disc, that’s less than $1 per tune.

Songwriters’ Solstice was recorded live last June at the Kravis Center Rinker Playhouse during a concert to benefit the Connor Moran Childen’s Cancer Foundation in West Palm Beach. The CD sounds like the show (I know, I was there). South Florida singer/songwriter/guitarist Rod MacDonald was instrumental in setting up the event, and his Neil Young-like “Days of Rain” is one of the solo-performer highlights. Others include Marie Nofsinger’s tongue-in-cheek “I Am Blue,” Amy Carol Webb’s soaring ballad “With You Without You,” and James London’s “The Road Not Taken.”

Area duos and trios are also well-represented. Mad Dogs & Irishmen’s “Hustle & Bustle” is traditional rich Irish poetry; Ron & Bari’s “The Lion’s Den” is a biographical tale of the very different neighborhood that used to inhabit the Kravis Center site; and Legacy’s “At Last” wraps expert vocal harmony, guitar, and mandolin playing into the disc’s most upbeat tune.

Two full bands are in effect here: Boxelder shows its unplugged side with the shuffling “Lately,” and Human Beings provide the Solstice centerpiece with their serpentining eight-minute epic “Stairwell From Heaven.” Jim Collier & friends offer an audio snapshot of the crowded cover photo with the gospel-tinged finale, “You Are The One.”

Kudos to recording engineers Marty Gauthier, Duane Engstrom, and the Kravis’ own John Wurm. Ditto for the production by Gauthier, Engstrom and MacDonald. The sold-out concert raised $1,000 for Conor Moran, which receives an additional $1 per retail CD sold. Songwriters’ Solstice is available at all Peaches and Borders locations, and this purposeful compilation is an accurate soundtrack to the lighter side of the south Florida music scene.

(Originally appeared in the Free Press, West Palm Beach, FL, 3/99)

STATUS QUO – Another Great Band Still Rocking!

Status Quo

SQ STATUS QUO’S total world-wide record sales exceed 118 million units.
SQ QUO have recorded 64 British hit singles – more than any other band – 22 of which have hit the Top Ten. The first hit was ‘PICTURES OF MATCHSTICK MEN’ which reached Number 7 in January 1968.

SQ Founder members FRANCIS ROSSI and RICK PARFITT are joined in the current QUO line up by keyboard player ANDREW BOWN [since 1976], bassist JOHN ‘RHINO’ EDWARDS [1986] and drummer LEON CAVE [2013]..

Status Quo Aquostic Live ( Roundhouse London 22nd October 2014

Sinead Lohan: The Irish enigma

I first heard her at a coffee shop in West Palm Beach, Fl and feel in love with here music.  Here is more about here.

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Getting High on My Mortality: Sinéad Lohan
Posted on September 13, 2012 by chimesfreedom
sinead lohan no mermaid I have so many songs tucked away on my iPod, sometimes while I listen to the songs shuffle in the background as I do my work, I hear a song mixed among the old friends that I don’t remember or one I did not connect to earlier and I have a new discovery. Today, I found a song by an artist who chooses to no longer make music. Today’s new discovery is Sinéad Lohan’s “Whatever It Takes.”

The song came up on my iPod as part of a collection of acoustic songs from various artists. But here is the video for the original version, which is from Lohan’s No Mermaid (1998) album. I love the odd little dancing marionnette that you see around the 1:08 mark.

Lohan is from Cork, Ireland, and in the 1990s was a rising star on both sides of the ocean. After her 1995 debut album, Who Do You Think I Am?, did well in Ireland, she made her second album, No Mermaid — which contains “Whatever It Takes” — in New Orleans. The title track of No Mermaid was used in the film Message in A Bottle, and Joan Baez covered it. Another creative person put Lohan’s No Mermaid song to scenes from The Little Mermaid even though the song was not used in that film:

Lohan also created an excellent cover of Bob Dylan’s “To Ramona.”

At one point, Lohan planned a third album in the new century, but after she had her second child in 2001, she decided to devote herself full time to motherhood. She no longer even has a website devoted to her music. Although it is a loss to the music world that Lohan no longer records, we cannot complain that Lohan chose family over creating more music, as we know from another Lohan and another Sinead how fame can un-ground a person. Perhaps the reason the song “Whatever It Takes” resonates so much is its honesty, where Lohan is perhaps telling us what type of life she would like and that she will do what she needs to be fulfilled without worrying about legacy or fans.

Whatever it takes you to believe it,
That’s all right with me;
Take this morning in my kitchen,
Or whatever that helps you to believe;
You will find me down by the river,
Getting high on my mortality;
I’ll be holding hands with nameless beauty,
Or whoever wants to stand next to me.

Wikipedia reports that Lohan in 2004 began working on a new album that has yet to be released. Whether or not the we get to hear the CD, I hope Sinéad Lohan is somewhere singing for her children, high on mortality holding hands with nameless beauty. Thanks for the music.


Joss Stone-‘No Man’s Land (Green Fields of France) one of my favorite tunes!


Grammy and Brit Award singer Joss Stone has teamed up with guitar legend Jeff Beck to record this year’s official Poppy Appeal single.

The single is a soulful cover of ‘No Man’s Land (Green Fields of France)’, written in 1976 by Scottish-born folk singer-songwriter Eric Bogle. Reflecting on the grave of a young man (Willie McBride) who died during the First World War, its chorus refers to two famous pieces of military music, “The Last Post” and “The Flowers of the Forest”.

Although the song speaks of the destiny of one soldier in particular, the song was chosen by Joss and Jeff because of the way it honestly reflected the terrible fate of so many.

Joss Stone said: “The song is about a soldier, Willie McBride, but when we started looking into who Willie was, we found no less than three men that it could have been – then we realised that finding him was not actually as important as what he and this song stand for, peace and the sacrifice made by so many.”


The song, which also includes a full gospel choir, has been given a classic Joss, soul makeover and features the legendry guitar of Jeff Beck. The pair will be performing the track in front of Her Majesty the Queen at this year’s Festival of Remembrance at the Royal Albert Hall on Saturday 8th November 2014. The Festival of Remembrance will again be televised live on BBC1, following a record 6 million viewers last year.

The Poppy Appeal is The Royal British Legion’s largest annual charity campaign. In a little over two weeks, some 45 million poppies will be distributed by 350,000 dedicated collectors with the aim of raising £40 million.

The Royal British Legion’s Director of Fundraising Charles Byrne said: “The Legion created the Poppy Appeal to help those returning from the First World War. A century on from the start of that conflict, we‘re still helping today’s Armed Forces families in much the same way, whether coping with bereavement, living with disability, or finding employment.

“The Poppy is more than just a sign of remembrance it is a symbol of inspiration and hope. We are thrilled that it has inspired two of our country’s greatest musical talents to produce such a wonderful tribute to the memory of the fallen and help us raise funds for the future of the living”
No Man’s Land (Green Fields of France) was produced by World renowned producers Jon Cohen and Jonathan Joseph. It can be pre-ordered now and will be available to buy from Monday 3rd November.

The Legion have also worked with augmented reality app Blippar to produce an interactive single cover. When the cover is Blipped, additional special features such as behind the scenes footage, the music video and personal messages from Joss appear on the users smartphone.

Mark-Almond – A great band I forgot about


In 1970 Jon Mark and Johnny Almond formed Mark-Almond (also occasionally referred to as (The Mark-Almond Band). The melancholy tones of saxophonist Almond were an integral part of the group’s sound, and Almond frequently played flute as well, including the bass flute. Characterized by a blend of blues and jazz riffs, latin beats, and a mellow rock aesthetic, and in contrast to the heavier guitar-driven rock of his contemporaries, composer and band leader Mark worked at producing warm and melodic works.[1]

Mark-Almond’s first two albums, Mark-Almond (1971) and Mark-Almond II (1972) were recorded for Bob Krasnow’s Blue Thumb label, and were noted for their embossed envelope-style album covers. For the first album, “The Ghetto” received many plaudits and from the second “One Way Sunday” was a hit for them in the United States and received radio airplay on album-oriented rock stations in Boston, Massachusetts in 1970. The group then recorded two albums for Columbia Records, Rising (1972) and the live album, Mark-Almond 73 (1973), by which time the group’s members had grown to seven.

Mark released a solo record for Columbia Song for a Friend in 1975. He and Almond reunited in 1975 and released To the Heart on ABC Records (which had acquired Blue Thumb) in 1976, which featured the drummer Billy Cobham. Other notable musicians, who have recorded or toured with Mark-Almond include drummer Dannie Richmond, violinist Greg Bloch, keyboardist Tommy Eyre and bassist Roger Sutton. Eyre and Sutton later teamed in Riff Raff. A&M Records signed the duo in 1978 and released Other Peoples Rooms, but the record did not sell as well as earlier releases. Mark-Almond disbanded again in the mid 1980s, after releasing two decent albums, Tuesday in New York’ (1980) and a live offering The Last & Live (1981). In 1996 Mark-Almond reunited again for a CD release, Night Music, which featured keyboardist Mike Nock and others.

From Wikipedia, the free encyclopedia

shsp-4011-front Mark-Almond-Rising---Test-Pre-301106 mark-almond73 markalmond2 Mark-Almond / Best Of LP 1973 Blue Thumb BTS 50 1 Mark-Almond+-+Mark-Almond+-+Sample+Stickered+-+LP+RECORD-449494 Mark & Almond - To the Heart - 1976 d530328s428

Genres Rock, folk rock, jazz Years active 1970-1981