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monthly 0.8 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_z1jydf_MARCUS-MILLER3905_-William-Ellis.jpg Marcus Miller ROYAL FESTIVAL HALL: LONDON 2014 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_c7ozys_GPorterv1___w1LP__WEllis.jpg Gregory Porter: Musician DONNY HATHAWAY: LIVE “The ‘Donny Hathaway Live’ album is so special because it captures - with full concentration the thing that’s special in live performance. That communication, that exchange of audience and artist. There’s back and forth conversation, the women and the men in the audience are screaming things back to Donny and Donny’s of course responding musically - and responding incredibly musically. You can feel the emotion in the room as soon as the needle hits the record. That communication - it’s not just jazz, it’s not just soul, it’s human to human. That exchange between humanity is just beautiful to see. It happens on Donny Hathaway LIve.” Gregory Porter: Band on the Wall, Manchester, 13th June 2012 Donny Hathaway: Live - released 1972 Gregory Porter https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_w5esog_KENNY_BURRELL_0LP_w___William_Ellis_cy.jpg Kenny Burrell: Musician DUKE ELLINGTON: THE GREAT PARIS CONCERT Kenny Burrell: Distinguished Professor Of Ethnomusicology, Director of Jazz Studies, UCLA "The record the maestro recorded in Paris in 1963 there are many great things on this recording. It starts off with Rockin'n Rhythm which we all know has gotten it's own wings after Ellington.Written in 1929 - hello! - Zawinul and those guys were do it later. Star Crossed Lovers from the Suite,the Theme from the Asphalt Jungle movie,couple of pieces featuring Cootie Williams, Concerto for Cootie, Tutti For Cootie and The Suite Thursday another suite by Ellington and Strayhorn. One that I particularly like - well I have to say it's one of favourite pieces in all of Ellingtonia - and all music is Tone Parrallel To Harlem known as Harlem Suite. This was commissioned in 1950 by Arturo Toscanini of The NBC Symphony Orchestra of New York. Ellington at that point was pretty popular and also gaining recognition as a serious composer so that's why he got the commission - at the time he was fifty one. That piece has been recorded in many formats including symphony orchestras both here and in Europe and on various occasions by Ellington himself with his band - this happens to be one of my favourite versions of it. First of all I love the composition, I think it's one of the most outstanding musical compositions ever written, certainly (ever written) by Ellington. It's a through composed piece of material - and it is jazz, not a lot of improvisation in this piece because it's through composed. But the main thing about this - it is a great extended composition of jazz music - that only Ellington could do. I would encourage anyone to listen this, it happens to be my favourite version of it - and this a live performance in Paris in 1963. One of the things you should listen to this piece of music is the huge variety of time changes - the huge variety of harmonic changes - the huge variety of tonal colour - of shifting around. It's amazing how he could get such variety with fifteen musicians - it's unbelievable, but he managed to do that and that's why he's considered many the greatest - not only the greatest jazz composer of the twentieth century but the greatest composer of the twentieth century and this is coming from some serious classical musicians who feel that way - let alone jazz musicians who feel that way. The classical people are starting to say this is some new - material done in a highly sophisticated way that has never been done before - so that's why I wanted to talk about this record! It's like all great art - the more you listen, the more you look - the more you hear, the more you see - I never tire of hearing this. Listen closely and something else reveals itself." Kenny Burrell: University of California, Los Angeles, 7th May, 2013 Duke Ellington: The Great Paris Concert released 1973 Kenny Burrell https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_19b5dj_Marcus_Miller_w___William_Ellis.jpg Marcus MIller: Musician MILES DAVIS: MILESTONES “Miles at his height in the 50's before jazz took another turn - this album, along with the other Miles' of this period was really at the height of the elegant era of jazz: Then it went somewhere else that was equally amazing. But I really love how the combination of soulfulness and intelligence that these guys played with - 'Trane and Red Garland, Paul Chambers, Philly Joe, Cannonball and Miles - just an unbelievable group and this record is just - Philly Joe - Paul Chambers - they're just killin’ on this record." Marcus Miller: Band on the Wall, Manchester, November 2011 Miles Davis: Milestones 1958 Marcus Miller https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_twg145_JOE-LOVANOwb_-William-Ellis.jpg Joe Lovano: Musician MILES DAVIS: 'ROUND ABOUT MIDNIGHT “Well, I would have to say Miles Davis ‘Round About Midnight’. I grew up listening to this recording as a kid and the poetic expression - the ensemble playing between John Coltrane and Miles Davis, Red Garland, Paul Chambers and Philly Joe Jones just captured my attention from an early age. And of course their solos within each tune were just so masterful you know. But yet, as a quintet, there was a real ensemble sound that gave me a lot of direction through the years.” Joe Lovano: Birdland, New York City, 21st September 2014 Miles Davis: 'Round About Midnight released 1957 Joe Lovano https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_xbdpt2_PAT_MARTINO_wb__WELLIS.jpg Pat Martino: Musician HILDEGARD VON BINGEN: 900 YEARS BY SEQUENTIA "My favourite recorded series of works - it's an extensive collection of beautiful beautiful music that was written in the 11th century. It was written by a woman by the name of Hildegard Von Bingen and the greatest performance of those particular works is by a vocal group called Sequentia. These are Gregorian chants and it's just some of the most beautiful spiritual music you've ever heard." Pat Martino: Band on the Wall, Manchester, 23rd May 2013 Hildegard Von Bingen Sequentia Pat Martino https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_gpbqu4_SHEILA_JORDAN_wb__William_Ellis.jpg Sheila Jordan: Musician CHARLIE PARKER: NOW'S THE TIME “This is the first jazz recording I ever heard, it’s not even bebop! It’s a rebopper! ‘Charlie Parker’s Reboppers.' There’s a whole story behind this record. Charlie Parker alto, Miles Davis, trumpet, Curley Russell bass and - who’s on piano? Hen Gates that was Dizzy – he couldn’t give his real name – and Max Roach on drums. So it was Curly (Russell), oh my God – can you believe that? So on the other side is "Bille’s Bounce", same personnel. I always sang as a little kid, I never knew what kind of music I wanted to sing and then after I moved back to Detroit to be with my mother and go to high school, there was a jukebox downstairs from my school. I was always playing music there, you know, putting nickels in. So I knew most of the artists and their songs that made them famous – not that I was tired of hearing – but I was looking for something else and I saw this. I saw this and I said ‘Oh – Charlie Parker and His ReBoppers, I wonder what that is?’ So I put my nickel in – four or five notes and I thought – and oh my God, this is the music I’ll dedicate my life to. Whether I sing it, teach it, support it – whatever, it doesn’t matter, I’ll just dedicate my life to that music. I’d finally found the music that I wanted to do where I felt I could get into and really mean it. And I’ll tell you, I got goose bumps when I first heard the first four notes, I was like whoa – it was almost like being elevated you know. That was ‘Now’s The Time’. And the funny thing about this record that’s so beautifully framed now is I was doing a concert maybe two summers ago and there was a wonderful poet on before us, his name is Billy Collins. He recited his poetry and afterwards it was going to be me and Cameron Brown the bass player, that’s a duo I have. I’ve been doing bass and voice since the fifties. I’m the originator of bass and voice – not to brag – but to say hey to singers and bass players ‘you know can do music this way too. And there are people doing it now – which is great. This was an outdoor concert and so we were in this big house where we got dressed, got ready and relaxed until we went on. It was just Billy Collins reciting his poetry and me and Cam. So my friend, (Peter) - this drummer and a wonderful artist, he knows I’m a Bird freak - and he draws birds – all kinds of birds he’s done - they’re beautiful he sends them to me or gives them to me. It was Peter, I said ‘Peter it’s good to see you man’ He said ‘ Yeah I have a present for you – I said really? I said ‘what is it?’ He said ‘yeah open it up’ And so I opened it up – it was this, all framed beautifully. I got so emotional and I thought oh my God - I don’t think I can go up there and sing right now! But I waited a few minutes, I hugged him and kissed him and thanked him. I said ‘Oh my God this is the most wonderful gift I’ve ever been given - except of course the music and my daughter (laughs). So that’s the story of that record!” Sheila Jordan: At home, New York City, 11th February 2014 Charlie Parkers Reboppers - The Koko Sessions by Devon "Doc" Wendell Sheila Jordan https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_m1wf2l_RON-CARTER_wb_WELLIS.jpg Ron Carter: Musician DVORAK: NEW WORLD SYMPHONY - BERNSTEIN, NY PHIL “My record of import is one I heard in 1962 when I heard the melody played by Yusef Lateef on oboe. I later found out the record he made on this disc was called ‘Going Home’ which is one of the movements from a Dvorak Symphony. So I went out and bought the disc – that would have to be done by Leonard Bernstein and The New York Philharmonic when they do the four movements of the Dvorak New World Symphony - and among these four movements is that melody called Going Home The story is that Antonin Dvorak came to the States - to New York, heard some blues people and went back to his hometown in Europe and wrote this melody – we call it ‘Gong Home’ I’ve since recorded it on a record of mine called Orfeu with Bill Frisell on guitar, Houston Person on saxophone and my working quartet. It’s a great view of a classical melody interpreted by jazz musicians who are always, going home.” Ron Carter: At home New York City, 1st April 2014 Antonin Dvorak: New World Symphony composed 1893 Ron Carter Leonard Bernstein https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_8wt5i4_Sonny_FortuneWB__William_Ellis_.jpg Sonny Fortune: Musician SONNY FORTUNE: LAST NIGHT AT SWEET RHYTHM “I have done many live recordings but I have never done a live recording of my own as a band leader and this is on my label which is entitled Sound Reason and that emblem has a significance. As you can see, it’s kind of a play on words because when you look at it, it’s a sun in the background with gold bars in front of it, so - Sonny Fortune [laughs] - the boy ought to be ashamed of himself but I’m not! So, you know, it’s all my compositions and it’s with a band that I feel very, very good about. That was the reason why I recorded it. And it’s, like I said, my first live recording as a band leader.I tell you what - there’s a tune on there that I wrote for someone that I have the highest regard for, is Elvin Jones . There is a tune on there called “The Joneses” and the tune consists of…it’s dedicated - and there were some reviews and people thought that I was talking about the family of Joneses, Thad and Mel, but actually I’m talking about Elvin and his wife Keiko, and she was Japanese and so the composition consists of a Japanese acknowledgement as well as an Elvin Jones acknowledgement and I feel very good about that. Coltrane told me that if I ever got the opportunity to play with Elvin Jones to take it, so I was working with Elvin the night Coltrane died. So I’m kind of locked into where I’m at because of a whole history of events and I should add that my two favourite drummers - last year when the Four Generations of Miles got together I told Jimmy Cobb - I said you ask anybody that’s known me for years and they’ll tell you I tell them that I developed my rhythmical concept from Jimmy Cobb and Elvin Jones, those were the two guys that influenced me the most. So to be working with Jimmy Cobb now is a continuation of when I was working with Elvin Jones.” Sonny Fortune: Harlem, New York City, April, 2013 Sonny Fortune https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_dbx13u_Robert_Glasper_w1LP__William_Ellis.jpg Robert Glasper: Musician SLUM VILLAGE: FANTASTIC ,VOL 2 "The reason this album is special to me is because the producer of the album - J Dilla is my favourite hip hop producer and I got the privilige to actually work with him before he passed away in 2006. To work with him - watch him make music - watch him in ‘the lab’ and see how he works. J Dilla is probably the only producer I know that changed the way musicians actually play their instruments. Normally a producer will just take from the musicians and do their thing - but J Dilla actually changed the way musicians play music. So this particular album Fantastic Volume 2 - when it came out, was to me the first time a record that made people start playing in that hip hop way behind the beat - kind of sloppy hip hop way - all that stuff started with Dilla - you know what I mean. This record has all of my favourite people on it - D'Angelo’s on there - Common - a lot of people on this record. It also means alot because of the time period it came out, and how it influenced the way I play doing my Trio and my Experiment band - just the way we feel the beat, his drum patterns, drum sounds, the way he samples piano and where he decides to put it - it's placement is what makes it just very very special. So I've kind of patterned alot of the stuff - especially when we play J Dilla beats we pattern alot of our stuff around his idea of where the beat is - so I think he was definitely ahead of his time and a genius of his time. So that's why I chose this record.” Robert Glasper: Hilton Garden Inn, Glasgow 28th June 2012 Slum Village Fantastic, Vol. 2 - released 2000 Robert Glasper https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_igt0qr_STEVE_KUHN___WB__William_Ellis.jpg Steve Kuhn: Musician MILES DAVIS: COOKIN' WITH THE MILES DAVIS QUINTET "In the…I guess it was in the ‘50s, Miles Davis had a quintet that included Philly Joe Jones, Paul Chambers, Red Garland and John Coltrane. They made several LPs for Prestige and any of them are my favourites. The cohesion in that band, the swing, it just had a great influence on me so I just loved that quintet. Miles had some other great bands and he influenced the music quite a bit but this particular quintet captured my heart." Steve Kuhn: Birdland New York City, 2nd May 2013 Cookin' With The Miles Davis Quintet released 1957 Steve Kuhn https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_kkoteqnm_dphhhm_Terence-Blanchardwb_William-Ellis.jpg Terence Blanchard: Musician MILES DAVIS: FOUR & MORE "It's Miles Davis 'Four and More' and the reason why it's so special for me because I remember the first time I heard it as a kid. Listening to that live performance blew me way because you know I had been listening to a very different style of trumpet playing and improvisation. Those guys just kept me in a tail spin trying to figure out what they were doing, where they were going and I remember I was trying to get a handle on what jazz was so I would play each track - and this was back in the days of albums so you're trying to find that spot on the record with the needle! So I used to play 'em over and over and over again. I would play you know, like ‘Four’, I would listen to Miles play then I would only listen to Herbie, go back then only listen to Ron, go back, only listen to Tony. I kept doing man until in my mind - the whole album man, that album had such an impact on my life - you know because it was so forward thinking in the realms of this music - and think about the date that it was recorded. To think that it still stands the test of time today speaks volumes about how important it is." Terence Blanchard: Old Fruit Market, Glasgow, 30th June 2011 Miles Davis: Four & More released 1966 (recorded 1964) Terence Blanchard https://onelp.com/artists 2026-04-06 monthly 0.8 https://onelp.com/music-lovers 2026-04-06 monthly 0.8 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_xmhmj1_BRIAN-HECHTwb_WELLIS.jpg Brian Hecht XTC: ORANGES & LEMONS Brain Hecht: ARChive of Contemporary Music, New York, 18th September 2014 XTC: Oranges & Lemons released 1989 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_1xq1cm_CLARA_JULIA-P_ROWANwb_-William-Ellis.jpg Clara-Julia Péru LOU REED: BERLIN Clara-Julia Péru: ARChive of Contemporary Music, New York, 20th September 2014 Lou Reed: Berlin released 1973 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_bb2bcu_DAVE-WALSHwb_-William-Ellis.jpg Dave Walsh PETER, PAUL AND MARY Dave Walsh: ARChive of Contemporary Music, 19th September 2014 Peter Paul and Mary: released 1962 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_4xktvc_DEAN-MELLISwb_-William-Ellis.jpg Dean Mellis: Motion Graphic Designer GEORGE HARRISON: ALL THINGS MUST PASS Dean Mellis: off White Steet, Tribeca, New York, 20th September 2014 George Harrison: All Things Must Pass released 1970 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_lu2uey_FRED-PATTERSONolpwb_WEllis.jpg Fred Patterson: Archivist BO DIDDLEY: BO DIDDLEY "Hey, I chose Bo Diddley’s first album because Bo Diddley was one of the greatest guys that ever walked this planet. He was a great guitar player. He wrote great songs - he had such a great sense of rhythm, better than almost anybody that ever followed him. His records are so fabulous and simple. They’re deceptively simple. Nobody can do them like Bo Diddley. Bo Diddley was the man. He was the king. I miss him." Fred Patterson: ARChive of ContemporaryMusic, New York City, 19th September, 2014 Bo Diddley: Bo Diddley released 1958 Fred Patterson is Head Archivist at The ARChive of Contemporary Music , New York City Fred is it. https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_o9q6d8_GUSTAVO_wb_-William-Ellis.jpg Gustavo Bernal PETER GABRIEL: SO Gustavo Bernal: ARChive of Contemporary Music, New York, 18th September 2014 Peter Gabrial: So released 1986 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_rqs0qc_JESSICA_MICHAEL-THOMPSONwb_-William-Ellis.jpg Jessic and Michael Thompson THE ZOMBIES: ODESSEY AND ORACLE Jessica and Michael Thompson: ARChive of Contemporary Music, New York, 20th September 2014 The Zombies: Odessey and Oracle released 1968 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_0hzhdf_KERRY-DORFwb_-William-Ellis.jpg Kerry Dorf THE WHO: QUADROPHENIA Kerry Dorf: ARChive of Contemporary Music, New York, 18th September 2014 The Who: Quadrophenia released 1973 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ba2la9_MURRAY-WEINSTOCKwb_-William-Ellis.jpg Murray Weinstock: Musician THE JIMI HENDRIX EXPREIENCE: AXIS: BOLD AS LOVE The Jimi Hendrix Experience: Axis: Bold As Love released 1967 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_cr4ix9_PETER-FISHwb_-William-Ellis.jpg Peter Fish: Musician JOHN COLTRANE: THE CLASSIC QUARTET COMPLETE Peter Fish: The ARChive of Contemporary Music, 19th September 2014 John Coltrane: The Classic Quartet Complete released 1998 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_nmk80m_RICK-KINSELLwb_William-Ellis.jpg Rick Kinsell OMD: ARCHITECTURE AND MORALITY Rick Kinsell: ARChive of Contemporary Music, New York, 18th September 2014 Orchestral Manoeuvers In The Dark: Architecture and Morality released 1981 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_3d4htw_wbALAN-McLAREN-1014-c-WILLIAM-ELLIS.jpg Alan McLaren JOHN GRANT: THE QUEEN OF DENMARK “Well, as I said earlier on, I came up with a long list, and then I come up with a shorter, long list. Then I come up with a shortlist and then I come up with a short shortlist. And I eventually chose an album by John Grant called The Queen of Denmark. There are a number of reasons why I chose that. He's a fascinating man, he grew up in the Michigan area, came out as a teenager only to find that his parents tried to “cure” him. That set John down a very dark road. He joined a band called The Czars, made some good music, and eventually set out on his own. For me, this album is an all too rare example of an artist properly bearing his soul, telling a story in an interesting, melodic and an incredibly and lyrically relevant way. I'm just so amazed that he's managed to get through what I understand he's had to live through to get here and still produce such a thing of beauty. And he continues to do that. His musical style is changing but there's still a content a weight and a gravitas to everything he does. I started listening to all sorts of music for the One LP Project and I hear elements of much of that music in Queen of Denmark. I chose the album because it's a culmination of a lot of music that I've heard. And that journey still continues for him and for me.” Session: Alan McLaren Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist: John Grant Recording Title: The Queen of Denmark Released: April 19, 2010 Recorded: July–October 2008 and May–July 2009 in Denton, Texas Length: 51:16 Label: Bella Union Producer: Paul Alexander, Eric Pulido and John Grant https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_otwz9v_wbEILEEN-McLAREN-1004-c-WILLIAM-ELLIS.jpg Eileen McLaren THIN LIZZY: JAILBREAK “Okay, so it’s Jailbreak by Thin Lizzy. Probably is my earliest memory of a concert - that I went to with a friend - and not a family. And.changed my life. So the music, the guitars, the people in the band - I met them. It's just that moment in time that you capture and then I've been into rock music and guitar rock music ever since.” Session: Eileen McLaren Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Thin Lizzy Recording Title: Jailbreak Released: 26 March 1976 Recorded: December 1975 – February 1976 Studio: Ramport Studios, London, UK Length: 36:15 Label: Vertigo, Mercury (US only) Producer: John Alcock https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_awceon_ALLANwbfGLEN-0931-c-WILLIAM-ELLIS.jpg Allan Glen MICHAEL BRECKER: TALES FROM THE HUDSON “So it’s Tales from the Hudson by Michael Brecker. As you can see, it's quite a well worn CD, something that I got pretty early on in my career as a saxophone player because I had heard that you had to like him if you were a tenor sax player, and I'll be honest, I got this album, and just didn't get it and t I've heard the same thing from a lot of people. They say that Brecker is someone who you acquire - you just get to a point and this was the same thing. I tried this out a few times because I was a big fan of Pat Metheny. My first real jazz album that I remember listening to was Letter From Home by the Pat Metheny Group and I fell in love with his playing. So I was kind of like, well, surely if Pat’s on this album, then I’ll like it. I just didn't get it. I just couldn't understand the album and then just a few tries, and then suddenly, it just clicked into place. And it's something that from a technical standpoint I think Brecker is just an absolute master of the instrument - or was a master of the instrument. Lyrically, this is amazing, the version of African Skies on it, which is obviously for a jazz quintet, rather than the Brecker brothers kind of fusion band is phenomenal. But then I think my favourite solo is Midnight Voyage - the second track on the album, which is just this incredible slightly altered blues. His playing is just phenomenal. it’s something that I go back to - I haven't actually listened to I put it on last night and it's first time I’ve listened to it about maybe a year, a year and a half. And I can still sing all the solos, and I still know the order of all the solos -I just fell back in love with it. Because when you had said, ‘an album of great significance’, my brain instantly went to this one. It wasn't a choice - just went straight to it. And the question I asked you was as all right to bring a CD because I don't have this on vinyl. And again, you look at that you look at the band itself. I mean, you have like the who's who of jazz players, especially in the early 90s, Metheny, DeJohnette, Dave Holland, Joey Calderazzo and then you've got McCoy Tyner and Don Elias. And that again, as know, many, many years later, that's quite special because I have one of your prints in my living room of McCoy and Mike at Iridium. I look at that and think you know those two are no sadly no longer with us, but their catalogue of work is just exceptional - unbelievable. So yeah, that's my album. That's why it means so much to me. That was my introduction to like, just utter technical and melodic genius on saxophone - probably more than Coltrane. I'm a huge Coltrane fan and got into Coltrane, but Brecker was the first one for me and it’s that sound as well. I can instantly just, you can just hear it and if you ever hear it, because obviously has such a prolific sideman career, and so many genres that you'll hear him on pop stuff from the 70s. You'll hear them obviously with Paul Simon, even with Dire Straits, and he plays two notes and you're instantly - ‘Oh, it's Brecker that's on that’. And there are many permutations, but there's only one Michael Brecker. And I was lucky - I got to see him live, which must have been his last tour before he became ill, which was when he was doing this large ensemble concert and it was at the Barbican and that was just mind blowing. I think I was like two rows back and when he walked on stage, it was just it was incredible to be in the room with him. We were sitting I was sitting so close that I didn't really hear the sound of him coming through the PA I heard his sound - which again, as a saxophone player was just immense. was so so cool to hear. Yeah, that's my album.” Allan Glen Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist: Michael Brecker Recording Title: Tales From The Hudson Released: 1996 Recorded: 1996 Studio: Power Station, New York City Length: 60:23 Label: Impulse! Records Producers: Michael Brecker, George Whitty, Pat Metheny https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_oak9fq_ALISTAIRwb-THORNTON-0917-c-WILLIAM-ELLIS.jpg Alastair Thornton SIGUR RóS: UNTITLED “It’s Untitled by Sigur Rós, an Icelandic band. From the moment I first heard it it’s been the most overpoweringly emotional piece of music that I’ve ever listened to and ever had the pleasure of owning. It is always exciting to listen to and fills me with joy.” Session: Alastair Thornton Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Sigur Rós Recording Title: Untitled Released: 28 October 2002 Studio: Sundlaugin, Mosfellsbær, Iceland Length: 71:46 Label: FatCat Bad Taste Producer: Sigur Rós, Ken Thomas https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_e0fu20_DAVIDwbHOSSACK-0994-c-WILLIAM-ELLIS.jpg David Hossack RONNIE LANE AND SLIM CHANCE: ANYMORE FOR ANYMORE “The album is Anymore for Anymore by Ronnie Lane and Slim Chance. Why it's significant - I discovered it, because I was a Who fan, and I liked The Faces and Small Faces. The album Rough Mix by Pete Townshend and Ronnie Lane introduced me to a different aspect of Ronnie Lane. That in turn brought me to this LP, bought not at the time it came out in 1974, but much later. Never regretted that decision. It was fresh and remains so to this day. It is difficult to describe it as it transcends all genres. It could be said to be a bit folky, but it's not traditional folk music. It might be described as country music, but not in the American sense, more in a rural English way. The word that comes to mind is bucolic and, in some ways, it is but it is very difficult to catch the essence of it. And that's maybe part of the beauty of it. On first listen, you might think it's a bit ragged, a bit loose, but actually it's tremendously tight. These are musicians who know exactly what they're doing and have the knack of making it sound ragged like they don't. It's an album I've had since I was about 18 years old. Whilst some favourite music has diminished in impact over the years, this one gets me every time. It has everything. There are some great interpretations of songs such as Careless Love together with his own songs. Tell Everyone which was on one of The Faces albums is reworked, and to my mind, it's one of the most beautiful love songs. There's a tremendous saxophone solo on it by Jimmy Jewel which is the essence of simplicity but just so emotive. And it's got humour there's a great song called Chicken Wired, about taking a chicken to market which on paper sounds terrible but it's a really rocking sort of folky song - a great piece of music with some “throwaway lines” by Lane. And it's also got some pieces that could be described as spiritual such as the The Poacher. This has beautiful poetic imagery such as “Bring me fish with eyes of jewels and mirrors on their bodies”. Ronnie Lane continued to make fine music, but nothing got as close to perfection as this one.” David Hossack Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Ronnie Lane and Slim Chance Recording Title: Anymore for Anymore Released: July 1974 Recorded: 1973–74 Studio: Fishpool, Hyssington with Ronnie Lane's Mobile Studio; mixed at IBC Studios, London Length 40:37 Label GM Producer: Ronnie Lane, Bruce Rowland, Glyn Johns *Recording engineers: Hugh Jones, Andy Knight Recording Engineer: John Burns/Ron Fawcus Artwork/sleeve Art: Paul Bevoir Liner notes: Alberto Mitchell, Wayne Pernu https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_mne2rl_GEORGE-PEEBLES-0903WB-c-WILLIAM-ELLIS.jpg George Peebles ROXY MUSIC: ROXY MUSIC “It’s the Roxy Music first album from 1972 - and the original pressing I bought when it was released. The background is that I got into music in the early 60s when I was about 10 years old and I come through the Beatles got into Dylan started to expand my horizons in the late 60s to psychedelic stuff and all that, got into Americana, the Band albums and that around the turn of the 70s - not impressed by the traditional glam rock scene but then one night I was watching I think it was Top of the Pops probably and saw this band Roxy Music, I thought this is different - there’s more to this than meets the eye. So I immediately went out and bought their album because of course the single they were doing was Virginia Plain which is not on the album, at least not on the original album it's on the Steven Wilson remix that came out a couple of years ago. But I just loved the album, I think it was very novel it took me in new directions to think about other things like for instance – the Kraftwerks and Cans of this world it kind of opened up that world - not that there's a huge similarity, but just the Eno influence in the first couple of albums definitely took me into that direction. So I just loved the album ever since I play it regularly still. Still cherish my original copy, I have a few other copies just for ease of use and CDs and various remixes etc. and I think Roxy Music first three - four albums stand the test of time after that, I think they go a bit showbizzy, - Mr. Ferry became quite, you know, I think self centred, even more than normal. But I think initially, especially those first two albums when there was an obvious tension between Bryan Ferry and Eno in terms of who the who was really driving the music if you like I think just makes it a very very interesting album, one of the great debut albums and I must have played it 1000s of times over the last near 50 years !” George Peebles Session Date: 24 September 2021 Location: Loud & Clear, Edinburgh Artist: Roxy Music Recording Title: Roxy Music Released: 16 June 1972 Recorded 14 March 1972 – 29 March 1972 Studio: Command Studios, London Length: 42:12 Label: Island Reprise Producer Peter Sinfield https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_5zn16r_JOHNwbMACLEOD-0979-c-WILLIAM-ELLIS.jpg John Macleod BOB DYLAN: JOHN WESLEY HARDING “The album is John Wesley Harding by Bob Dylan and the significance is that it's the first Dylan album I ever heard- an older friend played it to me. I was 13 years old at the time. I was very taken by it and went out the next day and bought it from the local record shop. My father was a collector of (mainly pre-war) blues, folk, and country music, so I was familiar with these song structures. Bob Dylan on this record used the traditional forms, but built on these, increased the mystery in both simple and complex ways, and took everything further. I don’t think anyone (apart from Dylan) has taken any of it any further since. I think he is the master of all song forms – not just blues, folk and country, but also ballads, tall tales, nursery rhymes, surrealist epics, love songs and nonsense verse. I still love this album- it’s the one that started it all off for me.” John Macleod Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist/Ensemble: Bob Dylan Recording Title: John Wesley Harding Released: December 27, 1967 Recorded:October 17 and November 6 and 29, 1967 Length 38:24 Label Columbia Producer: Bob Johnston John Berg: Cover photo Engineer: Charlie Bragg https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ag8tx4_MIKE-DOOLEY-wbOLP-9462-c-WILLIAM-ELLIS.jpg Mike Dooley THE BEATLES: 1962 - 1966 “It's the Beatles 1962 to1966. And it just takes me back a long time. But it was one of the first pieces of music that I really got to know the songs from that album. And my dad's from Liverpool. So of course, I was brought up with The Beatles. And I can always remember Christmas time getting a guitar and I was singing away and ‘She Loves Me’ in front of my mom and dad sitting on the city and it was the bee's knees. I was a business. Absolutely brilliant. And ever since then, I've always listened to The Beatles. You know, if I wanted to, like self, go on some pills, and that's when my go to album just to listen to that. Amazing, amazing tracks.” Session: Mike Dooley Session Date: 2 November 2021 Location: Loud & Clear, Edinburgh Released: 2 April 1973 Recorded: 11 September 1962 – 21 June 1966, EMI Studios, London and Pathé Marconi Studios, Paris Length: 62:34 Label: Apple Producer: George Martin Compiler: Allen Klein https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_4teipx_ROSSwbWATTERS-0956-c-WILLIAM-ELLIS.jpg Ross Watters PINK FLOYD: THE DARK SIDE OF THE MOON “Dark Side of the Moon by Pink Floyd - special to me because when I was younger, I didn't really follow the same kind of musical tastes as many of my friends or my peers at the time and I wasn't really into rock much, but this album changed that for me. And over the years, I have many memories that are linked with it - all of them good. And for me, it's the album that I always go to if I want to get some peace and calm and be able to think. I mean, it's full of fairly depressing lyrics and the songs are a little bit on the sad side, but it doesn't do that for me, just allows me to go into another place and release any of the kind of crap that's happened during the week and I just love listening to it. I will always be able to listen to it. Whenever I put it on, it commands my attention. I don't go and do other things and for that reason in the memories, I love it, and that's why I chose it.” Session: Ross Watters Session Date: 25 September 2021 Location: Loud & Clear, Edinburgh Artist: Pink Floyd Recording Title: The Dark Side of the Moon Released: 1 March 1973 Recorded: June 1972 – January 1973 Studio: Abbey Road, London Length: 43:09 Label: Harvest Producer: Pink Floyd https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ibh0r4_BRIAN-MORRIS-fw1929-c-WILLIAM-ELLIS.jpg Brian Morris WEATHER REPORT: SWEETNIGHTER "Sweetnighter was my introduction to modern electronic jazz, but not the first jazz album I owned, (Jon Hiseman’s Colosseum, - Those About To Die Salute You) - which I also love. However, Weather Report’s Sweetnighter, opened my musical horizons and journey into jazz, rock, fusion and what was later progressive music, at a time when music was really changing with new electronic instruments, the synth for example, and probably used for the first time in jazz by Herbie Hancock with his band Head Hunters, and the album of the same name - another favourite I play to this day. Listening to live music and LPs became and remains an important part of my life, especially as a keen hifi enthusiast or audiophile, listening to vinyl at home for the cerebral immersion in the sound and form this new and exciting music delivered and especially the music of Weather Report. Many years later I was fortunate to attend a concert by Weather Report at the Universal Amphitheatre in LA and will never forget that performance and especially the encore – an improvised and emotional duet between Wayne Shorter and Josef Zawinul. The LP is an important and historical document like no other regardless of genre, expressing an artist’s journey, music, culture, and musical intent, embodied in physical ownership. Sweetnighter by Weather Report is therefore, my One LP of significance for its ground-breaking music, influence and longevity and is now in a collection of Weather Report LPs and part of a diverse collection of more than 5000 LPs many years later." Brian Morris Session date:18th November 2021 Location: House of Linn, Manchester Artist: Weather Report Recording: Sweetnighter Released: April 27, 1973 Recorded February 3–7, 1973 Studio: Connecticut Recording Studio Length: 44:41 Label: Columbia Produce: Bob Belden (Reissue producer) https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_7jjd8c_TREVOR-LIDDLE-fwb1997-c-WILLIAM-ELLIS.jpg Trevor Liddle Trevor Liddle https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_whuxoh_COLIN-ANDERSON-OLP-WB-2436-c-WILLIAM-ELLIS.jpg Colin Anderson JONI MITCHELL: HEJIRA "I love this album; it accompanied my own “exile” from childhood to adolescence, a happy time of excitement and change. The lyrics reflect on the experience of travel, full of frank recollections and stories of encounters along the way. I think musically it represents a departure from some her previous, more pop-oriented songs to a more complex, jazz inspired sound. The fabulous, melting fretless bass lines of Jasco Pastorius are a real joy throughout. Refuge of the Road remains my favourite with its closing reference to the profound “Earthrise” photograph, taken by Apollo astronaut Bill Anders.” One LP Session: Colin Anderson Session Date: 2 December 2021 Location: Loud & Clear, Edinburgh Artist/ensemble Joni Mitchell Recording Title: Hejira Released: November 1976 Recorded: 1976 Studio A&M, Hollywood Length: 51:55 Label: Asylum Producer Joni Mitchell, Henry Lewy https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_4ebz77_DAVE-CAMERON-OLP-FWB-2483-c-WILLIAM-ELLIS.jpg Dave Cameron MARILLION: SCRIPT FOR A JESTER€™S TEAR “The album is Script for a Jester’s Tear by Marillion. This is one of the first five albums I bought. The first was Pictures of Matchstick Men by Status Quo. Intersting album but it didn’t take me to the places that Script for a Jester’s Tear has. This album came out in 1983 and I’ve made so many lifetime friends through Marilliion. I’m not a Marillion geek I just happen to have other friends who have the same passsion We’ve been to so many Marillion gigs and Fish conventions in different parts of the world and it’s just one of those albums that catalyses us all together. It’s all about friendship and it’s all about people and catalysing I remember buying it in John Menzies on Annan High Street for £5.99 - which was quite alot of money in those days. As I say it’s catalysing people.” One LP Session: Dave Cameron Session date: 2nd December 2021 Location: Loud & Clear, Edinburgh Artist/ensemble: Marillion Recording Title: Script for a Jester’s Tear Released: 13th March 1983 Recorded: December 1982 – February 1983 Studio: Connecticut Recording Studio Length: 46.45 Label: EMI Producer: Nick Tauber https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_9cy8od_JONATHAN-MILLAR-OLP-WB-2098-c-WILLIAM-ELLIS.jpg Jonathan Millar DAVID BOWIE: HEROES “The record I’ve chosen is David Bowie’s “Heroes”, released in 1977 when I was 16. When it came out it was my first exposure to David Bowie, and the first Bowie album I bought. I was amazed by the difference between it and the other music I was listening to at the time, mostly punk stuff like Buzzcocks, Sex Pistols and The Clash. “Heroes” was so different, somehow exotic and almost otherworldly. I became fascinated by the stories that emerged about the writing and recording process in Berlin and what was happening there at the time, the musicians involved, and the part it plays in Bowie’s “Berlin Trilogy” and his overall body of work. The sound of it intrigued me, and I started hearing echoes of it in lots of other things. I sought out his other records, music that had influenced him, and musicians he had himself influenced, which took me in many different and fascinating directions. I suppose the album began to gather dust, but I revisited it nearly 40 years after I first heard it. I was looking for a particular track for our wedding day, to play while my wife Caroline and I left our guests at the end of the reception. We chose the title track. “We can be heroes, just for one day” pretty much sums up how we felt that night, as our friends and family clapped and cheered us on our way out.” One LP Session: Jonathan Millar Session date: 1st Decemebr 2021 Location: Lous & Clear, Glasgow Artist/ensemble: David Bowie One LP: Heroes Released 14 October 1977 Recorded July – August 1977 Studio Hansa (West Berlin) Length: 40:19 Label: RCA Producer: David Bowie, Tony Visconti https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_2zmkdl_ANGIE-0405-c-WILLIAM-ELLIS.jpg Angie Russell THE BLACK ANGELS : PASSOVER After reading a review in Mojo magazine back in 2006, I mail ordered a copy of this and remember it landing on my doormat a few weeks later all the way from the good ol’ US of A. I loved the simple but striking black and white cover design immediately but had no inkling what was hiding inside. With a few notable exceptions (Pearl Jam, The Chili Peppers etc), I had always been a jingly, jangly British indie girl at heart and thought that I didn't really like ‘American' music. That all changed with the Black Angels debut album, ‘Passover’ and it helped open up a whole new world of music for me. A journey that I’m still on..." Angie Russell: Loud & Clear, Edinburgh, 1 September 2021 The Black Angels : Passover Released April 11, 2006 Recorded Cacophony Recorders, Wire Recording, and Shh! Recording Studios, Austin, Texas Length 58:48 Label Light in the Attic Records Producer The Black Angels, Erik Wofford, Ross Ingram https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_qjfzdt_AGATHE_OLPwb-0335-c-WILLIAM-ELLIS.jpg Agathe Girard THE OSCAR PETERSON TRIO: WE GET REQUESTS Agathe Girard: Loud & Clear, Edinburgh, 1 September 2021 The Oscar Peterson Trio: We Get Requests Released 1964 Recorded October 19, November 20, 1964 Length 39:42 Label Verve Producer Norman Granz https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_wlprii_CHRIS-0451-c-WILLIAM-ELLIS.jpg Chris Lusby Chris Lusby: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_hv6hze_HUBERT-0390-c-WILLIAM-ELLIS.jpg Hubert Aniolek Hubert Aniolek: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ifat6p_IAIN-0429-c-WILLIAM-ELLIS.jpg Iain Dewar FRANKIE GOES TO HOLLYWOOD: Iain Dewar: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_y6ybxj_JAMIE-0420-c-WILLIAM-ELLIS.jpg Jamie Thornton Jamie Thornton: Loud & Clear, Edinburgh, 1 September 2021 https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_fpxjv3_JOHN-0487-c-WILLIAM-ELLIS.jpg John Carroll DAVID BOWIE: HUNKY DORY John Carroll: Loud & Clear, Edinburgh, 1 September 2021 David Bowie: Hunky Dory Released 17 December 1971 Recorded 8 June – 6 August 1971 Studio Trident, London Length 41:50 Label RCA Producer Ken ScottDavid Bowie https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_uj04we_ANNE-HEMINGWAY-wOLP-2565-c-WILLIAM-ELLIS.jpg Anne Hemingway DAVID BOWIE: PIN UPS “My memories of this album goes back to when I was living in the nurses home when I was training to be a nurse. As we hadn't much money and we couldn't afford to buy our own records we used to club together and this is one of them that we bought which we all loved. We used to play it and play it and play it, so when we moved out of the nurse's home I took it homewith me without telling the other nurses, but it was scratched to death. Then a couple of years later I went to live in Rhodesia and I had to leave all my music behind so one of the first things I bought when I got there was a record player and this (album) so I just used to play it and play it and play it - it reminded me of home. It brought back lot of memories. 'Sorrow' - and See Emily Play were my two favourites I bought three albums when I bought the record player Bowie , Jackson5and Alvin Stardust. When I brought them all back to England Pin Ups mysteriously disappeared (My brother was the main suspect), so I guess what goes around comes around.” One LP Session: Anne Hemngway Session date: 16 December 2021 Location: House of Linn, Manchester Artist/ensemble: David Bowie Recording Title: Pin Ups Released: 19 October 1973 Recorded: July–August 1973 Studio: Château d'Hérouville, Hérouville, France Length: 33:42 Label: RCA Producer: Ken Scott, David Bowie https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_ipwuim_GARY-BARTON-2OLP-2595-c-WILLIAM-ELLIS.jpg Gary Barton DAVID BOWIE: LOW "It's the first of the David Bowie Berlin trilogy - 'Low' made in 1978. What sprung to mind was how this album changed the way I listened to music and I thought that, with this album in particular, you had to change the way you listen to music when you were listening to it because I’d not heard anything like it before. I went to see him on June 24th 1978 at Stafford Bingley Hall. Before he came on they had 'Another Green World' playing by Brian Eno and that was quite significant because Brian Eno features quite a bit on 'Low' inspiring Bowie through his ‘ambient’ approach. He opened up with 'Warszawa' conducted by Carlos Alomar, it was absolutely amazing, it made the adrenalin flow in your body. What happens when adrenalin flows through your body is that your memory of the time is crystalised, it’s something to do with the chemical, you distinctly remember what was happening - what was going on. The song 'Warszawa' features chanting - there's no words as such but what I found fantastic was the emotion in the singing. Also 'Subterraneans' on the second side is similar - there are words but you can't tell what they are and if you can they don’t make any sense (to me) but Bowie sings them with such emotion. Low is an example of a superstar who embraced the ambient music of Brian Eno. There wasn’t a big audience for it. Bowie didn't steal his ideas but he'd always been inspired by other musicians and on this album Bowie popularised and introduced ambient music to the mainstream. Bowie and Brian Eno teamed up for this album - the thing is with this album is on the first side - he went back to pop songs after the previous album 'Station to Station' and the second side is all infuenced by Kraftwerk, Nue etc which he was listening to while living in Berlin. He was obviosly infuenced by them on the second side. If you notice on side one the songs are very short and what they'd done, they'd gone into the studio and he's only half completed these songs - the seven songs on the first side - there were no endings to them so Brian Eno said 'Well what we'll do - instead of putting an end on them we'll just fade them out - and that's what they did. However the last track on side one, 'A New Career in a New Town' - the one with the mouth organ on, leads you into the second side beautifully. And ther's also a skill in ordering the tracks on an album and I think he chooses the order on the first side brilliantly - it leads into the second side which, as I said is heavily influenced by Brian Eno's ‘ambient music’. A work of creative genius.” One LP Session: Gary Barton Date: 16 December 2021 Location: House of Linn, Manchester Artist/ensemble: David Bowie Recording: Low Released: 14 January 1977 Recorded: September–October 1976 Studio: Château d'Hérouville (Hérouville); Hansa (West Berlin) Length: 38:26 Label: RCA Producer: David Bowie, Tony Visconti https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_v15e9q_IAN-RENNIE-OLPwb-2523-c-WILLIAM-ELLIS.jpg Ian Rennie BOZ SCAGGS: SILK DEGREES “ When you talk about ‘significance’ and key elements of influence you immediately start thinking back in time.So, when I started thinking about an ‘album of significance’ I went right the way back to 1976. I was 15 years old and at the age when you start forming views and opinions on all sorts of things, including music…and of course coming from Liverpool everybody had an opinion on anything and everything ! I went to an all boys grammar school in Liverpool and along with sport, music was one of those interests we all fell in to….you would be going to school with your sports bag in one hand and your record bag in the other, ready to share your latest record with your mates.This is how I came across my ‘album of significance’ - Boz Skaggs: Silk Degrees. A friend brought the album in to school and said ‘You need to have a listen to this.’ So, I took it home, sat in my Mum and Dad’s front room in our council house in North Liverpool and played the album on my Technics stacking system with my Dual turntable and Kef Coda II speakers…I loved it ! It was completely different to anything else I was listening to. Is it Blues ? Is it Soul ? Is it Soft-Rock?….But it didn’t matter, I just liked it and I guess this was one of the reasons I chose this album over some of the other candidates ( …Stevie Wonder -Innervisions, Genesis - Selling England by the Pound , Billy Joel - The Stranger ). So why was it ‘significant’? I guess the ‘significance’ aspect to me was the fact that ‘if you like it, you like it’ don’t try and pigeon hole genres and keep an open mind.It’s something I’ve tried to do throughout my life …don’t pigeon hole people, don’t pigeon hole regions, don’t pigeon hole music. So that’s one element of why I felt this album was significant.I think the other element of ‘significance’ is that this album represents for me how music can be a great point of common coupling and a great social enabler. ‘Silk Degrees’ as well as being my ‘album of significance’, is simply a great album.I played it recently and it doesn’t sound or feel dated….a great bass line on ‘What Can I Say’ and ‘Harbour Lights’ as evocative and atmospheric as ever, with a great trumpet solo running the track and side one out. I always believe album cover art can help to position an album in your imagination and I use to lie there listening to ‘Harbour Lights’ looking at the album sleeve conjuring up all sorts of emotions. The album cover I found subsequently, was actually shot at Casino Point on Catalina Island off the coast of Los Angeles, California which just stirred my imagination even more. Boz Scaggs - ‘Silk Degrees’….a great album and my ‘album of significance’ !! “ One LP Session: Ian Rennie Session date: 16th Deember 2021 Location: House of Linn, Manchester Artist/ensemble: Boz Scaggs Album: Silk Degrees Released: February 18 1976 Recorded: September - October 1975 Studio: Davlen Sound Studios, North Hollywood, California; Hollywood Sound Recorders, Los Angeles, California Length: 41:28 Label: Columbia 33920 Producer: Joe Wissert Producer: Bob Belden (Reissue producer) https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_1d33m2_MICK-HARPER-OLP-2579-c-WILLIAM-ELLIS.jpg Mick Harper PINK FLOYD: THE DARK SIDE OF THE MOON "When Floyd brought out 'Dark Side of The Moon' it did something to me. I just thought ‘WOW” this is fabulous - absolutely fabulous. It is an album I can play again and again and again without ever getting tired of listening to it and I still feel that way today. I can put it on and just keep playing it. It probably changed the way I thought about music and I thought Roger Waters lyrics and compositions were brilliant. I suppose Dave Gilmour and the rest of the band contributed in some way but mostly it was a Roger Waters concept. I still think they're a great band my only regret being that I never got to see them perform live but fortunately I can still watch past performances of them on television - they're brilliant aren't they!" Session: Mick Harper Session Date: 16 December 2021 Location: House of LInn, Manchester Artist/ensemble: Pink Floyd Recording Title: The Dark Side of the Moon Released: 1 March 1973 Recorded: June 1972 – January 1973 Studio: Abbey Road, London Length: 43:09 Label: Harvest Producer: Pink Floyd https://storage.neonsky.app/4c866b5ee9717/images/651h4emo_9d5xp3sn_5j7we6_ROY-COULSON-OLP-2540-c-WILLIAM-ELLIS.jpg Roy Coulson GENESIS: SELLING ENGLAND BY THE POUIND "I grew up in a household with an older sister and brother. As the youngest, initially, you look for help from your siblings to find a musical sound which is you. This is a good start but it was limiting for me - it wasn't mine; I had no ownership. In the 60's and early 70's your exposure to popular music was the radio, Top of the Pops and songs that only lasted 3 minutes, or seemed to. Glam rock was not for me! The main influence to find my own sound was friends at school. It was here that someone introduced me to this band called Genesis. It was the single 'I Know What I Like' that I heard first and I thought, ‘This is interesting’. It was different. It was catchy as a song but it didn't end in 3 minutes, it went off in all sorts of weird and wonderful directions. It had unusual sounds and lyrics that you don't normally come across and would never hear on the radio. It led me to the album which was the first album I'd really bought. I thought 'This is fabulous’. There's not just creative lyrics, complex melodies and extended instrumental sections; It also had songs lasting more than 10 minutes! I remember saying to myself, 'This is for me!’ It was the blue touch paper setting me on my own personal musical journey. It’s what got me going and what made it happen for me musically. The album gave me my first real musical identity.” One LP Session: Roy Coulson Date: 16 December 2021 Location: House of Linn, Manchester Artist/ensemble: Genesis Recording: Selling England by the Pound Released: 13 October 1973 Recorded: August 1973 Studio: Island (London) Length: 53:44 Label: Charisma, Atlantic Records Producer: John Burns, Genesis https://onelp.com/arts-media-venues 2026-04-06 monthly 0.8 https://onelp.com/a-g 2026-04-06 monthly 0.8 https://onelp.com/h-z 2026-04-06 monthly 0.8 https://onelp.com/eps 2026-04-06 monthly 0.8 https://onelp.com/luthiers 2026-04-06 monthly 0.8 https://onelp.com/photographers 2026-04-06 monthly 0.8 https://onelp.com/musicians 2026-04-06 monthly 0.8 https://onelp.com/a-b 2026-04-06 monthly 0.8 https://onelp.com/c-f 2026-04-06 monthly 0.8 https://onelp.com/g-l 2026-04-06 monthly 0.8 https://onelp.com/m-r 2026-04-06 monthly 0.8 https://onelp.com/s-z 2026-04-06 monthly 0.8 https://onelp.com/premiere-exh-archive-contmp-music---nyc 2026-04-06 monthly 0.8 https://onelp.com/one-lp---ronnie-scotts-jazz-club 2026-04-06 monthly 0.8 https://onelp.com/compilation 2026-04-06 monthly 0.8 https://onelp.com/one-lp-tv 2026-04-06 monthly 0.8 https://onelp.com/unconvention22-1 2026-04-06 monthly 0.8 https://onelp.com/education-exhibitions 2026-04-06 monthly 0.8 https://onelp.com/one-lpscarborough-jf15 2026-04-06 monthly 0.8 https://onelp.com/one-lpdocumenting-jazz2020 2026-04-06 monthly 0.8 https://onelp.com/one-lpband-on-the-wall 2026-04-06 monthly 0.8 https://onelp.com/one-lploud--clear-edinburgh 2026-04-06 monthly 0.8 https://onelp.com/one-lp-exhbcurhythm-changes 2026-04-06 monthly 0.8 https://onelp.com/atrium---face-in 2026-04-06 monthly 0.8 https://onelp.com/atrium---face-out 2026-04-06 monthly 0.8 https://onelp.com/third-floor-section-1 2026-04-06 monthly 0.8 https://onelp.com/third-floor-section-2 2026-04-06 monthly 0.8