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DAVEY DODDS & THE PORBEAGLES LIVE DATES!

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February 23rd – The Olde Malthouse Tintagel, Davey Dodds playing with Colette DeGiovanni
March 2nd – The Ladock Charity Music Festival, Davey Dodds playing with Martin Solomon
March 17th – The Rich Pickings radio show, Davey Dodds playing live with Colette DeGiovanni
March 22nd – The B Bar, Plymouth, Davey Dodds playing solo, supported by Gozer Goodspeed
March 31st – The Palladium Club, Bideford, Davey Dodds playing solo, supported by Colette DeGiovanni
April 12th – The Acorn Theatre, Penzance, The Porbeagles, suppoorted by Hand Picked
May 19th – Haywood Cider Farm, St Mabyn, Davey Dodds playing solo
June 1st – Exmouth Festival, The Porbeagles
June 15th – The Hawthorns, Glastonbury, Davey Dodds playing as a duo with Cliff Eastabrook from The Porbeagles
June 16th – 1865, Southampton, The Porbeagles, supported by Treebeard
July 6th – Ladstock Festival, The Porbeagles
August 25th – Cornwall Folk Festival, Wadebridge, The Porbeagles

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MONTANA Change In The Weather

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The music is well played, easy on the ear melodic country rock – not dissimilar to Alabama, Poco and the Little River Band – from the aptly named ‘Dreamer’ and ‘Snowfall On A Mountain’, which puts the band’s harmony vocals to good effect. They had a hit back in the day with ‘The Shoes On The Other Foot Tonight’, a song made for a road trip playlist and featuring sublime pedal steel guitar playing.

First time on CD, ‘Change In The Weather’ deserves a place in the collection of lovers of 70′s and early 80′s country rock. ***1/2

Get Ready to ROCK! (January 2019)


Their name may not be too familiar to punters on this side of the Atlantic but this affable county-rock outfit were a musical force to be reckoned with in the area around their home state of Montana during the early eighties before the five band members perished in a tragic plane crash in July 1987. Tight vocal harmonies and polished musicianship are the order of the day throughout this easy on the ear package from 1981, with the title track and “The Shoe’s On The Other Foot Tonight” emerging as the best of a tuneful bunch.

Kevin Bryan, regional newspapers (December 2018)

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THE KORGIS ft. JAMES WARREN ON TOUR!

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The Korgis, featuring James Warren, perform at the iconic 100 Club. Enjoy the new slick 5-piece band and trio of backing vocalists performing all the favourites plus great new material.

15/03/19 – The 100 Club, Century House, Oxford St, London W1D 1LL – Buy Tickets

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JAMES MONTGOMERY Duck Fever

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This is the first time this album has ever been available on CD. The James Montgomery Blues Band was popular in the early seventies and they were often associated with other more popular groups like J. Geils Band and Aerosmith. Montgomery’s band was originally signed to the Capricorn label and then Island. But by the time Duck Fever was recorded, he had switched to the independent Warehouse label. Most likely because the band never scored that elusive hit single…or because they were switching from one label to another…James and his band never became hugely popular like some of their contemporaries. But the music has continued to thrive and survive, thanks to the internet making it accessible for everyone.

Originally released on vinyl in 1978, the tracks on Duck Fever have held up well. These bluesy rhythm-driven pop tracks have an overall funky feel and vibe that may remind listeners of mid-era Kinks (think Muswell Hillbillies or Everybody’s In Show Biz). Produced by Don Oriolo and engineered by Ed Stasium, these tracks feature the talents of a whole host of talented musicians (listed inside the handy reference booklet). Catchy upbeat cuts include “Working On a Love Affair,” “Crazy About My Baby,” “New England Sunshine,” and “Living For the Weekend.”

babysue (November 2018)


…He’s catching one’s ears with the slider-polished “Big C Blues” and an exquisite acoustic romp through “Watkin’s Rag” – both done in a solo mode – but the sexed-up reggae which “Andy’s Bad” is bubbling with has a suggestively electric allure. There’s also spiritual call-and-response of “When I Get Home” with Bloomfield’s lace delicately wrapped around the choir phrases before Michael’s own pipes hand “Used To It” to an eager congregation, so escaping this album doesn’t feel a polite option. It’s as exciting as its title suggests and, reissued after years of being overlooked, can proudly enrich the legend’s legacy. ****1/2

DMME.net (November 2018)


At the centre of the album he has the blues; at the edges he mixes radio-friendly material with soul…This succeeds, for example, in the harmonica blues “Heaven Help Me” and the soft funk “Working On A Love Affair”.

Musik An Sich (Translated – November 2018)


Three of the covers really stand out, with The Meters’ “Fire On The Bayou” perfect for this bass thrumming, holler and response setting, while a hi-hat popping rocked up version of The Yardbirds “For Your Love” really should have been a smash hit. It’s remarkably good fun and thoroughly irresistible, while still utterly throwaway. Whereas the thump, bump and brass of “Living For The Weekend” is an unabashed funk-a-junk strut. However it might just be the Barkan/Michaels composition, “New England Sunshine” that glitters in the brightest fashion here, the piano-strings ballad, again, as 70s as they come, with all the trappings of the huge swaying slowie from that era, but if you’re not crooning along by the end of it, then I’ll be very surprised.

Sea Of Tranquility (November 2018)


James Montgomery was described by the late actor/musician Jim Belushi as “simply one of the best” and also as someone who is “funkier than a six pack of onions!” In 1970 he formed The James Montgomery Blues Band and soon they were the hottest live properties on the Boston New England music scene along with J Geils Band and Aerosmith. Signed then to Capricorn Records in ’73, reviewers wrongly assumed the band were from the south when in fact they were from Detroit originally. James then signed to the Waterhouse label for his blues/rock album “Duck Fever” which was recorded in West 54th St, New York with some heavy hitting session musicians guesting and released in 1978. Now remastered and released on CD for the very first time.

Keys and Chords (October 2018)

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MUTTER SLATER BAND Field Of Stone

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When Slater is dispensing heavy truths and Chris Cleave is delivering mournful guitar lines, the sense of alienation is so strong that it’s impossible not to wonder whether those stones, once gathered, could become material for the impenetrable obstacle of “There’s A Wall” – a gloomily glimmering finale of a rather moody record.

This is why affairs of the heart may be the only remedy our here and now need, so even though “Something We Knew As Love” – a sax-smeared and organ-oiled slice of soul – is stricken with reminiscences about better times, it’s defiantly jubilant, as is the “Caroline Motion” whose punchy funk is bristling with brass – a pity Mutter’s flute doesn’t join the reeds’ ensemble on this album – only to announce another death wish. Still, his voice fills the languid, “against the wall” resignation of “Losing It” with mellifluous acceptance, and the equally lucid “Love Is The Stranger” turns the optimism of Sam Cooke’s “A Change Is Gonna Come” – Mutter’s reference point – into murky perspective. As a result, spiritual sway would only be logical for “Folding” to roll towards screaming abandon and to the quiet understanding of “Weird Kid” which should let some country-kissed sunshine in.

Not for nothing “You’re The Reason” is upbeat – and, having a reggae tinge, offbeat, too: if the ground is shaky, there’s a need for something solid to hold on to… so perhaps, the time has come to gather those stones and pave the road to future. That’s what Mutter Slater is trying to tell the world. ****

DMME.net (December 2018)


The latest addition to Mutter’s impressive back catalogue mines a rich vein of polished melodicism, and devotees of his work in the past would be well advised to lend an ear to heartfelt creations such as ‘Love Is The Stranger’, ‘Weird Kid’ and ‘Field Of Stone’ itself.

Kevin Bryan, regional newspapers (November 2018)


…there’s a great deal of melancholy in Field Of Stone with only ‘You’re The Reason’ bringing the sole real glimpse of optimism. And yet I call it enjoyable. I guess I can relate to where Mutter is coming from – ‘Weird Kid’ and ‘There’s A Wall’ both resonate with me – and if you’re feeling bad this is the album to feel bad to. 4/5 stars

RnR Magazine (November 2018)


Field Of Stone is the Mutter Slater Band’s latest album…Billy Bragg said of Mutter Slater: “He has one of the greatest voices in British Rock and he writes a mean song too”…Also available on Angel Air Records featuring Mutter Slater is the previous album ‘The Champ’ and ‘Stackridge – The Final Bow, Bristol 2015′.

Bev Bevan, Sunday Mercury (October 2018)


This veteran performer is best remembered these days for his quirky exploits with prog rockers Stackridge almost half a century ago, but Mutter Slater has been blessed with one of the finest voices in British rock and he now has an opportunity to indulge his genuine passion for R&B, blues and soul via splendid albums such as this. The latest addition to Mutter’s impressive back catalogue mines a rich vein of polished melodicism, and devotees of his work in the past would be well advised to lend an ear to heartfelt creations such as “Love Is The Stranger,” “Weird Kid” and “Field Of Stone” itself.

Original Rock.net (October 2018)

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MICHAEL BLOOMFIELD Living In The Fast Lane

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This album was originally released in 1981 just after the passing of legendary guitarist Michael Bloomfield. In addition to his solo recordings, Bloomfield is also known by many as a member of The Paul Butterfield Blues Band…hugely influential to so many other artists and bands in the 1960s. This album presents all ten tracks that appeared on Michael’s original album plus one bonus track (“Maudie”).

There’s a short biography included in the package written by Austin Powell that quickly and effectively tells Bloomfield’s story in a nutshell. These tracks were recorded at various times and, as such, probably offer a good overview of the man and his music. With all the renewed interest in blues/rock in the twenty-first century, the timing just may be right for folks to revisit this man’s catalog.

And Living In The Fast Lane might just be the best starting point. These tracks have stood the test of time. Hearing these tracks, it sure seems sad that this guy passed away at such an early age. Michael was only thirty-seven at the time of his death, and the circumstances surrounding it are still blurry and unclear. But the music lives on, of course, and thanks to the internet more and more folks can discover (and re-discover) artists and bands they would’ve never had access to last century. Well-crafted compositions include “Sammy Knows How to Party,” “Let Them Talk,” “When I Get Home,” and “Big C Blues.”

babysue (January 2019)


The funk influenced ‘Used To It’ is an interesting autobiographical sounding track, the soulful ‘Roots’ recalls The Temptations, the atmospheric ‘Andy’s Bad’ hints at hip hop, there are a couple of attractive ragtime songs and there is incisive Bloomfield electric guitar here and there…

Blues In Britain (November 2018)


The contents of this engaging ragbag of Mike Bloomfield recordings were probably never intended for commercial release, but devotees of the late great guitarist’s work with seminal rock outfits such as The Electric Flag and Paul Butterfield Blues Band should find it well nigh indispensable. The contents span a broad time period from the early seventies to Bloomfield’s untimely death in 1981.

Kevin Bryan, regional newspapers (November 2018)


…’Watkin’s Rag’ is a lovely, sprightly, ragtime-flavoured instrumental; another instrumental, ‘The Dizz Rag’, is charming and, although at times Bloomfield’s guitar playing isn’t particularly prominent, he plays searingly on ‘Big C Blues’. Early releases of the album included either ‘Sammy Knows How To Party’ or ‘Maudie’. This reissue has both tracks.

RnR Magazine (November 2018)


Living In The Fast Lane was released just after Bloomfield’s death; the recordings were gathered from various sessions, but his talent shines through on every track, from up-tempo numbers like ‘Sammy Knows How To Party’, through the acoustic picking of ‘Watkin’s Rag’ to the mellow ‘Let Them Talk’. Eleven tracks which form a fitting testament to his musicianship and reissued not a day too soon.

Wrekin News (October 2018)


This album is being released by Angel Air in the UK and is a re-issue of an album with the same title released in 1981 with the addition of a bonus track ‘Maudie’, this album was originally released shortly after Michael’s death in 1981, it contains material recorded over several years but predominately around the min 1970′s, the bonus here is that the supporting musicians include Mark Naftalin who Michael played with in the original Butterfield Blues band…The pick of the material is the self written song ‘Big C Blues’ which is a slow Chicago blues that highlights some sumptuous restrained slide guitar playing by Michael and is one of the few tracks where he performs the lead vocal, in addition Mark Naftalin provides some wonderful duelling Piano. The bonus track ‘Maudie’ is an excellent song written and sung by Frank Biner who also sadly left us too early in his life, it has a much harder rock edge to it and some gritty lead guitar playing from Michael, of the non blues material the track ‘Roots’ is the most enjoyable with its infectious funky soul beat, very reminiscent of the Temptations in their prime…a very enjoyable and varied album that incorporates some talented musicians whose playing is impeccable.

Blues Matters (October 2018)


…In the summery ‘Andy’s Bad’, Mike’s slide guitar colours enhance the composition. On to the gospel tunes with ‘When I Get Home’, the funky ‘Big C Blues’ and the slide guitar from ‘The Dizz Rag’. As a bonus track the Angel Air Record label treats us to the jazzily constructed ‘Maudie’.

Keys and Chords (Translated – October 2018)

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BROKEN HOME Fragments

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Still, reflection and rumination, and sometimes religion, are never far from the album’s agenda, yet while the six-strings-elevated, intimate detail in “Lovely Ann” – dedicated to Dicken’s late love – feels bittersweet, the organ-anchored “Ship Without A Sail” has an optimistic angle to it, sharpened even more once “Summer It Won’t Be Long” is streamed into a calypso-esque drift. With boogie bolstering the swagger of “Spirit” which would sound great on-stage, the melodic appeal zeal of “Fragments” couldn’t be more irresistible – only a pop drive behind “Danger” will tie the individual and global aspects together. And this is only logical, because everything is fragile, and if we’re careless, we’re bound to be left with pitiful fragments, with BROKEN HOME’s last album a testament to better times. ****

DMME.net (October 2018)


Broken Home were formed from the ashes of (the British) Mr. Big by DICKEN and they released 2 albums during the ’80s: ‘Broken Home’ and ‘Life’. After a very long wait the third album is now available. As well as Dicken, Broken Home comprises Eddie Carter, Paul Gibbons, Simon Saunders, Peter Crowther, Mike Higgins and Pete Barnacle.

Bev Bevan (October 2018)


“When You’re Young” kicks things into gear, an almost 80s Americana feel melded with something much more stage-show in nature. It’s a beautifully constructed piece of pop-rock and with a melody line that’ll stay with you for a long time to come. However, the confusion of approaches comes thick and fast, with the howling “Rebel Children” much more of a rock strut and preen, even if, as is the case throughout, the lyrics are much more threatening and stark than the music might suggest.

…Each and every song possessing at least one aspect that truly catches the imagination, whether that be the bluesy shuffle scuffle of “Spirit”, the jingle-jangle strum of “New Adventure” or the smooth slick 70s harmonies and vocals of album highlight “Turn All Your Troubles Into Highways”…if you’re looking for sharp observational lyrics and equally sharp, if maybe slightly too diverse for its own good, pop rock, then you’ll find much to delight you here.

Sea Of Tranquility (September 2018)

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GLAMWEAZEL The Great Unknown

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Inspired by the simplicity and swinging character of the sixties in its structure, the music of GLAMWEAZEL, evoking both the refined rock of MOTT THE HOOPLE, the magic glam of David BOWIE and sometimes the urban rock of Lou REED, has created a series of instant classics that the world should discover urgently! (4/5 stars)

Highlands Magazine (Translated – November 2018)


When members of the reunited band One The Juggler finished their 25th anniversary concert in 2009, they immediately decided to continue forging ahead using a new name. Thus, Glamweazel was born. The band is comprised of Jerry T. Jones, Colin Minchin, Paul Byfield, and Dave Lowe. Although many will likely compare this band’s music to David Bowie (there are similarities), to our ears these tracks have much more in common with artists like Be Bop Deluxe and early Lou Reed (the former in particular). Considering the enduring popularity of androgynous musical artists from the 1970s, it seems curious that more bands don’t create similar sounds.

What is perhaps most interesting about The Great Unknown is that the songs are really like retrospective glimpses. These guys use their influences as reference points, and then create modern guitar pop songs that are immediately gripping and relevant. Jones is the chief songwriter here, and he comes up with nothing but direct hits. How could any guitar pop fan not fall in love with cool tracks like “Thursday Night 1972,” “Self Deceiver,” “Playtime Is Over,” “Precious Thing,” and “Forever Man”…? Our guess is that this band will be immediately embraced by music fans worldwide. The Great Unknown hits the target.

babysue (November 2018)


…Glamweazel are no one-trick-pony, however, and with the second track, ‘Songs Of Texas’, I was hooked. The third number, ‘Feel Like A Rolling Stone’ didn’t do any harm. They sometimes have the jangly guitars and harmonies that might hark back to their antecedents except One The Juggler didn’t sound like that as far as I can tell. Glamweazel are their own invention and damn good at what they are doing.

RnR Magazine (November 2018)


…”Illusion, Lies And Butterflies” combines guitar twang with Lushi’s vocal flutter to a sweet, sweet effect, and intimate acoustica married to plaintive vanity on “The Waiting Song” is so pleasantly ’70s…the piano-helped “Early Morning Light” will eulogize romantic routine, and the sparkling “Winters Rose” will propose simpler sincerity. And that’s how patinated glam may manage to shine again.

DMME.net (October 2018)


Thanks to Angel Air Records, a compilation album with the best songs from Glamweazel now appears…The influences of David Bowie, and especially of Velvet Underground, are clearly evident. Jerry T Jones’s singing style comes at times awfully close to the blessed Lou Reed. Where does plagiarism end or start when you hear ‘Feel Like A Rolling Stone’? Songs to remember or download: the beautiful rock ballad ‘Tangled Leads’, the up-tempo ‘Big Beat Radio’ (almost David Bowie?) or the mysterious ‘The Waiting Song’ (Paul Roland-style). Other gems are: ‘Precious Thing’ and the melodic ‘Winters Rose’. ‘The Great Unknown’ gathers a number of handsome (seventies) songs that can sit in your record cupboard or iPod.

Keys and Chords (Translated – October 2018)


…the proceeding sound familiar but refreshingly enjoyable. Highlights include ‘My Baby Don’t Fade Away’, ‘Human After All’ and ‘Feel Like A Rolling Stone’ with its Sweet Jane styled riff. Opener ‘Thursday Night 1972′ is a wonderful tribute to the glam heyday of said year; Glamweazel’s own faithful interpretation of that particular sound, complete with a respectful Bowie homage which is prominent on a number of tracks…in conclusion, these influences and lyrical nuances inspire the majority of the 18 quality tracks included, yet [thankfully] manage to steer away from parody and retain a positive originality. 8/10

Vive La Rock Magazine (October 2018)


Over the years Glamweazel have recorded a number of self-released albums from which ‘The Great Unknown’ is compiled from. This 18 track budget priced album includes original songs such as ‘Thursday Night 1972′, ‘Tangled Leads’, ‘The Art Of The Meltdown’, ‘Shadows In The Night’, ‘Human After All’, ‘Playtime Is Over’ and ‘Big Beat Radio’.

Bev Bevan (October 2018)


Eighteen tracks are featured as we wilfully head back to days of old, the Glam aspect of this outfit’s name no accident. Although were not talking so much the ‘…Bam Thank You Ma’am’ variant, instead as “Tangled Leads”, “Playtime Is Over” or “My Baby Don’t Fade Away” weave their spell, so we are taken on a journey through 60s pop and 70s rock. The mood is often light and airy and yet these are no throwaway offerings bashed out with more enthusiasm than class. Here lyrical observations are matched to music that glimpses into worlds of everyday melancholy – growing old (un)gracefully, the love of the music and the paths we all must travel. As the best pop music often does, “Illusions And Butterflies” marries a cheerful melody to a pained lyric; joy and despair running hand in hand as you sing along. And it’s this all too often lost skill that raises what in other confines could have been a reasonably perfunctory set of songs and ensures that you stay the course.

…Nodding to Bolan and undoubtedly thanking Bowie for inspiration, this outfit have the knack of sounding like they might just have shared a bill with their heroes. That’s not to suggest that they’d ever have quite reached headline status in that company but they’d certainly have held their own against the era’s countless should’a beens.

Sea Of Tranquility (September 2018)

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JERRY T. JONES (GLAMWEAZEL) INTERVIEW!

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Stephen SPAZ Schnee chats with British musician Jerry T. Jones (AKA Lushi) from GLAMWEAZEL about their new compilation album The Great Unknown plus his time as one of the driving forces behind ’80s band ONE THE JUGGLER. He talks about working with Mick Ronson, being influenced by David Bowie and the Kinks and so much more!

Interview from the BEACH BLANKET FORT BINGO podcast: www.buzzsprout.com/158544

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DIANA HUBBARD LifeTimes

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Diana HUBBARD comments: “My music is for when people want to turn off the lights, listen and escape to another world. To dream of magical places in which the listener can participate and feel involved.” The style of Diana HUBBARD is romantic, seducing the listener with an elegant style, refined, while delicate. We enjoy the inclusion of a string trio on ‘Russian Roulette’ and ‘Medieval Heart’, with the contribution of Dennis KARMAZYN on cello, Carole SHIVE, violin and David CAMPBELL viola. Throughout the album, we can hear Jim COWGER on wind instruments, Al HENDRICKSON on bouzouki, Denny SEIWELL (ex WINGS) on drums, and Johnny PIERCE on bass…An elusive disc that seduces lovers of subtle emotions and refined music in the classic style.

Highlands Magazine (Translated – November 2018)


Another lost gem recovered from the vaults and reissued for the very first time on CD by the fine folks at Great Britain’s Angel Air label. The Angel Air folks never cease to amaze us with all the truly neat things they discover and reissue for an entire legion of new music fans to discover. Born in London, Diana Hubbard is the first child of L. Ron Hubbard…and LifeTimes is/was her one and only album release. Hearing this, many may wonder how on earth it is that this talented individual did not opt to pursue a career in music. Diana’s piano playing is emotionally gripping and real.

Folks lending their support include Chick Corea, Stanley Clarke, Patrick Moraz, Denny Seiwell, John Goodsall, and Ric Panrell (!). Even though Billboard magazine gave LifeTimes a “top album pick” at the time of its release, for one reason or another the album did not hit the commercial target the way it should have. And the music eventually faded away into obscurity…until now. These tracks have held up exceptionally well over time, particularly when you consider the fact that the album was originally released in 1979. While hearing these tracks, you’d never in a million years know that these are recordings from the late 1970s. They have a big slick crisp sound that can easily compete with most modern recordings. Highly stylized melodic tracks include “Rose Colored Lights,” “Dream #23,” “Berlin 1945,” and “Midnight #3.” Smart, resilient, impeccable…and rather magical.

babysue (November 2018)


Drawing on Rachmaninoff and other Romantic influences, the cinematic simplicity of elegiac ballads such as “Rose Colored Lights” is expressive and arresting, with Danny Seiwell’s sensual drumming measuring quiet pleasures as outlined by opulent strings and brushed with otherworldly synthesizer. Chick Corea may weave his cosmic magic on “Bewitched” and Patrick Moraz shimmer on “Morning” where emotional promise becomes palpable, although it’s a two-movement epic “Russian Roulette” that unfolds the whole progressive intent of Hubbard’s orchestrally enhanced, if somewhat quirky, enterprise.

More traditional, with Ravel’s spirit in its slow roll, “Arabia” must attract any art-rock aficionado, but the splashes of “Berlin 1945″ are as cold as they’re triumphant, and there’s Stanley Clarke’s gentle bass to soften the depth of “Dream #23″ which will expand further in “Dream #5″ after “Rainy Streets” has grown in scope from sparse drops to the woodwind gusts that support Diana’s dynamic chords. Deceptively chamber-like, the cello-charmed “Desperation” will turn out to be the most playful number, and the Bach-evoking “Medieval Heart” most abstract, while “Midnight #3″ – based ostensibly on “Moonlight Sonata” – should give the album a nocturnal finale. So unstructured or not, “LifeTimes” can’t be called appalling; this record is rather enchanting, and it’s a pity Ms Hubbard didn’t get around to another one. ****

DMME.net (October 2018)


Musically she was discovered in 1976, and recorded this album in 1979. She herself said she wanted to make music that was felt, rather than heard, with romantic aspects of jazz. Diana wrote all the music herself, and received help from musicians such as Chick Corea, Stanley Clarke, John Goodsall, Michael Boddicker and Patrick Moraz. The music sounds like light classical with pop influences. Diana wrote an explanation for each song, and opener ‘Rose Colored Lights’ revolves around the yacht on the Mediterranean. The song was released on single the following year. The other tracks are in the same style. This album is now a rarity, and now appears on CD for the first time.

A much sought after album, the only album ever recorded by the daughter of L. Ron Hubbard, in a slightly classical poppy way.

Keys and Chords (Translated – August 2018)


Diana Hubbard was born in London, the first born child of L. Ron Hubbard, the founder of scientology. She was composing piano sonatas by the age of 6 and went on to attend the Royal Academy of Music in London. She released this, her only album, in 1979 and it is now available on CD for the first time…the impressive list of Jazz musicians involved includes Chick Corea, Stanley Clarke, Patrick Moraz, Denny Seiwell, John Goodsall and Rick Parnell.

Bev Bevan, Sunday Mercury (July 2018)

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