ERIC BIBB

a
JJ MILTEAU
Lead Belly's Gold
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CD1387

ERIC BIBB aJJ MILTEAU

Lead Belly's Gold
1.

5:30

2. wheN thaT traiN comeS alonG / swinG low, sweeT chAriot 3:59
3. on A monday 2:52 4. the housE of the rising sun 3:30
5. miDnight spEcial 3:58 6. brinG A little watEr, sylvie 3:18
7. wherE did you sleeP lasT nighT 3:27 8. wheN I get to dallas 1:41
9. pick a baLe of cotton 2:57 10. goOdnigHt, irenE 3:39
11. rocK island linE 3:53 12. boUrgeoiS blueS 3:21
13. chAuffeuR blueS 2:52 14. stEwball 3:29 15. tiTanic 3:03
16. swImmin in A riveR of soNgS 3:23

ERIC BIBB aJJ MILTEAU Lead Belly's Gold

o
greY goosE

1 - 11 liVe reCordinG / 12 - 16 studio RecordiNg

StonyPlainRecords,
POBox861,Edmonton,Alberta,Canada,T5J2L8
Tel:(780)4686423Fax:(780)4658941
email:info@stonyplainrecords.com

2015 Eric Bibb & J.J. MilTeau 2015 StoNy PlaIn RecOrDing co. ltd.

wWw. ericbiBb.coM / wWw.JjmilteAu.nEt

Cover photo patricia De goRostarzU / artwoRk: barilLa.Design

02

SPCD1387

Pleasebecomeamember
oftheBluesFoundationat:
www.blues.org

PRINTEDINCANADA

03

ERIC BIBB
a
JJ MILTEAU
Lead Belly's Gold

04

Philipp
Nory
JJ for

Roger Bu

DW Dr
Joe Albert. Tamiment Library/Robert F. Wagner Labor Archives. All rights reserved

05

ers Inc.

ers Inc.

Lead Belly

Huddie LedbetterLead Bellys

real nameowes this extraordinary
status to his uncanny talent for

03
ERIC BIBB aJJ MILTEAU Lead Belly's Gold

When he was discovered in

Louisianas infamous Angola prison
farm back in 1933, little did Lead
Belly know that his music would alter
the course of his destiny and change
the life of the architects of his
success, famed folklorists John and
Alan Lomax. More to the point, there
was no way Lead Belly could have
realized that he would become the
most famous Black folksinger ever,
bringing the attention of millions to
the power of the African-American
song, well outside the boundaries of
his own community, as artists as
diverse as Nirvana, Frank Sinatra, the
Beach Boys, the Red Hot Chili
Peppers, Tom Waits and Bob Dylan
embraced his repertoire.

bridging gaps. Born in the Deep

South in the late 1880s, he was a
living link between the end of slavery
and the height of the sharecrop
system that literally disenfranchised
African-Americans during the first
half of the 20th Century; between the
false hopes engendered by the
Emancipation Proclamation and the
despair spawned by Segregation;
between the era of the itinerant
songsters and the rise of the blues
troubadours, at the time when he
was making his apprenticeship as a
teenage street musician. In the
process, Lead Belly launched almost
by himself the folk boom that took by
storm the white New York literati,
and familiarized Europeans with the
blues, triggering a revival that
eventually brought about rock music
through the likes of the Beatles and
the Rolling Stones. Although it is not
widely known, he was also the very
first rural blues artist to grace
European stages in 1949, shortly
before his death at the age of 61.

06

04
ERIC BIBB aJJ MILTEAU Lead Belly's Gold

By paying homage to Lead Belly

on these live and studio renditions of
the old masters gold songs, blues
troubadour Eric Bibb and prolific
harmonica player Jean-Jacques
Milteau give us much more than a
celebration of the folksingers rich
musical heritage. Establishing a
living link between the New World
and the Old Continent, they
showcase the universality and
timelessness of Lead Bellys message.
It is no accident that this recording
kicks off with Grey Goose, a poetic
depiction of social ostracism that
finds an echo today with the African
and Middle-Eastern migrants who
cross the Mediterranean by the
thousands on makeshift rafts. The
same could be said of the prison
song Midnight Special, still valid
today when African-American males
make up 40% of inmates in the US
when they represent a mere 13% of
the American population, and of The
Titanic with its clear reference to
racism that rings appallingly true in
the wake of Charleston and Ferguson.

Yet, the most topical song of all

might well be Bourgeois Blues. An
open denunciation of the color caste
system that prevailed in the nations
capital when Lead Belly recorded it
in 1938. It proves that the presence
of a Black president in the White
House hasnt really turned the tables
in a world of discrimination thats
always prompt to oppress the poor
and the voiceless.
Spicing up Lead Bellys repertoire
with a handful of their own
compositions, Eric and JJ pick up
where the original songster left off,
addressing everyday issues with a
freshness, candor and poetic sense
that contribute to the circulation of a
message of peace, hope, tolerance,
and non-violence. As a result, their
rare musical understanding makes
Lead Bellys Gold one of the most
exciting recordings of their respective
careers.
Sebastian Danchin

07

ER OF SONGS

n a rambler
wn roustabout
wn in Sugar Land
n gang's all about
o a city slicker
w York town
n all I could
oun

river of songs
m on
river of songs

, theyll sing your songs

n Nineteen an ten
estined for fame
an ten men

ERIC
BIBB

05
ERIC BIBB Lead Belly and Me

a chauffeur
dour
y in Paris, France
er seen before
t by my side
heals my heart
man is half my life
itar

Lead Belly
and Me

ts hard to remember when I first heard

Lead Bellys music because, somehow,
hes always been around. Most likely, I
heard recordings of others (The Weavers &
Woody Guthrie) singing songs from his huge
repertoire before hearing his actual voice.
In any case, I have an early memory from
the mid 1950s of listening to a recording of
Lead Belly singing a childrens song, Ha Ha
This-a-Way.
At that time, my dad, Leon, was beginning
to make his name known in New York City
folk music circles. He recently told me he
remembered hearing Lead Belly perform at
The Village Vanguard in the late 1940s.
So, the soundtrack of my childhood
included more than a few of the great bards
songs. The sound of his 12-string guitar is
part of my DNA.
What I hear now, when I listen to Lead
Bellys recordings & YouTube clips, and what
I must have sensed when I was a boy, is the
mans personal power & independence. His
sound made it clear that he was his own
man. The fatalism and resignation that I
heard later in the voices of many of my prewar blues heroes was missing in Lead Belly.
He was way ahead of his time. The path he
cut through a world that conspired to rob
him of his humanity, dignity & manhood was
a personal triumph that will inspire for
generations to come.

08

06
JJ MILTEAU Liberty, Dignity, Fraternity

ead Belly could have improved the

slogan of Francea country he visited
shortly before his deathin such a
way. For lack of true equality between the
poor, illiterate Black individual that he was
and the fluctuating entourage drawn by his
talent over the years, he fought his whole
life for dignity as a human being and, even
more so, as an artist.
Liberty probably was young Huddie
Ledbetters original aspiration, as he toiled
in the segregated South of the turn of the
20th Century. No doubt, the murderous
fights that led to his incarceration on
several occasions were the result of his
injured dignity. Endowed with an
uncommon talent, he generated around his
person a sense of fraternity that awarded
him the protective help of the Lomaxes,
favored artistic collaborations with Pete
Seeger and other liberals in the 1940s, and
aroused the empathy of the young
audiences he loved to entertain.
Dignity stands out in this humanistic
trilogy as Lead Bellys number one goal: the
dignity of being considered an artist first
and foremost, regardless of the color of his
skin or his judicial past. His repertoire
reflects his gift as a storyteller and
entertainer; it also reveals his need to
testify. The depth of human feelings and

Liberty,
Dignity,
Fraternity

JJ
MILTEAU
sufferings, religion, social life, anecdotes
it seems his musical chronicles encompassed
all topics. As is clear when listening to his
live recordings, Lead Belly was wont to
comment on the tunes he sang, much like a
journalist.
Yet his main claim to fame is linked to his
personal power and conviction as an
interpreter. No one is left unscathed by
Lead Bellys voice, by the sound of his guitar,
both distant and familiar. Only great artists
showcase such timelessness while chronicling
their times.

ChaUffeuR

I wrote this
as if I were
his former b
the afterlife

SteWball

Early in his
a version of
called The
first heard
racehorse o
early record

TitAnic

This true-s
made-up stu
thrown in)
famous cat
Belly claim
Dallas when
streets with

09

e of everything
he sang was
to the lyrics:

this song was

d a ride out of

n rolled up in a
f the set, Lead
seated.
was the kid you
o D.C.
ois Blues song
was. Lead Belly
Street and that
d be ready for
way from Lead

y had first met,

parole for Lead
ad Belly had to
oard, John had
rnacle for that

07

Working with Eric on this project has been a

real treat. Each and every song came to us in a
natural and spontaneous way. The majority of
titles present on this album were recorded live,
with or without an audience, in order to
preserve this freshness. A thousand thanks to
Philippe Langlois for providing the original idea
and bringing us together, Im looking forward to
more stage performances around this project.

+?

10

the

Lead Belly was a human jukebox. He knew hundreds of

songs that hed either heard somewhere & adapted, or
written himself. Authorship of many of the songs he sang
has long been a controversial topic of heated debate in folk
music circles. What is clear is this: if not for Lead Belly,
and the collectors who first recorded him, we might never
have heard many of these timeless songs.

songs
08
THE SONGS

Jean-Jacques & I chose songs from Lead Bellys vast

repertoire that we could make our own. We wanted to pay
homage to not only a great musician, but to the rich
tradition he embodied. Staying pretty close to his
renditions, we had a lot of fun collaborating on these new
arrangements. Working with Larry Crockett was,
as always, a treat.
Lead Belly spread his music by performing live in front of
mostly smaller audiences and recordings. We decided that
the energy from a small, enthusiastic audience would help
us dive deep into the songs. Fortunately, our good friend
Stphane at The Sunset, a famous Parisian jazz club, was
happy to make his venue available. Many thanks to all
who were there!
We also took a few songs from those club recordings and
augmented them in the studio, as well as including some
original, new studio tracks. The result is this album,
Lead Bellys Gold.

Carl was living

in the Kentuck
didnt take lon
Depression in
malnourished,
One day Carl w
a lady appeare
a folklorist coll
black chauffeu
she asked him
Carl directed t
with Aunt Mol
New York. Car
where her reco
Driving to Wa
Booking a room
front desk coul
but not if his w
Repeated attem
had the wife s
rug in the ca
permission from
and then carrie

Near the end o

in Greenwich V

11

condemnation of
ned by Lead Belly
feel connected to
cinating story that
n Padover, a fine
co and a long-time
the late 1970s, we
her in Stockholm.
ut his late father,
meeting with Lead

Live

This has long been one of my absolute

favorite folk songs. For me, that heroic grey
goose could be Lead Belly himself!

When That TraIn ComEs AloNg

/ SwiNg low, SweEt ChaRiot

THE SONGS LIVE

Part One

Grey GooSe

09

Two spirituals that Lead Belly used to sing.

The first one is not as well-known as the
second one. It makes me think of the many
beautiful spirituals my dad used to sing. Were
joined here by another wonderful singer &
friend Big Daddy Wilson.

12

WheRe did you

This song, also k

& In the Pines
Bellys staples. K
a popular moder

When I get to

10
THE SONGS LIVE

on A MonDaY

MidNight SpeCial

Joining us on one of Lead Bellys wellknown prison songs is Michael

Robinson, a fine singer from the
States who resides in Paris. In the
middle section, JJ breaks into a
surprise quote from another song that
Lead Belly used to sing: John Hardy.

Taken from our live set, this famous

song (about a train seen from a prison
cell window) is one where we added
the tasty playing of bassist Gilles
Michel.

the HouSe of the RisInG sun

The origins of this folk song are lost
in the mists of time. Like so many
that Lead Belly helped popularize,
this one has made its way around the
world and the number of recorded
versions keeps growing.

BriNg A LitTlE WatEr, SylViE

I recently had the great pleasure of
performing this classic as part of a
Lead Belly tribute concert at the
Royal Albert Hall in London. Among
others included were Josh White, Jr.,
Eric Burdon and Van Morrison.

JJ & I wrote this

inspired by Lead
a street singer in
minutes to teach
audience, who jo

WHEN I GET
When I gets to
The first thing
Pawn my watc
Pawn my pisto
When I gets to
The next thing
Buy a big ol St

When I gets to
The third thing
Is find a place
Then Ill send
When I gets to
Believe Ill set
Sing an play th

13

tEr, SylViE

reat pleasure of
sic as part of a
concert at the
London. Among
Josh White, Jr.,
Morrison.

This song, also known as Black Girl

& In the Pines, was one of Lead
Bellys staples. Kurt Cobain recorded
a popular modern version.

Lead Bellys version of this wellknown work song is immortalized for

all time in a great film clip you can
find on YouTube.

When I get to DalLaS

GooDnIght, IreNe

JJ & I wrote this little song that was

inspired by Lead Bellys early days as
a street singer in Dallas. We took a few
minutes to teach the melody to the
audience, who join us toward the end.

Of all the songs made famous by

Huddie Ledbetter, aka Lead Belly, this
was the first to become a #1 hit - by
The Weavers, in 1950, the year after
Lead Belly died.

WHEN I GET TO DALLAS

When I gets to Dallas
The first thing Ima do
Pawn my watch an golden chain
Pawn my pistol, too
When I gets to Dallas
The next thing Ima do
Buy a big ol Stella, write a song for you
When I gets to Dallas
The third thing Ima do
Is find a place to call my own
Then Ill send for you
When I gets to Dallas
Believe Ill settle down
Sing an play that big guitar all over town

Rock IslAnD Line

First recorded in Arkansas by a group
of prisoners in 1934, this song became
a UK hit in 1955 for Lonnie Donegan.
His version was surely inspired by
an early recording by Lead Belly.
Donegans rendition sparked the
skiffle craze, which inspired many
young English musicians including
The Beatles.

+?

11
THE SONGS LIVE

set, this famous

en from a prison
where we added
f bassist Gilles

WheRe did you SleEp Last NigHt Pick A Bale of CotToN

14

BouRgEois BluEs

Part two
12
THE SONGS STUDIO

stu
dio
tracks

This bold, courageous condemnation of

racial segregation, penned by Lead Belly
in 1938, is a song that I feel connected to
in a special way. The fascinating story that
follows is told by Jan Padover, a fine
painter from San Francisco and a long-time
friend of mine. Back in the late 1970s, we
rented a house together in Stockholm.
This true story is about his late father,
Carl, who had a fateful meeting with Lead
Belly back in the 1930s.

Part O

Liv
15

dreds of
pted, or
gs he sang
ebate in folk
ead Belly,
might never

in front of
ecided that
would help
ood friend
z club, was
ks to all

dings and
ding some
lbum,

13
THE SONGS STUDIO

s vast
nted to pay
e rich
his
n these new
s,

Kentucky 1938

Carl was living with Aunt Molly Jackson, a Hillbilly Communist troubadour up
in the Kentucky hills and an activist for the United Mine Workers Union. It
didnt take long for Carl to become miserable there, at the height of the
Depression in one of the poorest parts of America. He was feeling very
malnourished, eating only corn for every meal.
One day Carl was walking a road down the hill as a car pulled up from which
a lady appeared. Introducing herself as Miss Barnacle, she explained she was
a folklorist collecting the music of the area for the Smithsonian Institute. Her
black chauffeur and his wife remained in the car. Thinking Carl was a local,
she asked him if he knew any music in the area.
Carl directed the lady up the hill to Aunt Mollys place. After she had finished
with Aunt Molly, Miss Barnacle said she was going to be headed up towards
New York. Carl had found his escape route. They put him into the rumble seat
where her recording equipment had been, and off they drove.
Driving to Washington, D.C., they decided to spend the night at a hotel.
Booking a room proved impossible, as the nations capital was segregated. The
front desk could accommodate a white lady with her black chauffeur somehow,
but not if his wife was along.
Repeated attempts to book a hotel room failed. Finally, at the last hotel, they
had the wife stay in the car and explained to the front desk that they had a
rug in the car that was too valuable to be left overnight. After gaining
permission from the desk, Carl helped the chauffeur roll up his wife in a rug,
and then carried her through the lobby and into the ladys hotel room.

Village Vanguard

Near the end of the war, Carl wandered into the Village Vanguard night club
in Greenwich Village, in New York, and sat at a table. There was a black man

16

onstage playing a twelve-string guitar and belting out a repertoire of everything

from work songs to blues and lullabies. One of the songs he sang was
Bourgeois Blues. Through Carls smoke and drink, he listened to the lyrics:
Me, my wife and Miss Barnacle went all over town
Everywhere we went people turned us down
Lord, in a bourgeois town, its a bourgeois town
Its a bourgeois town
I got the Bourgeois Blues
Gonna spread the news all around

14
THE SONGS STUDIO

Hearing Miss Barnacles name in the lyrics, Carl realized that this song was
about that night almost ten years earlier when he had hitched a ride out of
Kentucky with that lady, and the singer on the stage.
Lead Belly, must have been the chauffeur whose wife had been rolled up in a
rug to get to a room in those segregated hotels. At the end of the set, Lead
Belly left the stage and walked near the table where Carl was seated.
Carl introduced himself: You might not remember me, but I was the kid you
and Miss Barnacle picked up in Kentucky, and then we drove to D.C.
Lead Belly said he remembered him, and Carl said that Bourgeois Blues song
must have been about that night, and Lead Belly said that it was. Lead Belly
mentioned that he was going home to his apartment on 110th Street and that
Carl was welcome to come along and enjoy a meal that would be ready for
them. This was convenient, as Carl lived only a couple blocks away from Lead
Bellys address.
Chatting over dinner, Carl came to understand that when they had first met,
Lead Belly was in the care of John Lomax, who had arranged parole for Lead
Belly for a murder conviction in Louisiana - stipulating that Lead Belly had to
be gainfully employed after his release. To satisfy the Parole Board, John had
offered Lead Bellys driving services to his associate Miss Barnacle for that
Kentucky trip


17

me is linked to his
nviction as an
t unscathed by
und of his guitar,
Only great artists
while chronicling

I wrote this song in the first person,

as if I were Lead Belly speaking to
his former boss, John Lomax, from
the afterlife.

SteWball
Early in his career, my dad recorded
a version of this song with a group
called The Skifflers. Im sure they
first heard this song about a
racehorse on one of Lead Bellys
early recordings.

TitAnic
This true-story song (with some
made-up stuff about Jack Johnson
thrown in) surfaced soon after the
famous catastrophe at sea. Lead
Belly claimed he first sang it in
Dallas when he was singing on the
streets with Blind Lemon Jefferson.

CHAUFFEUR BLUES
I was your colored chauffeur
You was the big boss man
Same ol story, nothin new
But if we ever meet again, I assure you, my friend
Heres what Ill say to you:
Once upon a time, I drove you here an there
Anywhere you wanted to be
This time aroun, gonna turn it upside-down
This time, youll be drivin me
Back in the day
You made the deal
Took me for a fool an I played along
Sometimes you gets less, sometimes
you gets more
God always evens up the score
Once upon a time, I drove you here an there
Anywhere you wanted to be
Next time aroun, gonna turn it upside-down
Next time, youll be drivin me
I been so many places
Learned a thing or two
Bout what it really means to be free
Locked up in Angola, rainbow roun my shoulder
I changed my destiny
Once upon a time...
Prisoners swinging a pick or an axe often sang
about the rainbow caused by the sun reflecting
off the metal of the tools blade.

15
THE SONGS STUDIO

ife, anecdotes
les encompassed
listening to his
ly was wont to
ang, much like a

ChaUffeuR BluEs

18

SWIMMIN IN A RIVER OF SONGS

SwiMmin in A RivEr of SonGs

Once again, writing in the first person,
I came up with a song where Lead
Belly shares his life story.

16
THE SONGS STUDIO

I been a gambler, I been a rambler

I been called a low-down roustabout
Been a convict man down in Sugar Land
An I know what a chain gang's all about
Been a cotton picker to a city slicker
From East Texas to New York town
Been to Hollywood, doin all I could
To spread the news aroun
Chorus:
I been swimmin in a river of songs
An Im here to pass em on
I been swimmin' in a river of songs
Ever since I was born
I been a rover, I been a chauffeur
But truly, Im a troubadour
I got the chance to play in Paris, France
An I seen things I never seen before
Martha, my bride, right by my side
She knows my mind an heals my heart
My lovin wife, that woman is half my life
The other half is my guitar
Chorus
When youre long gone, theyll sing your songs
Gypsy woman tol me in Nineteen an ten
Youll be a big name, destined for fame
Youll do more livin than ten men
Chorus

Lead Belly
and Me

ERIC
BIBB

19

pical song of all

geois Blues. An
f the color caste
d in the nations
Belly recorded it
hat the presence
nt in the White
urned the tables
imination thats
ppress the poor

Sebastian Danchin

17
ERIC BIBB a JJ MILTEAU Lead Belly's Gold

Bellys repertoire
of their own
and JJ pick up
songster left off,
y issues with a
nd poetic sense
e circulation of a
hope, tolerance,
s a result, their
standing makes
one of the most
f their respective

Live recording at the Sunset:

Eric Bibb
Agns Minetto
Vocals, 6-string guitar,
12-string guitars & 6-string banjo
Studio recording at Studio de la Seine:
J.J. Milteau
Sylvain Mercier & Fabrice Maria
Harmonicas
Mix: Sylvain Mercier, Studio de la Seine
Larry Crockett
Mastering: Dominique Poutet (Dume)
Drums and percussion
Produced by J.J. Milteau & Eric Bibb
Big Daddy Wilson
Backing vocals on:
Executive Producers:
When That Train Comes Along/Swing Low,
Philippe Langlois & Marie Llamedo
Sweet Chariot - On A Monday p Eric Bibb & J.J. Milteau
Pick A Bale Of Cotton - Stewball.
c Stony
Dixiefrog
Plain Recording Co. Ltd.
Michael Robinson
Backing vocals on: On A Monday - Stewball.
Photos: Patricia de Gorostarzu
Gilles Michel
except pages:
Bass on: Midnight Special - Rock Island Line 9: Ludovic Flament (Sunset)
12:
Where Did You Sleep Last Night - Titanic.
10, 15,
12, 19:
16: Stella K (Studio Campus)
13,
on: Swimmin In A River Of Song
20,
17, 21,
18, 22:
19: Loic Gayot (Studio de la Seine)
Glen Scott: Drums, Bass & Wurlitzer
Michael Jerome Browne:
Artwork: Barilla.design
12-string guitar & mandolin
Additional engineering:
John Guth & Glen Scott

20

18
ERIC BIBB a JJ MILTEAU Lead Belly's Gold

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16

Grey Goose* (Traditional)

When That Train Comes Along/Swing Low, Sweet Chariot* (Traditional)
On A Monday* (Ledbetter Huddie) Folkways Music Publishers Inc.
The House Of The Rising Sun* (Traditional)
Midnight Special* (Ledbetter Huddie, Lomax Alan, Lomax John A Sr) Folkways Music Publishers Inc.
Bring A Little Water, Sylvie* (Traditional)
Where Did You Sleep Last Night* (Ledbetter Huddie) Folkways Music Publishers Inc.
When I Get To Dallas* (J.J. Milteau - Eric Bibb) Memphis Music
Pick a Bale of Cotton* (Traditional)
Goodnight, Irene* (Ledbetter Huddie, Lomax John A Sr) Ludlow Music Inc.
Rock Island Line* (Traditional)
Bourgeois Blues** (Ledbetter Huddie, Lomax Alan, Lomax John A Sr) Folkways Music Publishers Inc.
Chauffeur Blues** (Eric Bibb) BMG-Chrysalis
Stewball** (Traditional)
Titanic** (Ledbetter Huddie) Folkways Music Publishers Inc.
Swimmin In A River Of Songs** (Eric Bibb) BMG-Chrysalis
*LIVE RECORDING / **STUDIO RECORDING

Lead

When he w
Louisianas infam
farm back in 19
Belly know that h
the course of his
the life of the
success, famed
Alan Lomax. Mo
was no way Lea
realized that he
most famous Bl
bringing the atte
the power of th
song, well outsid
his own commu
diverse as Nirvan
Beach Boys, th
Peppers, Tom W
embraced his rep

Huddie Led
real nameowes
status to his u

21

Eric Bibb thanks

Philippe for conceiving this project and bringing it all home so brilliantly!
Nory, Coyote & Ulrika for inspiring company & catering in the studio.
JJ for being such a superb musician & sharing this memorable journey.
Marie for making the journey so enjoyable.
Larry for your smile & your cosmic groove :-)
Agnes for making us sound so good!
Sylvain for a splendid job in the studio.
Patricia for your beautiful photos.
Sari for smooth logistical support & more.
Jean-Pierre for the celebration gumbo!
I also want to thank the following luthiers for providing me
with such wonderful instruments:
Roger Bucknall (Fylde Guitars), Juha Lottonen, Dave King, Gabriel Ochoteco,
Maurice Dupont & Joakim Grahn.
Many thanks to: Elixir Strings,
Fender Guitars & The good folks @ Bose (Sweden)

JJ milteau thanks
Frank Seguin, Hohner, Patrick Gire

Larry CrocketT thanks

DW Drums, Vater Drum Sticks, Aquarian drum heads & Protechtor cases

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