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Brad’s Morning Exercise Music Rundown, 11th Installment:

May 18, 2016

Sit Ups

Sit Ups

For my 11th “Morning Exercise Rundown,” – the 10th of which ran on 29th December 2015 – I have, fittingly, 11 CDs to talk about, all of which were received from musicians I have met in open mics over the last few months. (Although I have known some of them for a few years.) No, wait, I’m wrong. There is one of them that I received from a friend in England, who is a friend of one of the musicians, and we kind of did a trade of our CDs, mine for theirs. And you could not get two different sounds! Back to that in a second.

The Morning Exercise Music Philosophy

First, as a reminder, the idea behind this regular – but occasional – column is that for most of my life I avoided classic daily physical exercise because I felt I was able to do without it and it bored me to death. In recent years, I had a kind of flash of aged wisdom and realized that I might bore myself to death if I DON’T exercise. (No time in life for exercise? No! No time in life to NOT exercise!) That did not, however, alleviate the boredom of doing it. So when not doing my nighttime exercise of riding my unicycle around the neighborhood – which does NOT bore me – or jogging – which does bore me to a degree – or riding the apartment cycle in front of the TV, which staves off the boredom – I do my exercises in the morning (sit ups, push ups, etc.) while listening to new (and old) CDs that I acquire from musicians at open mics (and including EPs on SoundCloud or other sites) or from any other source.

I do not pretend to be a music critic, but simply to talk about and describe, and give my impressions of the music I listen to during my morning exercises. Keep in mind that my impressions and opinions, therefore, will have been formed while straining to reach a record number of push ups, sit ups, couch ups, deep knee bends, stretch downs and simply catching my breath. So maybe my opinion will be warped.

The Haunting Cello Suites from Kirk Brandon, with Sam Sansbury

Cello Suites of Kirk BrandonThis is the one CD that I did not receive directly from the hands of the musician at an open mic, as I have never met Kirk Brandon. Brandon was the leading member of the post punk, new wave band Theatre of Hate, and then the more mainstream, Spear of Destiny. We’re talking early 1980s Britain, with the former group’s Westworld album rising to 17th position in the British charts. He has had a long, varied and sometimes controversial (can it be any other way for a former punk?) career, including playing in the supergroup Dead Men Walking. I was given this CD, Cello Suites, by a friend in England who knows the cello player, Sam Sansbury, who accompanies Brandon’s guitar and vocals, in a very haunting, minimalistic style of music that holds together from the beginning of the album to the end in an original concept of darkness and light. What the hell do I mean by that? Well, with Brandon’s poetic, but also sometimes outrageous lyrics and declamatory style, you sometimes don’t know whether to laugh, cry or fly. In fact, you do a little bit of all of that. And the CD, although it will never be to everyone’s taste, really invited me to want to listen to it again and again to figure out what it all meant. Ultimately, it’s a unique Kirk Brandon voice and world – definitely cool.

Rusty Golden and His Sober Musical Tour de Force

Rusty Golden - Sober

Rusty Golden – Sober

I discovered Rusty Golden in Bahrain of all places. He was playing keyboards and singing as well as accompanying another singer, at a place fittingly called, Big Texas BBQ & Waffle House. And yet the last thing I expected to find was Rusty Golden, an American musician of the illustrious country and gospel family, his father being a member of The Oak Ridge Boys, a Country Music Hall of Fame band the name of which any music lover in the U.S. knows. Even less did I expect to see that Rusty, after a long and illustrious career with disparate bands, and solo efforts since the early 1970s handed me an album that I found spine-tingling bona fide music that I would first call Rusty Golden, then situate somewhere in the folk-rock, country, pop area. In fact, I kept thinking even of The Band. There’s something about Rusty’s deep down-home vocals, and strong emotional grounding. Did I say “grounding?” This CD is all about recovery, thus the name. And while that’s a theme that you might think you could get tired of over the 13 songs of this album, the answer to that is no way. Working with Scott Baggett as producer, and with some great Nashville musicians – including the legendary bass player, David Hood from Muscle Shoals Rhythm Section, who has played with everyone from Cat Stevens to Paul Simon to Traffic, Boz Scaggs and Etta James, this CD is lyrically, emotionally and musically first rate. I wished I could have spent more time in Bahrain listening to more of his stuff live, and learning stuff….

Greg Sherrod’s Mighty Blues, Soul and Rocknroll

Greg Sherrod Album

Greg Sherrod Album

I met this blues, rock, soul singer on his first night in Paris on a bit of a European tour he was doing. He had found an open mic – Some Girls, on the rue de Lappe – through my blog, and we immediately hit it off, enjoying each other’s company, and sets behind the mic. We also exchanged CDs. When I went home and then played this CD, I found a whole new world, or rather, three worlds: As the album’s title says, it is Blues, it is Soul and it is Rock ‘n’ Roll. The album is set up, in fact, with those three categories covered section by section. And of course there is crossover amongst the sections. Some people might define some of the blues as rock, etc. One thing is sure: Greg Sherrod has his own voice, and his own world. But he works well within the traditions, and the whole production is first class. Too bad I could never see him with his band in his home area of Connecticut, amongst his fans…who, by the way, paid for this CD in a very successful crowdfunding operation. Thank goodness! Thank them!

Yann Destal’s Ethereal Vocals and Sounds

Yann Destal

Yann Destal

I met Yann Destal several years ago at the restaurant of the Bus Palladium venue in Paris, and I was immediately captivated by the purity of his vocals and emotional delivery. He’s also an exceptional multi instrumentalist, and one of the few French singers I have ever heard who seems not to have an accent in his English delivery. I quickly learned that he might be playing in an unassuming way in an interesting, but far from massive venue, but he had in fact as a very young man had a worldwide hit in the year 2000: Lady, from his band called Modjo. Since that time, he has gone on a solo career, releasing most recently the album, “Let me be mine,” which I received from him while we were both performing at an open mic in Paris called Mammalia. The album actually dates from 2013, but it is fabulous, haunting production, with his airy vocals, and lyrics and almost a concept feel to this. And if Yann plays mostly cover songs in places like that open mic, or the restaurant of the Bus Palladium, the album consists of 13 of his songs, plus the very original take on The Beatles song, “Oh! Darling,” which is so original that at first you don’t recognize it – then you go, brilliant!

Wrapping Up With Vincent Lafleur, Velasco, Florian Gasquet, Ant Henson, Claudio Zanetti, Tsipora and DTSQ

And so I come to the round up area at the end of this morning exercise report. I’m not rounding up these final CDs because they are in any way lesser in my heart, but because, holy crap, if I don’t get this page out there tonight, who knows how much longer I’ll be sitting on it before I finish it! It has already been so many months!

Vincent Lafleur

Vincent Lafleur

As I write these words, I’m pretty sure that Vincent Lafleur is directing the music orchestra on his piano at the crazy Soirée Buzz, in Paris. Vincent is an accomplished pianist, and I have known him for a few years now hosting one open mic or another, and doing the music behind the Soirée Buzz. But until he gave me a copy of his new CD – Mr. Lafleur, “Des racines, Et…” – I had no idea that he was writing his own songs too. And most importantly, where he may sing in English during most of the open mics, here he has written songs in his own language: French. What did not surprise me was that they were written – and sung by him – in the medium in which he seems to feel most at home: Soul. And if Van Morrison can do Irish soul, why not Mr. Lafleur doing French soul! Ok, Mr. Soul, thanks for the CD and 13 songs to savour….



When I showed up at the open mic of the Féline bar the other day I was told I had just missed an incredible electro pop band from South Korea called DTSQ. But I went out front of the place and found them talking to some musicians and I joined in, and together we shared stories of the various bars and venues where they play in South Korea, since I had gone and played there annually for about four years. We knew of some of the same places. I then offered them my CD, and they offered me theirs. Electro, yes indeed, and shocking. Rhythmic would be the word above all others. They gave me both their latest 2015 CD as well as their tour CD of live stuff. I loved how the former was full of fabulously produced electro static, hard stuff and then suddenly, the final track was this somewhat primitively recorded song with the accompaniment of what sounds like a crappy acoustic guitar from the back of some bar somewhere. It was done on purpose as a contrast, no doubt, and it worked wonders.

ant henson

ant henson

Ant Henson I met at the open mic at the Noctambules last year that I helped to found and host. He lives in England but came visiting for a while. His CD, “57,” has as its opening song the clever and catchy, “57 Stars,” and that sets the tone for a wonderful collection of 10 songs that Ant told me he had been putting together for years, including something to do with “teenage angst.” Well, the angst was there, but I couldn’t find the “teenage.” It was very catchy CD most of the way through, with the bopping, lively approach that he gets across in his live performances shining through no problem at all.

Now, I said at the beginning of this post that I had 11 CDs, but I think the list grew from when I began to write it, and today when I finished it and post it. I don’t care! I don’t want to count up the number of titles. Suffice it to say that I have four more to talk about, and keep finding myself going into so much detail! So here’s something I’ll try to shorten:

I met Tsipora at the open mic of the Café Jean in Pars, and found her to have a lively, cool voice full of energy and inventiveness. This was clearly confirmed by her CD, “Mes rêves, mes envies,” which again, like Lafleur’s had the lyrics all in French…and was nicely recorded.

Claudio Zaretti’s CD, “Deux Diamants,” let me know what Zanetti was all about after I’ve seen him many times in live performances around Paris, mostly at the old and now defunct “Le Baroc” open mic. Zaretti has crystal clear lyric writing skills, and melodies that place one right in a French tradition that reminds me of people like Michel Delpeche, although I may be totally wrong on that! Zaretti had a small career a few decades ago, and as I understood it, returned fairly recently to music – this is the result – fabulously recorded and produced.

And speaking of French traditions, this CD called “D” by Florian Gasquet, whom I met at the short-lived Zebre Rouge open mic, for me falls right into the tradition of the French chansonnier who focuses so much on the lyrics, story-telling and word painting…. He’s a good guitar player, too. Five songs on this EP, that will take you right into Gasquet’s world.



And now, it is always necessary to have a case of “last but not least,” right? In fact, I really really enjoyed this CD by Velasco, an Italian who lives in Paris, and whom I have met on several occasions mostly at the Some Girls open mic near the Bastille. But I did also happen to bump into him in the park in the Place Vendome recently as we were both picnicking! In any case, this CD, called, “Just Begun,” did not really surprise me for its excellent vocals, solid rock backing, and very lively, moving four songs. All in English, we have here a guy like Yann Destal, who has no problem singing or writing in the language of Shakespeare….

Well, that rounds that up. Another morning exercise crop of CDs and SoundClouds, my 11th edition since I started doing this in April of 2013….

The Incredible Not-Jam of Mammalia, in Paris, and Leaving Your Comfort Zone

March 1, 2016



PARIS – Push yourself, push yourself, push yourself. Get outside your comfort zone. Take a risk. Those are the thoughts that come back to me once again after my open mic experiences last night. Those are themes of this blog since it started – themes of my life. But last night, the proof came to me again. I was trying to decide if I should go out to my regular open mics in the Bastille area again, near dinner time, but I also wanted to stay home and keep working on my film and other projects. Then suddenly, a flash on Facebook pops up and I see my friend Stephen “Cat” Saxo is going to some kind of open mic jam – “not jam.” It’s a once-a-month event, and it takes place in a very cool bar called the Café de la Presse, and it calls itself Mammalia. So I went.

I went partly because it was in the Bastille area, so if I didn’t like it, I could do the Rue de Lappe open mics as a backup. So I arrive on the Boulevard de la Bastille quite early, and find the bar, and I speak to the organizer. (I also meet Stephen Saxo and another musician friend.) I learn that they liked to call it “not a jam” because although it’s a kind of free-for-all onstage, the idea behind it is to just get up there – drums, bass, guitars, keyboards, whatever – with people you do or don’t know, and to start off on some kind of theme and just go at it and see where it leads, maybe even create a new song.
Been a long time at Mammalia

Well, as much as I loved the concept, and as much as I loved what I saw of the people, and as much as I thought the neat little stage and sound system, all under spotlights, looked stupendous, I’m not so comfortable making stuff up in public onstage! The Café de la Presse was the kind of place I could hang out all night, I thought, though, as it was wide open dance floor and spectator area in front of the stage, a mezzanine, a front terrace and other areas – a swing set – and so the place seemed to have ALL the ingredients for a great night.
Saxo and lady at Mammalia

But I generally like to play songs, not jam stuff. It’s just my predilection. I love playing with other musicians, but songs I know, not just repetitions of chords for 25 minutes non-stop, as some jams go. Well, I watched a bit of the beginning, got Stephen and some other musicians on video, then decided to go to the Rue de Lappe to play my stuff.
Beatin em at Mammalia

Before I left, though, I also met with a musician I have written about on this blog many times a few years ago – Yann Destal – and I told him about my reservations, and he said it really depended on who was on stage, what the situation was like, etc., but that doing songs from beginning to end was also done at this place…. Despite the “not a jam” name.
Heartbreak at Mammalia

Still, I felt worried, inferior, not likely to be comfortable. Comfort zone in some other place. Not here. So I returned to my usual Monday haunt of the Rue de Lappe and found the Some Girls open mic in full swing. It was great. I even got to…jam, or rather, play with other musicians, i.e., the host on lead guitar and another guy on sax, while I played my guitar and sang. But the whole time I was doing it, I kept on seeing the visions of the stage of Mammalia in my head and said, “Brad, get out of your comfort zone. You can probably, maybe do something there. And the ambiance is super cool, and it happens only once per month. Go for it!!!”
More jamming at Mammalia

So I immediately returned to Mammalia, asked if I could go up, and soon after arrival, I got on the stage, found myself doing three cover songs I do a lot – Mad World, Wicked Game and You Ain’t Goin’ Nowhere – along with fabulous musicians, a guy on bass, Yann on keyboards and another on drums. And a huge crowd of people in front of the stage giving me someone to cry my heart out to!
More oldies at Mammalia

It was a wicked game all right, in the good sense! I had the time of my life, and will definitely return to this exceptional “not jam,” and perhaps I will even learn something, and figure out a way to do the not-jam thing, and not just songs…. Above all, I realize once again that it happened because I pushed myself out of my comfort zone, and the reward was high.
Old rockin stuff at Mammalia

The concept of Mammalia, the whole thing is really, very cool. Definitely, I highly recommend Mammalia to spectators or musicians.
Second at Mammalia

performer at Some Girls open mic

Burnin’ Jacks, BSMS and Yann Destal – a Musical Night in Paris

January 23, 2011

Not many open mics on Saturday in Paris, but even if there were, I’d have decided to sacrifice my own music to go and listen to that of some friends and acquaintances. Because at the International was a double-header of the Burnin’ Jacks and BSMS, two excellent rising groups of talented young musicians in Paris. And then at the Bus Palladium, conveniently happening after the other two concerts, was Yann Destal in the third kind of formation in which I have seen him play – I’ll explain in a minute.

At the International I HAD to go and see the Burnin’ Jacks, whom I have watched grow over the last two years from Earle’s open mic at the Lizard Lounge, the Truskel and then the Mecano bar, to what they’re doing today, playing bigger clubs and stages all over the city. Not to mention that Félix, the Burnin’ Jacks’ phenomenally talented lead guitar player, is also the guy who recorded with me in my Ephemere Recordings in July (on Except Her Heart and Memories), and who will play with me in concert at the Disquaires on 27 February.

So it was off to the International to hear them play, and neither I nor the couple of hundred people present were let down by the music or their charismatic performance, led by Félix on the lead guitar and Syd on the lead vocals, and Antoine, jumping around on rhythm guitar like there was no tomorrow. Also, one of my favorite songs of theirs is that composed and sung by Antoine.

After these guys came BSMS, whom I wrote about recently at their concert at the Bus Palladium. So I’m not going to add many words here, just to say it was more of the same rhythmic, slightly spaced out and slightly acid sound last night at the International. Very together, very tight, and very cool bluesy rock.

And speaking of the Bus Palladium, I ended up going over there to hear Yann Destal in band formation. Aside from hearing his voice on the radio for a decade with that 2000 hit song, “Lady (Hear Me Tonight),” I first started listening to Destal at the Tuesday evening after work club in the restaurant above the main concert room of the Bus. There he plays solo and with one or two other musicians doing cover songs acoustically. Then I saw him with one other musician doing some of his latest music at Le China, near the Bastille. So yesterday was the first time I saw him in a full-fledged group situation, with a keyboard player, a drummer, bass guitar, his acoustic guitar and a lead guitar player. There was another singer too, a woman – sorry, don’t know who it was.

In any case, last night’s show really made it clear how interesting a performer and composer Yann is. He’s the kind of performer who has his own musical world, and he inhabits it like others might get involved in reading or writing a fantasy novel. If that sounds like it is pushing things, just check out some of the videos below. His singing voice is as good as ever, but the tunes and lyrics and presentation are very personal, and remind me in some ways of progressive rock from the early 70s. Maybe that’s stretching it too – but that is what came to mind last night.

Mini Post: Au P’tit Bonheur la Chance and Bus Palladium

December 1, 2010

I have to run out within the next five minutes to visit three or four venues tonight, Wednesday being a big night for open mics and other musical adventures. So just a quick word and two lousy videos about last night.

Lousy videos, but great nights in two venues. I first went to Au P’tit Bonheur la Chance for Ollie’s open mic, then I went to the Bus Palladium to sing a few songs as a guest during Yann Destal’s set. I’ve written about both of these places here more than once, and so I’m keeping this wordage down! I regretted deeply having to leave Ollie’s open mic, since it was shaping up to be really cool, and had several of my favorite performers and friends: David Broad, Ollie, Texas in Paris, and more. But I managed to play three songs and take a cab to the great Bus Palladium and to play three more songs in the restaurant on the first floor, at the After Work evening that happens every Tuesday. Yann Destal, who headlines the show most Tuesdays, played piano along with me when I did my songs, “Father and Son,” “I Won’t Back Down,” and “Borderline.” It felt good. I enjoyed it, and there was an excellent crowd. So I could not ask for more – except to ask for more another time….

Sorry no links, gotta run… may link later…. By the way, what I meant about bad videos was the bad lighting, and not great sound recording on one. But I did my best, and the musicians were great….

Two Nights, Three Venues in Paris – amen birdmen, Yann Destal and some other stuff at 24 cour des petites écuries

October 9, 2010

Just a bit of catching up to do here. I went two nights ago to the La Forge avg art space at 24 cour des petites écuries in Paris in order to see a few live performances of music and other things, and the end of some kind of video exhibit. But actually, I “some kind” because me real desire was to go and take part in what was advertised as an open mic at the end of the evening.

So, yes, that’s what I did – went and listened to the performers, several of whom play at the Swan Bar in Montparnasse regularly, and then I played three songs myself. Given that the evening was mostly about operatic singing by Vania, bluesy singing by Tiffany Assouline and camp performining of Liza Minelli songs and that kind of thing by someone else, my songs kind of stood out like a hair on the soup – as the French say. But I was happy to sing them, and later, a fabulous reggae musician who was there borrowed my guitar cable and sang some of his songs, both covers and an original. This was Simi Ol of the band Arrr Force. It was a very interesting venue, this La Forge avg, an art space with many rooms, a bar, televisions, videos, a courtyard or two, tables for drinking and chatting, all manner of exhibit.

The next day I did not do any open mic performances but set out to listen to friends and acquaintances play. Yann Destal played at Le China, and it seemed to be mostly his own stuff – as opposed to the cover songs he does at the restaurant on the Bus Palladium on Tuesdays, and the room was full. It’s an interesting place, a very large and classy Chinese food restaurant with a cellar with a stage area for the live music. Very hip, in fact. Destal’s music was very interesting, intense, and the sound was perfect.

But I did not stay to the end of that concert as I wanted to pick up a little of Amen Birdmen at the Bus Palladium, in the main concert area. That is the band of Cyril Bodin, who is also the artistic director of this venerable rock n roll establishment (yes, that is now no longer a contradiction in terms). Much to my delight, I heard Bodin announce that for the last song he was inviting up the members of the band Natas Loves You, to join in singing with him. Virgile, the bassist of Natas Loves You, played on the four songs I recorded at the Point Ephemere this summer. So it was a delight to hear them, and I went around afterwards to say hello to them and Bodin. I enjoyed the set immensely, and Amen Birdmen had the crowd rockning hard.

Three Paris Venues and two discoveries, in one night

September 15, 2010

An amazing evening last night at three different Paris venues, in two of which I managed to play some songs, and the first of which I listened to some wonderful music. And the whole thing was crowned by a sudden answer to a question I had in my mind for a few months about a musician I had seen play – and played with. I will get to that…

The evening began with the most exceptional strawberry millefeuille I have ever had – I’ve never had one before – in a brasserie down the street from the Rex Club. I went to the Rex Club to see and hear Lou Rebecca sing with her band. The band includes Etienne Shades, of the very cool Paris group, Les Shades, and I was looking forward to hearing Lou Rebecca, whom I had seen at Earle’s open mic at some point in the past.

The Rex has been around for more than 20 years, and it has been called the temple of electro music in France, and has had bands like Daft Punk play there. But last night it was not electro, but classic guitar-based rock – at least with Lou Rebecca and her band. It is a spacious room underneath the Grand Rex theater most of the world’s biggest bands have played at one time or another – I think the last band I saw there was Lenny Kravitz.

I had primed myself by listening to Lou Rebecca on her myspace before going, but what I heard in the concert was even more dynamic and rock. Great stuff, she has a style, a presence and a sound. And Etienne on guitar flashes in with some very cool bits of lead and his presence too. I heard another couple of bands before this one, and this was the best. Check out the videos below before I get on to talking about the next two venues and the second discovery of the evening (Lou Rebecca being the first).

The second venue I went to was the Ptit Bonheur la Chance on the Rue Laplace in the 5th Arrondissement, so it required taking a cab from the Rex Club to it. But I was very keen on playing this open mic again, despite having lined up a bit of play at a third venue. It was already 10 PM, but I knew that it was often possible to get to Ollie’s open mic later and still get to play. And that is the way it worked out. I figured it would be nice to see Ollie, and another friend who was going, and to warm up for my third event of the night. So I got there before 10:30, sang three songs – “Borderline,” “Just Like a Woman,” and I cannot remember the first!

So I listened to a few bits of the other musicians and then rushed out of the Ptit Bonheur la Chance, took a cab back to the Place Pigalle and I went to the restaurant of the Bus Palladium, where I was to sing a little after the main act. I have written about the Bus Palladium before, both about the history of the place and also about my first time playing in the restaurant upstairs.

I have returned several times since then, and I was always intrigued by the main musician who plays guitar, piano and sings, doing mostly old rock standards. I had mentioned in the past how great his English accent was when he sang. But what intrigued me was that I always thought he had a fabulous voice and a real presence and a massive repertoire. He had played with me once or twice, a bit of piano, a bit of guitar, maybe some backing vocals. And then last night, he came up and started playing with me again. I arrived around 11:30 PM and started playing around 11:45. We played for 45 minutes or more, and this guy played lead guitar and did some harmonies with me on “Just Like a Woman” and “I Shall Be Released,” and he played along even on my song, “Since You Left Me,” and on “Father and Son” and a few others.

I enjoyed it immensely, and he finished out the evening singing “Purple Rain,” of Prince, while I hit a few bad notes on lead guitar. But I still this night thought to myself, who is this guy who looks like Ron Wood, and is French but sings fabulously well, gets across good emotion, and has a vast repertoire of songs? And I thought, does he only do covers? I suspect that one of the “covers” I heard him sing was that huge success from 2000 by a French band called Modjo, the song “Lady (Hear Me Tonight),” and I probably thought, “What good is it to sound EXACTLY like Modjo on that? Can’t he bring something new to it?”

Well, after we played and returned to the bar where I had a beer and tried to get my shirt to dry out of all the sweat it had developed all on its own over the previous 45 minutes, we got to talking. He asked me if I had some place with samples of my songs, and I handed him my CD of the four songs I had recorded in July at the Point Ephemere, as I had actually prepared it to give to the artistic director, but I decided I wanted this guy to have it. I told him a little of my story about quitting music for nearly 30 years before returning to it, etc. Then I suggested we exchange Facebook friendship. We both whipped out our iPhones and hooked up immediately.

Through all of this, although I asked him about the name of his band, he never said anything to me to make me think that he was anything other than some starving musician of no renown. Well, once I had his name and Facebook link, I returned home to learn that this was Yann Destagnol, now known as Yann Destal, who was one part of the duo of the aforementioned French band Modjo, which sold more than 2 million copies of its hit song “Lady (Hear Me Tonight),” in 2000. He went on to make a solo album in 2004, and is now working on another solo album. As has happened to me several times in the past, I have found that the people who really achieve something in the world are often the least flashy and full of themselves. Yann is a very simple, unassuming guy with an enormous talent – and that finally answered my question: “Who the hell is this great singer anyway?!?”

The video I took of him below singing last night at the Bus Palladium, is not very good, and it does not do justice to his voice. But it is the only one I took, and you can hear nevertheless that he can really wrap that voice around that Led Zeppelin song…. I suggest you drop by the Bus Palladium on a Tuesday night if you happen to be in Paris, to hear the real thing; there’s pretty good food too.

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