portrait of this blog's author - by Stephen Blackman 2008

Monday, January 30, 2017

DEPORTEES . . . . . . . .

Seemed apt somehow to revisit this Woody Guthrie song . . . . . . I have it by Arlo, and Bob Dylan and Joan Baez, The Highwaymen, Nanci Griffith, Emmylou Harris and Christy More so I guess I must like the song . . . . . it has resonance and read up on it if you haven't or don't know from whence it came. Here is a lovely version by the wonderful K.T.Tunstall . . . . . .

More on borders and Freedom of movement . . . . . . . another Woody Guthrie observation

On this day in music history: January 30, 1969 - The Beatles perform live for the last time on the roof of the Apple building at 3 Savile Row in London. Filmed as the climax of the documentary film “Let It Be”, the band perform a forty-two minute long impromptu set (only half appears in the finished film) consisting of the songs “Get Back” (performed twice), “Don’t Let Me Down”, “Dig A Pony”, “One After 909” and “I’ve Got A Feeling”. The performance quickly attracts attention from the street below, drawing a huge crowd, stopping traffic in central London, and leading the police to bring the concert to a halt. The roof top concert captures a rare glimpse of The Beatles during their last days as a functioning unit, and becomes an iconic moment in their history.

Saturday, January 28, 2017



From Big O where else? . . . . this is great and really worth checking out. I admit to feeling a bit jaded with having pretty much everything Macca but this was a really pleasant surprise. Great quality and fascinating insight to the rehearsal process and behind the scenes stuff without being boring plus sound checks from great concerts and the Macca band in their prime mostly for the American Radio broadcasts of the 'Oobu Joobu' series. Made available by the legendary Philip Cohen

Big O say:
Rehearsals, soundchecks, radio broadcasts - various dates and venues. Very good soundboard.This excellent 4-Disc-Book set features rehearsal and soundcheck recordings by Paul McCartney and his band taped between late 1989 and 1993. The band - jokingly called Lumpy Trousers by Macca - featured Hamish Stuart, Robbie McIntosh, Paul “Wix” Wickens, Linda McCartney and drummers Chris Witten (1989/1990) & Blair Cunningham (1991-1993). Almost all of the tracks on these discs are taken from Paul’s 1995 American Oobu Joobu radio series - with additional tracks from other sources. All songs are professionally recorded and presented in chronological order.+ + + + +
Philip Cohen, who compiled the boxsets for The Yardbirds, The Small Faces, Humble Pie and Nice:
Only a half dozen episodes of Paul McCartney’s “Ooobu Joobu” radio show were ever released on CD (they were on CD singles that are now deleted), but none of the material on this bootleg boxed set were ever included in those episodes.
+ + + + +

Can you diggit? I think you can . . . . 

Tuesday, January 24, 2017

On this day in music history: January 23, 1976 - “Station To Station” (or “StationToStation”), the tenth studio album by David Bowie is released. Produced by David Bowie and Harry Maslin, it is recorded at Cherokee Studios in Los Angeles, CA from October - November 1975. Following the major critical and commercial success of the album “Young Americans”, David Bowie plays the lead role in the film “The Man Who Fell To Earth”, directed by Nicolas Roeg (“Performance”). After filming wraps, Bowie returns to the studio to begin work on a new album. Having explored soul music on “Young Americans”, Bowie continues his “Thin White Duke” phase, but also having become intrigued by German electronic bands such as Kraftwerk and Neu!, he also incorporates those musical stylings into the work in progress. The musical shift foreshadows the singers’ exodus from the US later in 1976 for Switzerland and Berlin, Germany. Bowie is also at the apex of his cocaine dependency at the time, and later is not able recall much of the work done during the ten days it takes to record the album. In spite of this, the sessions produce one of his most accessible and successful works, and marks another important transition in the chameleon like musicians’ career. It spins off two singles including “Golden Years” (#10 Pop) and “TVC 15” (#64 Pop). The album is remastered  and reissued on CD and as a 180 gram vinyl LP as part of the box set “David Bowie: Who Can I Be Now? (1974 - 1976)”. “Station To Station” peaks at number three on the Billboard Top 200, and is certified Gold in the US by the RIAA.
From the indispensable AbeBooks!

The Voynich Manuscript

by Richard Davies

The Voynich Manuscript has been confusing clever people since the 15th century, give or take a few centuries when it disappeared into the back of cupboard somewhere in Italy. This remarkable illustrated document is written in an unknown language that has defeated all efforts to decipher it by the world's greatest cryptographers. 
Buy Yale's facsimile of The Voynich Manuscript SHOP NOW
Now it's your turn. The manuscript is housed in the Beinecke Library at Yale and Yale University Press has published a facsimile of this intriguing document complete with background essays that shed light on what is known about this baffling object.
The manuscript is named after Wilfrid Voynich, a book dealer who purchased it in 1912 and exhibited the book across America. However, its history goes way back.

Yale's facsimile of The Voynich Manuscript
Here is what we know. It's printed on vellum. Carbon dating reveals the book was created in the first half of the 15th century, so it's late medieval. Some pages are missing. Some pages include foldouts. It's rather small at 23.5cm by 16.2cm by 5cm. The pages may not be in the correct order. Its plain goat skin binding is not its original binding. The text runs from left to right. There is no obvious punctuation among the 170,000 characters.
We don't know who wrote it.
The content, judging from the illustrations, appears to cover herbology and pharmacy, astronomy and cosmology, human biology, and perhaps recipes (which would make the mystery rather comical if true). There are many intriguing illustrations in blue, white, red, brown and green paint.
"It is surprisingly small given its reputation as the world's most mysterious book, and its physical appearance is underwhelming."
The illustrations are rough but the colors have not faded. The text sometimes weaves its way around the artwork. Where the Voynich Manuscript has a foldout, the Yale facsimile has one too.

Yale's facsimile of The Voynich Manuscript
Is it a bizarre handbook for medicine and health? Is the book an elaborate joke? Why create an informational book written in a text no-one can understand?
To my untrained eye, the book covers woodland plants, a reoccurring dumpy medieval lady who bathes frequently, and some guesswork about what goes on in the heavens. The main reason for secret code is so only a select number of people can read it. Was this an attempt to limit learning to one particular group?

Yale's facsimile of The Voynich Manuscript
The Voynich Manuscript is catalogued in Yale's archives as MS 408, which is how it is referred to in much of Yale's facsimile. It was donated to Yale by book dealer Hans P. Kraus in 1969 after he had failed, bizarrely, to sell it.
The book has bounced around Europe. One confirmed owner is Georg Baresch (1585-1662), an alchemist from Prague. Someone called Joannes Marcus Marci (1595-1667) owned it after Baresch and sent it to the great 17th century scholar Athanasius Kircher in Rome.

Yale's facsimile of The Voynich Manuscript
A letter in Latin found inside the cover - written on 19 August 1665 or 1666 (sloppy 17th century handwriting) - accompanied the manuscript when it was sent to Kircher and it reveals the book once belonged to Holy Roman Emperor Rudolf II (1552-1612).
"Many hands have held Voynich's now-eponymous book over the centuries: mathematicians, botanists, alchemists, cryptographers, clerics, university professors - yet none of them have managed convincingly to solve its mysteries."
There are no records of the book's whereabouts for the next 200 years, but it was perhaps stored with Kircher's archives in Rome. It turns up at the Jesuit Roman College, Collegio Romano, and they sell it to Voynich in 1912. Voynich died in 1930 and it was then owned by his widow, Ethel, the author of the novel The Gadfly. She died in 1960 and left the manuscript to a friend called Anne Nill, who sold it a year later to Kraus.

Yale's facsimile of The Voynich Manuscript
The highlight of the essays in Yale's facsimile is Arnold Hunt's profile of Voynich himself, who went from Poland, where he was a revolutionary, to London, where he gained a foothold in society and a bookshop on Shaftsbury Avenue, to America, where he exhibited the mysterious book and other rare manuscripts. Without Voynich's intervention, this manuscript would still be languishing in obscurity.
"Those who met Voynich never forgot him... Voynich's research laid the foundations for much of what we know about the manuscript, at the same time, his tireless efforts to promote it and the sensational claims he made for its importance threw an aura of romance around it."

Monday, January 23, 2017

On this day in music history: January 22, 1977 - “I Wish” by Stevie Wonder hits #1 on the Billboard Hot 100 for 1 week, also topping the R&B singles chart for 5 weeks on January 15, 1977. Written and produced by Stevie Wonder, it is the fifth number one pop and twelfth R&B chart topper for the Motown superstar. While working on his eagerly awaited eighteenth album, Wonder comes up with the idea for “I Wish” during Motown’s annual 4th of July company picnic in 1976. He goes to Crystal Studios in Los Angeles immediately following the picnic, and composes the majority of the song on the spot. Backed by his band Wonderlove, they cut the basic track that day. While laying down the basic tracks, Stevie uses an ARP 2600 synthesizer to play a counter melody throughout the song, using the monophonic (only note at a time can be played on it, and not chords) keyboard to layer the individual notes of a chord on tape. Initially, the songs’ lyrics have a more serious and darker tone. When he realizes that they are counteractive to the songs’ uplifting groove, he turns it into a fond remembrance of his childhood growing up in Saginaw, MI. Released as the first single from the landmark album “Songs In The Key Of Life”, “I Wish” becomed an instant smash. Entering the Hot 100 at #40 on December 4, 1976, it climbs to the top of the chart seven weeks later. “I Wish” returns to the top of the chart, in when Will Smith samples a portion of the original track for the title song to the film “Wild, Wild West” in 1999

Sunday, January 22, 2017

This . . . . . . about That

JASON & THE SCORCHERS "Absolutely Sweet Marie" (1983) 

This from the Wonderful Willards Wormholes . . . . .to bring cheer?!

“Absolutely Sweet Marie” (1983)
The Second Best Bob Cover?
FROM 2008: An entire segment of the civilized world concedes that Jimi Hendrix’s electrified version of “All Along The Watchtower” is the best BD cover ever, largely for its complete re-invention of Bob’s original acoustic composition. But… what might be the second best Bob cover? Submitted for your approval is Jason And The Scorchers’ “Absolutely Sweet Marie,” a rave-up of hillbilly testosterone that reshapes Dylan’s original into a catchier-than-all-get-out barn burner. Besides its energy, the cover’s simple brilliance is in turning the phrase “Where are you tonight?” into a repeated chorus. Of course, it may only be the 148th best Bob cover, but pop it into your player for a few days and you won’t be able to shake it. From the band’s 1983 debut EPFervor, at Amazon, HERE.

Friday, January 20, 2017


© Sean Bonner


Wednesday, January 18, 2017

From David Byrne today

David Byrne Journal


William Onyeabor passed away at his home in Nigeria day before yesterday. His surprising (no other African musician was using synthesizers then) recordings, his conscious lyrics and messages and his entrepreneurial ambitions (up until selling them late last year, he had his own vinyl mastering and pressing machines!) were all way ahead of their time. He continues to inspire musicians and fans around the world.
I was deeply involved with the label Luaka Bop some years ago when Yale Evelev played me some funky-bordering-on-psychedelic tracks by a variety of African artists from the '70s. We put out a compilation of these called Love's a Real Thing, which contained a wonderful song by Onyeabor—"Better Change Your Mind"—a song whose message is as relevant today as it was then. More vinyl from this mysterious man was hard to find, but some trickled in.
Since then I've had less involvement with the label, but when they said they were doing these concerts of Onyeabor's music and asked if I would participate, I said yes. I joined the Atomic Bomb concerts in NY, London, Acapulco, San Francisco and LA. Multiple singers were anchored by the band Sinkane and augmented by African drummers, a horn section and often African singers as well. Those shows were some of the best times I've ever had on stage. Onyeabor's music came to life—it was fresh and transcendent. Everyone felt it. We played it, but he created it.

Here is Luaka Bop's obit: 
Rest In Peace, William Onyeabor (March 26, 1946 - January 16, 2017)
It is with incredibly heavy hearts that we have to announce that the great Nigerian business leader and mythic music pioneer William Onyeabor has passed away at the age of 70. He died peacefully in his sleep following a brief illness, at his home in Enugu, Nigeria. An extraordinary artist, businessman and visionary, Mr. Onyeabor composed and self-released 9 brilliant albums of groundbreaking electronic-funk from 1977-1985, which he recorded, pressed and printed at Wilfilms Limited—his personal pressing plant in southeast Nigeria.
For people in his hometown of Enugu, Nigeria, Mr. Onyeabor was simply referred to as "The Chief”. He was known for having created many opportunities for the people in his community. In his early 30s, he traveled the world to study record manufacturing, so that he could build, "the greatest record manufacturing business in all of West Africa." After those successful years as an artist and record label President in the 1980's, he opened a flour mill and food processing business. In 1987 these new business ventures saw him awarded West African Industrialist of the Year—just two years after the release of his most successful song "When The Going is Smooth and Good", and what should have been the height of his musical career. He was given the honorary title "Justice of the Peace"—a local judicial position elected by the community to provide independent legal ruling. In the early 1990's, he became the President of Enugu's Musician's Union and Chairman of the city's local football team, The Enugu Rangers. Despite all of these extraordinary achievements, his biography was always shrouded in mystery—some claimed he had studied filmmaking in the Soviet Union, while others placed him in France or Great Britain. To his great amusement (and ours too for that matter), this mythic image was at times so deeply ingrained, that we often encountered people who were convinced that he didn't actually exist. Whenever we shared this with him, or would ask him a question about his past, he would just smile and say, "I only want to speak about God."
After five long years of painstaking waiting, negotiating and intense research, we were finally able to release “Who is William Onyeabor?” in 2013 and his music and story took the world by storm. The release was featured in major newspapers, radio and television stations around the world. Time Magazine listed him as number 4 on a shortlist of that year’s best albums. In 2014, the film documentary “Fantastic Man” followed, as well as the “Atomic Bomb! Who is William Onyeabor?” live shows, which travelled to the most regarded festivals and music venues worldwide-starring over 50 special guests from many diverse generations, genres and backgrounds.
Still, William Onyeabor would never speak about himself and for a long time refused any of the many interview requests that came his way. For an artist that had never performed live in his entire life, he repeatedly, and very sadly, would always decline our invitations to take part in any of the joyous celebrations that were created in his honor. Having become Born Again in the latter part of life, he had turned his back on the music from the earlier part of his life.
As one of the absolutely smartest people we ever encountered—William Onyeabor was always in charge, whatever the situation may be (and even though he was living in a fairly isolated part of rural West Africa). As can be heard in many of his songs, he looked at the world from a bird's eye view. He would watch American, Chinese and European news simultaneously, so he could learn about the different points of view from around the world. In his later years, he was still conducting business as usual. Whenever we visited him in Nigeria, he welcomed us warmly into his home. Whether it be at his palace outside of Enugu or via crackly phone lines to America, he always made us laugh. As is also very evident in his songwriting—another example of his true intellect and originality—he had the greatest sense of humor. His life and accomplishments will never cease to astonish us. More than anything, and still to this very day, his music continues to live on—nearly 40 years after it was originally released.
Chief William Ezechukwu Onyeabor is survived by his wife, children, and four grandchildren. We would like to send our deepest condolences to his family and thank each and every one of you who has helped share the love for his music around the world.
In the short and wonderfully intense nine years that we came to know him, he changed our lives in many ways. If he hasn't yet, we hope he will affect you too, one day.

Watch videos, get links to buys Onyeabor's albums and read obits from around the world over at davidbyrne.com.
Wherever he's gone, it's sure to be a place with a lot of heart and some killer grooves. Rest In Peace.
David Byrne

and his just in from the wonderful Austin Kleon's Newsletter . . . . 

RIP African electro-funk pioneer William Onyeabor. The record label Luaka Bop put out a great compilation I recommend, Who Is William Onyeabor? (My favorite track is “Atomic Bomb.”) Onyeabor said, “I only compose the type of music that will help the world the way it counts.”

Notes from found photos . . . . . . an occasional series

Ms Dorothy Counts

remember the name

On the morning of September 4, 1957, fifteen-year-old Dorothy Counts set out on a harrowing path toward Harding High, where-as the first African American to attend the all-white school – she was greeted by a jeering swarm of boys who spat, threw trash, and yelled epithets at her as she entered the building.Charlotte Observer photographer Don Sturkey captured the ugly incident on film, and in the days that followed, the searing image appeared not just in the local paper but in newspapers around the world.People everywhere were transfixed by the girl in the photograph who stood tall, her five-foot-ten-inch frame towering nobly above the mob that trailed her. There, in black and white, was evidence of the brutality of racism, a sinister force that had led children to torment another child while adults stood by. While the images display a lot of evils: prejudice, ignorance, racism, sexism, inequality, it also captures true strength, determination, courage and inspiration.

Here she is, age 70, still absolutely elegant and poised. This is what courage and dignity look like . . . . . 

I found this article and pictures here

Tuesday, January 17, 2017

David Bowie cuts up . . . . . .
 . . . . . . . why we love him so much

we miss you Mr B

Thursday, January 12, 2017


Albums That Never Were

'Eat The Document'

So the idea is that you put together tracks from a variety of sources that rere-construct classic albums that were maybe tentatively mooted for release but never made it. Genius! All done by soniclovenoise over at his blog so go and check it out . . . .my favourite (still!) is the Beefheart item but this is close . . . . . . . .

This weeks is the Dylan mythological Eat The Document worth it just to read the thesis but this is a peach

Bob Dylan - Eat The Document Soundtrack

Bob Dylan – Eat The Document Soundtrack
(soniclovenoize reconstruction)

Side A:
1.  Tell Me, Momma
2.  I Don’t Believe You (She Acts Like We Never Have Met)
3.  Ballad of a Thin Man
4.  Just Like Tom Thumb’s Blues

Side B:
5.  Mr. Tambourine Man
6.  Baby, Let Me Follow You Down
7.  One Too Many Mornings
8.  Like a Rolling Stone

Tuesday, January 10, 2017

B ★ O  W  I  E 

sorry i lost the artist credit so if you know who did this wonderful painting please let me know for crediting
Big O posted this text of the BBC/Wiki on the anniversary of Bowie's passing:

In memory of David Bowie
January 8, 1947 - January 10, 2016

Singer David Bowie died on January 10, 2016 at the age of 69 following a battle with cancer. The following note was posted at davidbowie.com: “David Bowie died peacefully [January 10, 2016] surrounded by his family after a courageous 18-month battle with cancer. While many of you will share in this loss, we ask that you respect the family’s privacy during their time of grief.” The singer only released his latest album Blackstar on his birthday on January 8, 2016. There had been rumours about Bowie’s health for years. His last live performance was at a New York charity concert in 2006. Bowie’s breakthrough came with 1972’s The Rise and Fall of Ziggy Stardust and the Spiders From Mars. His hits include Let’s Dance, Space Oddity, Heroes, Under Pressure, Rebel, Rebel, Life on Mars and Suffragette City. Bowie was a figure in popular music for over four decades, and was known as an innovator, particularly for his work in the 1970s. His androgynous appearance was an iconic element of his image, particularly in the 1970s and 1980s. - BBC/wikipedia
+ + + + +

There are some lovely boots knocking about the internet this morning as is only fit and proper but by far my favourite and on the decks right now is the Swedish Radio Symphony Orchestra doing 'Bowie in Berlin 2016' from over at Big O (Where else?) 


Conducted by Hans Ek and Live at the Berwaldhallen, Stockholm, Sweden; from December 3, 2016. Very good Swedish radio broadcast stream

Give it a try as it is peerlessly done and I admit I wasn't too sure but upon listening it is truly extraordinary a truly distinctive tribute to the man and artist. 

Check this track listing from Big O

Disc 1
Track 101. Subterranaens/Some Are 7:22 (17.7MB)
Jennie Abrahamson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 102. Always Crashing In The Same Car 3:28 (8.3MB)
Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Moto Boy (Sång), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 103. Weeping Wall 1:13 (2.9MB)
Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 104. Sound And Vision 2:19 (5.6MB)
Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent)
Track 105. Be My Wife 2:50 (6.8MB)
Magnus Carlson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 106. Art Decade 1:36 (3.8MB)
Sveriges Radios Symfoniorkester, Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 107. Word On A Wing 5:20 (12.8MB)
Jennie Abrahamson (Sång), Magnus Carlson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 108. Warszawa 6:54 (16.6MB)
Jennie Abrahamson (Sång), Magnus Carlson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 109. Ballade Vom Ertrunkenen Madchen 1:59 (4.8MB)
Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Hans Ek (Dirigent) 
Track 110. Berlin 2:27 (5.9MB)
Moto Boy (Sång), Jonas Östholm (Piano) 
Track 111. Trans-Europe Express 4:21 (10.5MB)
Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 112. Heroes 7:16 (17.4MB)
Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 113. Heroes Symphony 4:56 (11.8MB)
Sveriges Radios Symfoniorkester, Hans Ek (Dirigent) 
52 mins

Disc 2
Track 201. Blackout 3:31 (8.5MB)
Jennie Abrahamson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 202. Sense Of Doubt 0:55 (2.2MB)
Sveriges Radios Symfoniorkester, Jonas Östholm (Piano), Hans Ek (Dirigent) 
Track 203. Sons Of The Silent Age 3:54 (9.4MB)
Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 204. Fantastic Voyage 2:57 (7.1MB)
Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Jennie Abrahamson (Sång), Hans Ek (Dirigent) 
Track 205. African Nightflight 2:57 (7.1MB)
Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 206. Look Back In Anger 3:02 (7.3MB)
Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 207. Ashes To Ashes 4:17 (10.3MB)
Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent), Sveriges Radios Symfoniorkester, Zero8 (Kör), Magnus Carlson (Sång)
Track 208. The Passenger 4:57 (11.9MB)
Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 209. Under Stars 5:23 (12.9MB)
Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 210. Blackstar 10:08 (24.3MB)
Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 211. This Is Not America 2:37 (6.3MB)
Jennie Abrahamson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 
Track 212. Where Are We Now 5:04 (12.2MB)
Magnus Carlson (Sång), Jennie Abrahamson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång),Hans Ek (Dirigent) 
50 mins

Also a Tin Tear Drop . . . . . . 

 B  O  W  I  E

A lovely crisp and clear Bowie concert from OTTOWA


check the notes there too

and Another set . . . . from Big O
Rehearsals for Station To Station World Tour - Vancouver


Cat People - For Amy

R.I.P David Bowie - has it really been a year?