Foxy Casino Review – Should You Trust this Casino?

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Malioboro is a bit far, but after 9PM you can reach it in less than 20 minutes Loewy and Basque around 15 minutes or less. Hi, I will be traveling via Jakarta and I have a full 1 day layover.

I normally stay in the Doubletree Jakarta, but I see that it is very far away from any action or party places. I was planning in staying close to the airport like the Orchardz Hotel and get a full massage there.

Or should I stay north of Jakarta? Any recommendation will be great.. Any input will be great.. The two most convenient options would be: It would be more expensive and on Sunday morning you'll have to leave the hotel around 4.

Then I will head take a cab to visit a spa. I may move hotels and spend the second night in Orchardz and get a massage there too.

Looking for girlfriendly hotel near many girls and action. Saw your tips on hotel Looks fine, but really would like a hotel with roof top pool.

Must be clean and fresh hotel, and near many girl bars. At the moment, the Harris Vertu Hotel Harmoni is new and it has high ratings There is a nice rooftop pool too Not too far from Thamrin too if you need to go shopping Hi there, Great read and thank you.

I'm visiting Jakarta for the 3rd time for work and only staying two nights. Last couple of times I stayed at Ibis Slipi and enjoyed the in-room massage service with happy ending, but girls wouldnt do plus plus I dont want to go out clubbing and picking up girls scene - Im happy to stay in the hotel which has nice spa, good massage with plus plus I dont know much about Jakarta, so which area and hotel do you recommend.

Hi there, you can read this article: Hotels with massage parlours in Jakarta. On the list, Grand Mercure is the best one It is near other massage parlors like Malioboro, Emporium, V2, Illigals, etc Any idea if Pullman hotel is girl friendly?

Will be staying there, and I am not so sure. I got a good price, would not like to have to change it for Shangri-la or somethin. Hi, we are couple visiting to indonesia for just party and fun and want to add up spice in sex with sharing a boy with us, it will be appreciated if you suggest the hotels for this and where we can find a boy.

Any hotel will do Online Dating Sites in Indonesia. Hi there planing a trip there soon with friends. Can you please recommend some Hotels which have club, spa, karaoke and lots of LC.

We are planning to have girls to a guy for 4 nights. I think you should book Classic Hotel It's not a 4-star, only 3-star, but it's the best place with LC, karaoke, spa, etc They have 3 bars with striptease, live music and working girls as well Hi, anybody know if the Millenium Hotel Sirih Jakarta is girl friendly too?

Yes , Millenium Sirih Hotel is girl-friendly. For me Jalan Jaksa is the best area to stay in Jakarta. You are close to everything, is like 5 dolar maximum taxi ride to any night spot.

Streets nearby are safe and have a lot of shopping, food and cool bars, all foreigner friendly. Hotels are cheaper than in south downtown areas and offer best bang for your buck.

Streets are not dark and degraded like in some areas in north. Really, have been in Jakarta three times. Another cool area is Pasar Baru, but a little bit more far from everything.

Is there a backpacker area in Jakarta? Which hotel chain offers the best value for money? Which 5-star hotel is the closest from action?

Which 5-star hotel has the best bars and restaurants? What are the names of girl-friendly or guest-friendly hotels in Jakarta?

The price is the same for you! You can also read my other hotel guides: What is the best area to stay in Jakarta? Traffic should be your main consideration and you should choose the location that will minimize as much as possible the time spent going from one place to the other.

The traffic usually gets better starting 9pm so you can still go out quite easily after that. Anyway, there are now malls almost everywhere in Jakarta so wherever you'll stay, you will be close from a fair number of restaurants, bars, coffee shops, gyms, cinemas and hang out spots.

Kemang is too far in my opinion but it could be an option if you want to be close from the best Western food options.

If you are with a group, you can consider renting an entire apartment: Check for apartments in Jakarta.

Choose a hotel in one of these neighborhood: Hotels in these areas usually offer a much better value for money than in the South but the surroundings are more dirty and less safe.

Mangga Besar hotels are all girl-friendly and they are close from hundreds of great street food options. Another good point with this location is that you can still reach Central Jakarta quite easily within 30 minutes.

There is a very convenient busway line running from Kota Station to Blok M that you can use. Alternatively, if you are mostly interested with karaokes and massage parlours instead of clubs, you can go to Kelapa Gading , Mangga Dua , Grogol and Taman Anggrek.

These areas also have huge malls nearby and they are not too far from the airport with the toll road. Bachelor Party in Jakarta.

As you will read in any guidebooks about Jakarta, the backpacker district is located in Jalan Jaksa.

You will only find a handful of guesthouses, usually not well-maintained and not very clean. To find a decent room in Jalan Jaksa, you need to go inside the gangs small streets and look for guesthouse signs.

The prices are currently set at around Rp70, per night for a room with a fan. AC will cost you at least double. In the past few years, there has been an increasing number of backpacker hotels that have opened elsewhere in the city, sometimes with higher standards.

Their prices are quite high though, even for a bed in a dormitory. I would still recommend Jalan Jaksa because of its very central location.

It is next to Gambir train station from where you can go to Yogyakarta or Bandung. What are the best budget hotels in Jakarta? There are several budget hotel chains in Jakarta: They have dozens of locations in the city which are in fact independent small residences.

In particular, they have some very-centrally located property that I've review here: Be careful as many hotels of those budget chains are not girl-friendly.

To avoid any issues, you can choose the slightly more expensive chain Fave Hotels. Based on my experience, the standards can be quite different depending on each property.

Another great one is Fave Hotel Gatot Subroto. Also, the price may vary a lot depending on the location: If you plan on going bar-hopping in Blok M, you may want to stay in Fave Hotel Melawai which is walking distance from the infamous hostess bars.

If you have been to the Philippines, you will know it's one of the best budget hotel chains there. What are the best 3-star hotels in Jakarta?

The price depends on the location and the day of the week cheaper on weekends. Again, within a chain there can be big differences.

I think it is best to find out when the hotel was open and to choose the more recent ones. What are the best 4-star hotel chains in Jakarta?

The prices of 4-star hotels in Jakarta vary greatly depending on the location. Again, don't trust a chain blindly, make sure that the hotel was built recently.

The newest 4-star hotels in Jakarta are: Which 5-star hotel should I choose? Which one is the closest from nightlife? For this reason, all are rather close from any happening places.

Still, it is even more convenient to choose a hotel attached to one of the big malls. For this reason, you may want to choose: Gris first introduces us to the nyckelharpa's strange and beautiful resonances by performing Exordium entirely solo: The Irime Ice Warrior reel also featured on the disc's bonus video moves from rippling Carnatic raga-inspired motifs to funkier African bass riffs, while The Charmer and Treadlightly March incorporate samples into their exotic, Malian-inflected tapestries.

But even though plenty else is happening in the soundscape, I too swiftly became addicted to the fabulous sound of the nyckelharpa itself, finding it hard to prise this brave, enchanting and most rewarding disc from the player.

A remarkable sequel to My Prayer, Tamworth born Sandland's sophomore solo album confidently secures her a place at the top table of UK folk music with its assured fusion of traditional atmospheres and arrangements and contemporary sensibilities.

As with the brooding title track, a tale of cruelty and curses inspired by Yorkshire poet William Watson's own The Ballad of Semerwater, much here draws on rural legends and stories, often with a supernatural basis.

Underpinned by Phil Beer's fiddle, The Dancers of Stanton Drew revisits an account of a doomed wedding party whose insistence on dancing into the Sabbath attracted the attentions of a real devil of a fiddler, The Erl-King is an arrangement of Goethe's cheery epic poem about a gnomish being and the death of a child while, perhaps more familiar, she also visits country classic death song Long Black Veil for a duet with Beer to a simple mandolin backing.

It must be said that the album doesn't have the sunniest of dispositions. Taken from Robert Burns and set to a spare piano and recorder backdrop, Mary's Dream tells of a lover lost at sea, the self-penned a capella Get Thee To The Drowning where Sandland's voice is at its nakedly purest deals with sacrifice by suicide, hanging, the Crucifixion and death by gassing in WWI.

Downbeat yes, but rarely has misery, death, depression and doom sounded quite so stately and majestic. Deb Sandland - My Prayer Hairy Dog Spawn of a musical family dad played jazz bass, one brother's a multi-instrumentalist, the other musical director for the RSC , Tamworth born Sandland has steered her inclinations in a folk direction, initially working with Julie Thurman as unaccompanied duo The Aqua Sisters before expanding to a more fulsome five piece.

That having run its course, she moved back to duo work again, this time with Phil Beer, eventually joining his band and recording a couple of ltd edition albums and contributing to the two Heart of England compilations before finally taking the solo plunge albeit helped out by the band with this album.

She's got a soft, breathy autumnal evening and raindrops voice of deceptive depth that is brimful of assured poise and the confidence of experience but can, as with Don't Leave For The City and the closing My Prayer , still sound beguilingly innocent and wearily vulnerable.

Falling between the trad and contemporary stools may make her hard to pigeonhole for audiences who like to know whether they're getting Kate Rusby or Thea Gilmore, but approach with open ears rather than closed labels and you'll realise she can hold her own with either and both.

It works too, his delicate melancholic guitar tracery a perfect foil for her wasted on valium vocals. It's a sparse comic wash of sound like waves lapping on some lunar shore, vibes tinkling on Suzanne, lazy harmonica blowing across On The Low, a piano's nerves fraying the brief instrumental Baby Let Me and a cello scraping mournfully on the rustic chill out that is Feel the Gaze.

Enervated in a good way it weaves a narcoleptic magic, never better than on a cover of Butterfly Mornings, a song hitherto to the best of my knowledge only ever before heard sung by Jason Robards and Stella Stevens on the soundtrack of Sam Peckinpah's classic Western The Ballad of Cable Hogue.

Hope and indeed glory. Soft-spoken gentle-man Colum's one of the most captivating and genuine talents on the folk scene, and his latest inspirational and ambitious project is a lovely collaboration with acclaimed singer and clarsach player Maggie daughter of legendary Barra singer Flora MacNeill.

It ostensibly takes its cue from the story of a voyage two centuries ago on the little vessel named The Seedboat, from the Hebridean island of Barra to Newry in Co.

Down, by Donald, a young man intending to buy some whiskey for his forthcoming wedding; this ill-fated story is recounted in a bittersweet lament composed by his left-behind bride Catriona, which here is heartrendingly sung by Maggie with help, and some English lyrics, from Colum.

The power of this song, rooted in the heritage of both Scotland and Ireland, also symbolises the continuing richness of the musical dialogue between the two nations, unashamedly rejoicing in the wealth of "shape-shifting" language they share.

This piece is the catalyst for an intelligently-crafted sequence of songs and tunes that's loosely linked by the sea and drawn both from the wellspring of tradition and Colum's original compositions.

It's both highly imaginative and delightfully stimulating in a wonderfully homespun way, and the two performers dovetail together immaculately, working hand-in-hand like the best-fitting of gloves.

Their voices and sensibilities are as naturally and well-matched as the sounding-together of English and Gaelic. The catchy lilt of Calum's Boat gives way to one of Colum's characteristic slices of homespun philosophy The Wave Upon The Shore which resonates onward to and from the second, The Window Half Open, towards the end of the CD , while some typically puckish light relief is provided by Colum's irresistible, if slightly tongue-testing I'm A Terrible Man and the vibrant little morris-tune that Colum uses as the basis for Dance Like Billy-o.

The emotional temperature is high when Maggie blesses us with her peerless renditions of some wonderful old songs: One finely managed though maybe less characteristic or expected contribution finds Colum and Maggie sweetly duetting on Burns' It Was A' For Our Rightfu' King, while Hebridean mouth-music makes its mark on the project with a sturdy waulking song in praise of Alasdair, Son Of Gallant Coll, and the disc ends in more tranquil mode with the yearning spell of The Castle Of Wild Waves.

Like the whole disc, this reading is characterised not only by the performers' soothing, intimate vocals and careful, bright-eyed musicianship, but most important, also by its sense of life and vitality and an incurable optimism of the human spirit.

Mick's been around music all his life: Latterly Mick's been concentrating on theatre work, among other things adapting medieval and ethnic vocal music for use in classical plays, but he's not neglected folk music, keeping his hand in with the London Irish session scene.

But this slightly-offputtingly-titled CD well it is a bit of a mouthful! Having said that, it proudly encompasses a vastly more varied selection of source material than you might expect to encounter from Mick, even acknowledging his multi-talented nature.

The disc is bookended by truly delightful performances of two indigenous songs from the north-east: On which subject, Mick couldn't have chosen a finer guitarist to complement the unique character of his own singing voice - notwithstanding the fact that Clive's immensely highly regarded as a skilled soloist, nay virtuoso, in his own right and here on Mick's record he's no mere subordinate support artist.

Instrumentally, Mick demonstrates his considerable skills mostly on flute on a lovely Forest Fields a medley of Roumanian air, jig and slip-jig and a set of Midsummer Reels where you can marvel at Clive's extraordinarily sympathetic guitar work , also an intriguing, freshly syncopated "Irish-flavoured" version of Maid On The Shore though I hear as much of Eastern Europe in those dashing rhythms!

Mick's treatment of Silver Dagger is set as a kind of Appalachian slow-drag-blues - and very effective it is too. As is Mick's own original song Where The Deerness Flows, a poignant lament for the loss of the west Durham coalfield and the area's industrial heritage that has much of the feel of a traditional Irish ballad.

And last but not least there's Tres Damas, Mick's atmospheric yet simple setting of a traditional Sephardic text originally done for a RSC production.

This is a landmark CD, as well as a brilliant portrayal of Mick's multi-faceted musical personality. Maggie, an attractive-voiced singer, has already released three solo albums in Germany two in collaboration with fellow-musician Mark Powell , and for her fourth she brings an unusual new flavour to the illustrious WildGoose menu.

Maggie's special musical gift is the creative blending of English traditional songs with the stance, gait and instrumentation of medieval and renaissance-era music.

Maggie and her musicians playing hurdy gurdy, recorders, crumhorns, flute, harmonium, mandola, cittern, guitar, bouzouki and percussion together make a predictedly bright, lively and busy sound, which, in consort with its typically hi-energy dance-bedecked treatments interposing saltarello, estampie or jig as appropriate , will by its very nature suit some songs better than others.

The brightness of the settings, with their sometimes stylised dance-like textures and tempos, can give a false impression of insubstantiality which belies the thoughtfulness of Maggie's interpretations, and these can seem unduly detached.

Rigs Of The Time might be judged too jolly for its message. In all, Maggie has produced a stylish, entertaining and fresh-sounding record that provides an interesting twist on the interpretation and performance of traditional song.

The key is to acknowledge and celebrate its differences from the standard folk approaches to this material, and on those terms I found myself readily warming to the charms of Maggie and her Sandragon consort Mark Powell, Malcolm Bennett and Anthar Kharana, with guests Will Summers and Will Hughes.

This is a really fine collection of original songs, many never before recorded or available, that together offer an eloquent, expansive and balanced and intensely thought-provoking account of one of the most controversial political situations in all of mankind's history.

These songs, all but one the beautiful John Connery ballad The Road To Aughnacloy having been penned by the famed activist, singer and musician Tommy Sands over the course of several decades, are here performed by Tommy himself, with inevitably contributions from fellow Sands Family members Anne, Ben, Colum and "Dino"; and notably, the lovely singing of Tommy's daughter Moya brings an added poignancy to the four songs on this CD where she takes the vocal lead - A Stone's Throw, Bloody Sunday, Bessbrook Lament and Silent No Longer.

Other folks making special guest appearances on the album include Pete Seeger, Dolores Keane and John Tams, while the deft, subtle instrumental backdrop, embracing inter alia the talents of Messrs.

In spite of the disc's theme, this is not a depressing album, more an uplifting one. All The Little Children to Troubles one of a number of reflective songs that were commissioned by the BBC's John Leonard in , which sports a disquieting rippling guitar accompaniment.

All of these songs are ideally judged both in terms of tone and pace although It might be said that the gait of the opening history-lesson Song Of Erin feels a touch too chirpily animated , but in the main it's very easy to get swept along in the exhilarating tide of emotion, especially perhaps in the overriding optimism and hopeful nature of the disc's final group of songs, from The Music Of Healing a duet with Pete Seeger, with whom Tommy penned the song back in and the rousing anthem Carry On, through to the inspirational, defiant Silent No Longer; after which, the closing number is a celebration of the new diversity, The Lagan Side.

Perhaps it surprised me that Tommy's best-known song on the subject, the sublime There Were Roses, doesn't appear on the disc not even for completeness' sake , but most of us already possess a recording of it I suspect.

Oh, and around the disc's halfway point, there's an instrumental interlude, A Call To Hope, a captivating whistle tune with unique resonances that was first played ad-hoc on camera by Tommy at a crucial hour during The Talks in The disc's presentation is absolutely exemplary, for, conforming to the label's house standards, the release comes with a fulsome booklet that incorporates Tommy's own helpful explanatory notes as well as all the lyrics to the songs.

This release is a supreme achievement by any standards, which in presenting Tommy's even-handed response to the Troubles will very probably come to be regarded as a key contribution to our understanding of the events of the past 40 or so years of that stormy conflict.

Tommy's known as the principal songwriter of the six-strong Sands Family group though it contains at least two other fine songwriters! It can't be said that Tommy's songwriting output is prodigious, however, for the release of Let The Circle Be Wide is a cause for celebration simply by dint of its being his first CD of original material since his only other new CD in the intervening years being a Christmas record.

Rest assured though, for Tommy's not lost his touch in any way and I'm sure that many of the new songs included herein will swiftly become well-loved within the folk community, if not perhaps attaining quite the classic status of There Were Roses or Daughters And Sons.

Tommy's trademark political and artistic integrity is stamped on every song he's written, and his dream of an Ireland without conflict remains as powerful and committed as ever; he addresses the global concerns of humanity in an accessible and attractive musical language that resonates with the universal appeal of traditional Irish music.

The opening Young Man's Dream is actually based on the original version of Danny Boy, but has none of the hackneyed crooner's grandstanding of the popular ballad we all know, being instead a clear and fresh paean that "suggests the surrender of the singer to the song rather than the other way round".

Another well-known tune, Lillibulero, weaves in and out of The People Have Spoken, a brilliantly effective political statement that draws parallels between two opposing Ulster catchphrases.

Time For Asking Why is another time-honoured plea that transcends its simple philosophical conundrum. There's a heartfelt celebration of the late, great Tommy Makem, with whom Tommy was great friends, and at the other end of the emotional spectrum a light-hearted reel-like song of craic Balleyvalley Brae and a rollicking anecdote about the healing powers of a fiddle champion Send For Maguire.

Fields Of Daisies is a modern-day broken-token song that really hits the spot, as does the evocative Carlingford Bay, while the tenderly voiced You Will Never Grow Old, dedicated to Tommy's brother Dino, is a slice of perfection that apparently took Tommy thirty years to write!

The softly anthemic almost Seegeresque Keep On Singing is one of those optimistic numbers you can't shake from your consciousness once you've heard it, and Tommy's all-embracing idealistic positivism lingers on into Make Those Dreams Come True and the album's closing title song.

One curiosity is Rovers Of Wonder, wherein Tommy conjures a musical alliance between himself and a group of Mongolian throat-singers.

Which brings me to the observation that the musical backdrops Tommy employs throughout this set are exceedingly well-drawn and expertly recorded, with every strand of the sometimes quite busy and bustling texture admirably cleanly delineated and followed without distracting from the impact of the lyrics or Tommy's fabulous singing voice.

Throughout, Tommy uses his music and song to pursue his goal of bridging cultural and political differences, and his universal vision of, and quest for, peace is as potent as ever.

For this is a triumph of a record: David Kidman March The harmonica soon gives way to layers of horns, keyboards and Ian Siegal's soulful voice.

The richness of the opener is in stark contrast to the spoken vocal of The Man, which provides some silky bass from Andy Hamill and strangled harmonica from Lee.

This is music for smoky clubs with the audience right on top of the band. No Man's Land provides a funky beat and some more soulful vocals from Siegal.

He certainly has added an extra dimension to his vocals. Doing What I Should Have Done is more upbeat than most of its predecessors and has some outstanding horns.

The High Points is very jazzy and normally this would not be to my taste but Lee Sankey and the band win me over and they may do so with you as well.

A return to the slinky bass for Frank's Brother, this time by Rob Mullarkey, gives us some more spoken vocals - maybe too much for one album.

This sounds like the introduction to an old American detective film. National Steel guitar introduces The Unchosen and it soon goes off on a pseudo-blues riff that will have your head nodding and your fingers tapping.

Monkey Lips shows, in my opinion, Lee Sankey at his best. This is over 5 minutes of class harmonica playing and I could listen to this all night.

The longest track is saved for the last and has a big band feel to it, showing more of the bands versatility.

Remember to leave your CD player on until the end or you'll miss a little harmonica and steel guitar blues. The second album, I've heard say, is the hardest one to produce but on this evidence then Lee Sankey and his group should have no fears about going on and becoming a force in British and world music.

Is this guy cool or is this guy cool? The opening track, Drinking Game with its Steely Dan horns and guitar is a spectacular start to this, his debut album.

This jazzy song profiles both Sankey's high-class harmonica playing and laid-back vocal style. The title track takes us back to the jazz tinged efforts of earlier in the album and it's a sound that pervades throughout.

I Don't Like My Way Of Living is a classic title for a blues song and is one of the few slow tempo songs on the album. The closing track Where We Going To has a great riff and is a fine way to finish.

This, of course, is a special edition and what makes it special is that you get an extra CD. The second CD provides five tracks, starting with the 11 minute She's Not Alone , a slow blues with the now customary top-notch harmonica.

Three live tracks give an insight into what we can expect if we get to see Lee and his excellent band in the future.

I think that this is a fantastic debut and I'm sure that it will continue to grow on me. At first glance I have to admit apprehension regarding the song titles and the potential subjective content.

Lyrics that unimaginatively employ love song rhyming chestnuts such as moon, June and spoon and such , are a major stumbling block for these ears.

Darn if five of the thirteen titles don't feature the word love or variations thereof. Here we go, this is gonna be a challenge! Brooks plays nylon string guitar on El Coyote, a commentary on recent developments regarding the porous U.

Seven Eleven Heaven recalls a love affair that never got off ground following a chance encounter in a Citgo service station, while The Coffee Club is a portrait of the old folks who frequent a local diner.

In the latter Santos names numerous ice cream makers, discards Texas' famed Blue Bell brand, and casts his vote in f l avour of Bronx made Haagen-Dazs.

As a cohesive song collection, contrary to ordinary it is not! Score 5 out of Julian Sas is considered to be one of the best live acts on the blues-rock scene in The Netherlands and Resurrection is his first assault on the rest of the world.

Starting with Moving To Survive, a fast blues rock with incisive guitar licks akin to Rory Gallagher and Gary Moore, Sas sets out his stall with nine original songs.

I love slow burners and Burnin' Soul is one of the best that I've heard. The band plays in the classic power trio format with Rob Heijne on drums and Tenny Tahamata on bass.

Slide guitar from Sas is most welcome and, on this, he shows his class. Runnin' All My Life is powerful blues influenced rock and he's made the transition from being a big fish in the small pond of Dutch blues to swimming with the bigger fish very well.

He has nothing to worry about and he is so easy to listen to. The obligatory power ballad comes in the form of All I Know as Sas strokes his Strat on this 7-minute epic.

His sanguine vocal is well suited here and there's a telling guitar break. Ain't No Change is standard fare as far as blues rock goes and the eponymous title track stays on the rock side of the blues with fuzzed guitar.

He's managed to keep his standards high throughout the album and Stranded is another high-class song even if the Bon Jovi style ballad isn't quite in the same sphere vocally.

Junkies Blues is a gritty blues and the band play it extremely well. The only drawback is that it is let down by the vocal, which happens a little too often on this album.

He closes with another 7-minute epic that embodies everything a power trio should be, gentle in places and powerful in others. This is, quite simply, three players at the top of their game.

David Blue March Currently one half of Sugarcane Jane with singer-songwriter Anthony Crawford who produced and wrote 11 of the 12 songs , Alabama's Savana Lee not to be confused with Vancouver's Savannah Leigh Wellman whose band's called Redbird released this debut three years ago, but it's only now finding exposure outside of the USA courtesy of Sweden's Hemifran.

Save for one track, the blues flavoured A Heart Needs A Reason which features Waddy Wachtel and Spooner Oldham, Crawford also played everything too, so it says much about Lee that she remains the dominant personality.

Her voice slightly reminiscent of the young Nanci Griffith with a pop flavour to the trebly country twang but also capable of riding bluesy ranges on something like the moody The One Before Me, digging into a shade of Zooey Deschanel on the speak-sing Chameleon's All Star Love Band while Little Creeps and Uptight Situations channel the barroom swagger of Sheryl Crow.

Stylistically ranging between the shuffle pop of Uptight Situations, Blue Monday's piano balladry and the campfire Oh Brother trot of The Wait, Crawford's songs suit her well and, in return, she brings them to emotional life.

The only non-original is her cover of Steve Forbert's signature song Romeo's Tune, the tempo taken down a notch with mandolin backing.

When she sings 'meet me in the middle of the day", you'll find yourself asking where. As a teenager, Philip Sayce was held in such high regard as to be invited to join the Jeff Healey Band and played with them at the Montreux Jazz Festival and many other sold out gigs around the world.

He then joined Melissa Etheridge's band and was with her until Now temporarily on his own, he releases his debut solo album on Provogue, a label that is getting a reputation as the home of guitar players.

Slip It Away is a Jimi Hendrix style hard blues which speeds up as Sayce launches into a solo that will take your breath away. This is followed by the acoustic led Angels Live Inside before he turns the power back on for the ballad, Dream Away and the rock with Sweet Misery.

Blood On Your Hands is a standard rocker but a classy example of one. Sayce doesn't go in for too many solos but he puts in a good one here with touches of Bon Jovi.

Cinnamon Girl is a classic Neil Young song and Sayce stays very close to the original feel. Alchemy is a slow, bluesy instrumental which showcases his playing ability and it works very well.

Sayce is very easy to listen to although he is getting more and more adventurous as the album goes on. The title track has echoes of Foxy Lady at the beginning before going onto a heavy blues riff.

This is a big, blues rocker and a feast of guitar playing. The bonus track, Arianrhod is another instrumental to satisfy the guitar lovers.

Sayce uses just about every effect pedal in his collection. At over 7 minutes, it has a bit of a break just after 4. He then goes off into what is effectively a reprise of the title track, this time played on dobro.

Philip Sayce is a worthy addition to Provogue's excellent stable of guitar players. Boz Scaggs - Dig Virgin Records America When you see the words Boz and Scaggs on the cover of an album, you can be pretty damn sure that you're in for some smooth, sophisticated soul, leavened with a fair smattering of grit - just to keep things interesting.

Dig delivers all that, served up with the degree of professionalism you'd expect from a man who's been plying his trade for more years than he'd probably care to admit.

Of course, the Scaggs man can't do it all himself and, for his first set of original material in more than seven years, he's called upon the services of lots of old pals to produce a sound that gels and flows despite the changing personnel from track to track.

Tracks two and three - ' Sarah ' and ' Miss Riddle ' - show the side of Scaggs' music which least excites the old Hall backbone.

Cool, smooth, laid-back, soul-tinged love songs that ought to be listened to only after midnight in an expensive penthouse apartment with the Gucci loafers casually kicked off on to the hand-woven Persian rug.

It's really not my cup of tea at all but either of these could do a fair job of work of getting the likes of Barry White or Teddy Pendergrass back into the charts.

And I suppose that, if push came to shove and I had to listen to this kind of thing, I'd rather it be by Boz Scaggs than many others I could name. By way of complete contrast, Scaggs can also offer up the wonderful ' Get on the natch ' - all growled vocals, choppy guitar, upfront drums and sharp angles.

Reminds these ears of the Alabama 3 and is the dirty, raunchy side of Scaggs that I could happily groove along to from dusk 'til dawn.

The rhythm section of East's bass and Robin DeMaggio's hand percussion lends the slow pace real depth. It is, quite simply, lovely.

Possibly more renowned for his ability to achieve a certain sound and feel, it could be said that Scaggs' songwriting has taken something of a back seat in the past.

That's not the case with Dig as, whether singlehandedly or in collaboration, the tunes and lyrics bear close scrutiny. It's an album with a variety of moods and one which is destined, I reckon, to become known as one of Scaggs' best.

Minnesota-born Martha has latterly relocated to Montana; she's worked on the Cold Mountain movie soundtrack, and spent six years in East Tennessee as a key member of the highly regarded Reeltime Travelers until they disbanded in early During that stint, she won both first and second prizes at a songwriting competition at 's Merlefest; meeting up with Dirk Powell provided just the catalyst she needed to get on down and make a solo record, and The West Was Burning is the result.

Martha's songs are at once straightforward and enigmatic, with a gentle organic feel, and really capture the essence of the backroads of the west "places where there's no exit number", as Dirk puts it!

Having said which, it's not always easy to say what they're about, for even the more tangible imagery she uses has a peculiarly elusive quality that comes as much from an appealing looseness of expression matched in the music as from succinct, even wry observation from the other side of the barroom or tracks.

The downhome authenticity and no-nonsense emotional intensity of Martha's personal vision at times recalls that of Gillian Welch, but hers is arguably a more measured, less overtly bleak view, with telling resonances evoked from the most simple activities "riding on a troublesome vine", indeed.

Her musical settings complement the quivering timbre of her teasing, intimately fragile singing voice: Many also boast a raw, edgy rhythm coming from what often seems like a back-lot garage drumkit interestingly, drum duties are shared between Levon Helm of The Band and Amy Helm from Olabelle.

The sound just sort-of comes together, I can't put it any other way. And naturally, Dirk himself augments his producer's role by playing among other things fiddle, electric guitar, banjo and mandolin, for he can't resist contributing just one instrumental Call Me Shorty , where his mournful fast-drivin' fiddle is very much in evidence.

This album may sound at times slightly low-key, but it proves to be of significantly deeper impact - quite irresistible, in fact - and the quietly grainy charms of its music and poetry readily, if subtly, insinuate themselves into one's consciousness.

A native of Dingle Co. Kerry, although Scanlon had been performing round the Galway pubs since she was 15, she first came to most people's attention when she provided the vocals for John Spillane's All The Ways You Wander on Sharon Shannon's Libertango album.

Shannon repays the favour on Scanlon's debut, produced by and featuring Lunasa guitarist Donogh Hennessy, lending her accordion to a breathy voiced but jauntily earthy bodhran driven version of Cyril Tawney's Sally Free and Easy.

Scanlon claims her singing style to be influenced by the likes of Joni Mitchell and Tori Amos, and while that's not immediately obvious there's no denying the quality of her timbre, not as ethereal as, say Maire Brennan or Sally Oldfield, traces of both in evidence, but still suggesting faerie folk qualities behind the cut peat flavours.

Despite her background, there's only a handful of traditional interpretations here, the murder ballad What Put The Blood and the equally cheerful Molly Ban, but she has selected her diverse covers well.

She writes too, and while Churchyard's the only one self-penned contribution here, it's something of a gem, a trad styled ballad inspired by False Knight On The Road and veined with Eastern textures.

It's an impressive debut that bodes well for Scanlon's future. She actually has no input at all on the title track, a 90 second instrumental epilogue written and performed by cellist Caroline Dale.

Scatter is a somewhat indescribable outfit. After releasing their acclaimed album Surprising Sing Stupendous Love back in , they then by all accounts made a hell of an impression at last year's Green Man Festival.

Deconstructed folksong meets organised confusion, one might say Three possibly four of its eight tracks are ostensibly based on folksong - or rather, derive their inspiration from the mood of a particular folksong: I saw the Yardbirds and Jeff Beck when I was 13 years old in It is the pursuit of pure tone.

Perfect pitch; the ability to intuit the next correct note, is what Brian Wilson and Jeff Beck share. I will spare you any attempt to musically critique these concerts.

The Mens room line is longer than the Ladies. First was the Sands Casino in Bethlehem, Pennsylvania. Brand new venue, not a bad seat in the house, but the echo in the hall was noticeable.

This was a Beach Boys crowd. Wilson and his band are all multi-instrumentalists and vocalists. This is as fine a band as you can get.

Jeff, as usual wowed the previously un-initiated. Just shy of a sell-out at , everybody left with plenty to talk about.

The Palace, is a magnificent Art Deco venue that remains beautifully maintained. Great show, a much softer sound. The Tower, This funky old theater has been and remains one of the finest venues for rock bands to perform in.

Philly, like NY is a tough town with a rabid and critical audience. Beck here more times than I can remember.

This was without doubt the most enthusiastic crowd of all the shows. Dancing in the aisles for the old Beach Boys songs. Wilson telling them he would not play Good Vibrations unless they stayed on their feet.

Jeff having a lot of fun. Great dive bar right next to the theater for the after show. This was completely spontaneous. I think this could only have happened in NYC; Wilson taking a chance on the crowd and pulling it off.

Jeff Beck in NYC!!!! This is the audience completely unsparing of anybody in the way of Mr. The Lunacy is on full display. I have seen my share of opening acts booed off the stage from the 1st note!

Little Wing and the Pump are spectacular, the audience raving! The beauty of youtube is now the possibility of seeing Jeff play the same songs just days apart.

The paradox - the virtuoso instrumentalist ,a perfectionist who is a punk at heart; taking great risk on stage.

To see Jeff Beck thrill us with the guitar as nobody else can! The idea for this joint tour, which kicked off Sept.

The two marquee names will take the stage together with Beach Boys members Al Jardine and David Marks and delve into an inventory of hits.

So what is left for a man who has seemingly achieved every musical milestone to accomplish? Adding to the mix was getting through the quagmire of this special event as connected to the Brian Wilson tour machine handling Jeff Beck and his band.

Panicked I got down on my knees in the little stall and desperately hoped that nothing had flushed down the toilet….

In these situations you just gotta keep hoping so I strained and reached around the base of the toilet, the only place I could not see in the stall.

Dean picked me up at the airport and took me back to the charming old neighborhood of Irving Park a few miles from Wrigley Field I had brokered a photo shoot deal for Dean at the HOB so he showed me all his professional home studio set up and cameras etc..

Kevin greeted us personally and got us our Production Badges, Oh boy! Doc met up with us before sound check as we waited eagerly.

Rhonda was was first to show up. She walked past Doc and I, exchanged hugs and greetings with Doc and then just turned around to me with a slightly flirty sultry smug smile and said, 'Hello Dick'!

Then Lizzie came through. All hugs and smiles she greeted both me and Doc and was totally psyched for the performance ahead.

Shortly after she got onstage I was chatting with Doc as we were both waiting for Niocolas and Jeff to arrive. I heard from a distance my name be called out over and over again Dick, Dick, Dick, I turned finally to the stage and there was Lizzie, summoning me waving some gadget in her hand.

I walked up to the stage and she bent down quickly explaining that she wanted me to take pics of the sound check and her from her iphone.

Jeff and Andre came in to my left and what a laugh they all must have had with Lizzie huddled over me with an iphone and me trying to motion with it like I knew what I was doing.

When I explained to him what I was doing he attempted more iphone explanations. All of a sudden the camera went blank to password and I thought that did it.

Now I am really screwed. Brian just laughed and said no problem all you have to do to shoot camera is hit this override button and the phone goes right to camera.

Needless to say the rest of the sound check I did not let that phone go off the camera screen no matter what it took!

As Jeff was ready to strap on his guitar, Andre suddenly came out onto the floor in front of the stage staring and moving right towards Dean with a stern disposition.

He asked Dean what he was doing there. If it had been me I would have already melted into the woodwork and committed Hari Kari.

However Dean is a unique individual. Cool as a cucumber he methodically nonchalantly told Andre he had credentials from the promoter and was just doing his authorized job.

Then he notices me!! Thank God I had met him in Florida at rehearsals! He nodded ok and went back to the stage. The sound check was phenomenal.

Jeff was extremely relaxed, riffing up a storm, and very into his fellow band musicians. I took a million and one pictures for Lizzie and while doing so ran into Tara Ricart the Live Nation VIP coordinator who remembered me from Florida and gleefully caught wind of my fumbling around with the infamous iphone After the sound check caterers for the semi private charity event started setting up.

Brian Wilson and a few of his party decided to eat right there at the floor tables. The main doors finally opened and the crowd started gathering.

Kevin Allodi and his wife were amazing hosts. Everything was going like clockwork. The Charity part of the evening got underway and they raised in real time well in excess of some forty thousand dollars for a most worthy cause the San Miguel school whose student performance statistics are off the charts.

We need more schools like that in this country! Dean was doing his part by helping out to take thousands of pics of attendees, dignitaries which included some famous rockers from Rush and other bands, and the sponsors of the show.

He also took upstairs photos of Fender donated Strats of which Jeff had signed a few for charity contest winners.

In that upstairs room was also a priceless wall photo back in the day of Jeff Beck playing at the Daytop Music Festival in Showtime saw the Brian Wilson band go through a well paced and rehearsed set.

Sid and I had been sitting back along the rail directly behind the soundboard. I ran into Leo Rossi there who smiled and shook my hand. Just as Jeff was ready to get on Doc started to get up, I instantly knew what he was thinking as I had the same thoughts.

We had both come a long way and come hell or high water we were going to be at ground zero center stage right with our pal Dean who was poised to start shooting what turned out to be the two best concert photo opportunities of his life!!

Having heard opening night as out front inspired and great as it was, this band through the tour had obviously become tighter than a nut, something Lizzie was glad to hear from me when we discussed that very fact a day later right before the Milwaukee sound check.

Being up that close I could also feel and hear the different attacks Lizzie had on her harmonizing string parts to 'Even Odds' and 'Big Block'.

At one point in the show Jeff turned to Lizzie and motioned the crowd to please give it up for her. It must be said about Rhonda that her new bass setup and sound is popping like never before and her solo on 'You Know ,You Know' brought down the house as it would the next night in Milwaukee.

Sid frantic without a Pepsi Detroit, October 25, Thanks so much for asking me to post our concert experience on your website! This really started for me when I got an e-mail from a friend a couple months ago that said, "Congrats, you deserve it!

We started counting down weeks, then days, and then hours! On the day of our show, I was told at the last minute that we would be getting back stage passes for helping with some promotional tasks, and I didn't even know what to say except "thank you" about times Not only have I made some great friends here on our fan boards and learned a lot of information about Jeff Beck happenings, I have also become friends with Lizzie Ball, who is one of the nicest, most positive people I have ever met!

The show began with Brian Wilson's band rolling out their catalog of classic surfer music, which was really wonderful, and I would describe it as nostalgic, familiar and comfortable.

After a short intermission that seemed like an eternity, Jeff's band came out, and there is only one word to describe their performance We couldn't believe our ears!

I just sat there wondering how long Jeff has had this sound in his head, and everyone was listening so intently; all eyes were on the stage with jaws on the floor!!

It was great to see the Brian Wilson fans watching Jeff and listening to the music and finally understanding what we already know The new band is astounding!

Jonathan and Rhonda are rock solid, and Lizzie and Nicolas blend in to compliment Jeff's guitar perfectly. This is an unbelievably talented group of people, and their music is just so emotional and inspirational When we were standing up to leave after the show, the gentleman in front of me turned and said, "What a rush!!!!

The icing on the cake came after the show, when my husband and I were shown the way to the back stage area, and no joke Lizzie Ball announced my arrival when we walked in the room.

That made me feel very special! Lizzie introduced us to Jeff, who was very nice and extremely calm when my camera jammed; he was gracious enough to sign my Guitar Shop CD, and he gave me a thumbs up for remembering to bring my own Sharpie pen!

Lizzie mentioned that I was helping with some PR, so Jeff jokingly offered me a job! On our way out of the building, we got lost and ended up back on the stage where Lizzie appeared again and was kind enough to pose for a couple of pictures.

I thanked her for doing the introduction and breaking the ice since I was so nervous, but she said I seemed very calm and totally had it together.

I'll have to take her word for it!! We are still floating high above the clouds from this whole experience and so grateful that we got to hear Jeff play live again, and to meet him was just the greatest thrill of our lives.

I respect him not only for his superior skills as a musician and an artist, but also for his character and the impact he has on people.

I'm not surprised at the number of fans who write and say how Jeff's music has changed their lives, and I'm proud to say that I'm among them.

In an interview a couple years ago, Jeff made a statement that has been engraved on the edge of my mind since I heard it.

He said, "You have to learn to love what you do, otherwise you'll go downhill pretty fast. So for me personally, I would like to thank Jeff for his wonderful music and also for changing my life with just one statement that I heard loud and clear when I seemed to need it the most.

I guess that's why he's the Guv'nor! Thanks, again, for the opportunity to post our experience. We will never forget it!!! After everyone takes some well-earned time off, we look forward to what Jeff has on his agenda for and beyond!!

The sensible thing would have been to have legendary pop figure Brian Wilson, the creative force behind the Beach Boys, and their co-founder to play the tunes from the album that Jeff Beck played on — all told five songs on such a tour.

The problem with that logic is that the album is not finished, it is not even titled and has no set release date. He really brings quality notes, more notes per bar than you can imagine.

With artists of their stature the ticket prices were pretty hefty, and in addition to that, common sense would let a potential buyer know that the sets of the two acts would be shorter than usual since they were co-headlining.

Jeff Beck usually plays 90 minute sets when he headlines. On this tour there were initial rumors that he would only play 45 minutes and ditto for Wilson, the latter would end up not being true, but still for the price of admission with neither act having new product — a dicey proposition.

There was also the p. Wilson also decided to add ex-Beach Boys original members Al Jardine and David Marks to the bill, thus making it 12 people on stage during his set.

The vocals at times would have as many as ten people singing various harmonies, unisons and such. Quite a sound indeed. Realistically the only things Brian Wilson and Jeff Beck have in common are that they both rose to fame in the Sixties, have a fondness for hot rods and are survivors of the rock and roll era.

All photos by Dean Opper How a Beach Boys type crowd was flipped into being into Jeff Beck style of music shall probably always remain a mystery as this is probably the oddest coupling in modern music history, only rivaled by two other situations: Mind boggling to say the least, but all in all, it was the best Jeff Beck concert I have ever seen or heard.

His playing was spectacular, incredible, superb and any other adjectives of exaltation one can think of. His snare has such a forceful pop to it, when he and Smith lock, Jeff Beck must have crooks in his neck as he keeps turning around looking at the rhythm section duo with gazes of affirmation.

Jeff Beck over the years has had some incredible drummers on his live shows: A band doing what Jeff Beck does must have a tight rhythm section, Smith-Joseph make it work and that is what Beck needs to go off and do his thing.

This band as a whole comes across a well-oiled unit and their cohesiveness is obvious, with one and all knowing Jeff Beck is their fearless leader, but knowing that he will give everyone their moments in the sun to shine.

Jeff Beck band , bravo, bring on the album and world tour in Should this coupling happen again with Wilson, no! Did it make sense, still the verdict on that is not in, but based on the Milwaukee crowd and the tour reviews overall, definitely maybe, no pun intended.

We've collected several setlists from the tour. The last one from Milwaukee was even autographed for Dick. Our friend Bill Lantz came up with the idea of making them 'virtual juke boxes' that would link the songs to YouTube videos.

You click on a song on the setlist and bingo! He then wrote the html code for it to all work. A Jeff Beck Salute Tributee: Tribute to Jeff Beck" is a true testament to one of the ultimate godfathers of rock and fusion guitar.

Features electrifying performances by: Track Listing 1 Blue Wind 3: Track Listing 1 Becko with with Gary Hoey 3: To Beck and Back An all-star cast of jazz, blues, and fusion guitarists gives Jeff Beck's catalog a whirl in this hourlong instrumental tribute to one of the U.

Not surprisingly, the ten-title track list concentrates on Beck's generally lyric-free fusion work that started with 's Blow by Blow.

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