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Peter Eggers
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play hi-fi  Natural Disasters
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play hi-fi  Best of the Bravest
play hi-fi  Starset (For Bela Bartok)
Peter Eggers is a composer of passionate, powerful, emotionally evocative “visual music” in mixed genres: quirky instrumental rock, dark ambient electric chamber music, deliciously demented progressive fusion, strange cinematic soundscapes, playfully funky reggae pop, intricate classically-flavored latin jazz, polyrhythmic melodic minimalism, shamelessly romantic tone poems, and edgy electronic contemporary music.

Discography:

Peter Eggers – “Extreme Measures”
2006 (CD) USA - independent/unreleased
Far from normal, “Extreme Measures” mixes moody lullabies, weird waltzes, and bipolar hymns of bittersweet beauty with unnerving pulse-pounding percussive assaults on the senses. Unleashing forces of primal power and a feverish, frenzied intensity, these are nightmarish visions from over the edge. Churning chamber music of the heart from the dark night of the soul.
Composer (13 tracks), Keyboards/Percussion (13 tracks) - recorded 1975-1995

Peter Eggers – “Wishful Thinking”
2005 (CD) USA - independent/unreleased
Glass half-full, “Wishful Thinking” traffics in hopes and dreams, wishes and desires. Fantastic notions, small wonders, and simple pleasures combine with brief moments of perfect harmony to populate intriguing soundworlds and tuneful grooves. Positively user-friendly, it’s the calm before the storm of “Extreme Measures”. Includes music composed for film, TV, and dance.
Composer (15 tracks), Keyboards/Percussion (15 tracks) - recorded 1975-1995

David Rose – “Distance Between Dreams”
2009 (CD) Japan - Belle Antique (BELLE 091574)
2000 (CD) France - Piano Bass Music (PBME 01)
Dark, dreamy electric chamber music alternates with beautifully complex, emotionally explosive tracks teeming with torrents of notes flying from David Rose’s virtuoso violin and Christian “Basile” Leroux’s dazzling guitar. “Distance Between Dreams” is David Rose’s most famous album, filled with fabulous French progressive fusion. Exquisite music, artistically arranged by keyboard wizard Serge Perathoner, performed with passion and power by the incredibly gifted musicians of Transit Express.
Composer (4 tracks), Keyboards (3 tracks) - recorded 1977

David Rose Group – “Live”
2009 (CD) Japan - Belle Antique (BELLE 091575)
2003 (CD) France - Musea Records (FGBG 4391.AR)
Fantastically diverse and inventive, this previously unreleased live performance features David Rose on electric violin. Lots of fusion fire and flawless technique as five superb musicians soar through innovative improvisations, primarily based on compositions from David’s solo album “Distance Between Dreams”. Sophisticated, sensual, and surprising, the melodically rich music is brilliant and timeless, unbelievably alive with excitement and energy.
Composer (2 tracks) - recorded 1978

Rose - “Worlds Apart”
1979 (Vinyl LP) France/USA - Millennium Records (BXL1-7749)
Exotic and exceptional, “Worlds Apart” combines David Rose’s gorgeous violin with Serge Perathoner’s colorful keyboards in a cinematic style that is a creative mix of art pop and Euro prog, with deep fusion roots. Vocals plus dual percussion add to its commercial appeal. Rare and highly valued by collectors.
Composer (2 tracks) - recorded 1979

fred – “live at the bitter end”
2004 (CD) Germany - World In Sound (WIS-1020)
With strange unearthly chords floating over dark obsessive grooves, “live at the bitter end” is high-octane, aggressive electric instrumental music with Bo Fox’s pulverizing rock drums, Joe DeCristopher’s wailing gutsy guitar, and David Rose’s wild violin pyrotechnics. The mood ranges from tender to tortured, demented to delirious, always edgy, enigmatic, and full of surprise.
Composer (7 tracks), Fender Rhodes (8 tracks) - recorded 1974

fred – “Notes on a Picnic”
2003 (CD) Germany - World In Sound (WIS-1016)
Bursting with an eclectic, eccentric diversity, “Notes on a Picnic” is adventurous, playful, and unpredictable, vibrating with a vivid intensity. The music features quirky melodies, intricate scored parts, tight ensemble playing, complex polyrhythms, sophisticated multi-tracking, and inspired rock improvisation. Furious fun, delightfully deranged.
Composer (7 tracks), Keyboards (11 tracks), Tenor Sax (3 tracks) - recorded 1973-1974

Yoko Ono – “A Story”
1997 (CD) USA - Rykodisc (RCD 10420)
Yoko’s “lost album” from John Lennon’s “lost weekend” of 1974. (When Lennon returned from 18 months away from Yoko in Los Angeles, the tapes for this album were shelved). Finally got to hear what we played only 23 years later.
Fender Rhodes (1 track) - recorded 1973-1974

fred – “fred”
2001 (CD/Vinyl LP) Germany - World In Sound (WIS-1003)
Mystical, trippy lyrics and heavenly vocal harmonies float over mesmerizing fuzz-tone guitar. Haunting lyricism combines with acid rock intensity. It’s an alluring atmospheric blend of moody art rock, exotic non-western scales, stunning psychedelic sounds, and European classical music. Curiously captivating.
Drums (2 tracks), Fender Rhodes (1 track) - recorded 1971-1973

Album Reviews:

Peter Eggers - “Extreme Measures”

…Peter Eggers is quite the talented composer/performer...Compositions are keyboard based and take you on varied journeys, evoking emotions you forgot you had (this is not easy to do)…
- Odd Time Obsessed

David Rose – “Distance Between Dreams”

...“Distant Relations” is a churning fusion barnburner that could have been left over from the Mahavishnu Orchestra’s “Birds Of Fire” album…the atmospheric “Echoes” features gorgeous electric piano and haunting violin…the best is saved for last with the explosive title track, which combines Magma/Mahavishnu Orchestra intensity...“Distance Between Dreams” is a monster of a solo album…
- Sea of Tranquility

…frenetic and burning progressive jazz-rock…Christian Leroux and David Rose perform apocalyptic and violent duels with downfalls of burning guitar notes, sharp and violent violin solos…
- Musea

…on the title tune, Rose springs long arching lines over the patterns of his rhythm section, which hurtles along with the precision and irresistible force of an express train…and “Starset”, which is dedicated to Béla Bartók, glows mellifluously...all around, an excellent record...
- Real Paper

…the fusion of art music and jazz, heavy on electronics, but used in a musical and intelligent way...worth the attention of new music buffs…
- Newsday

…identifiable and forceful melodies that are beyond mainstream commercial music...“Starset (For Bela Bartok)” is breathtaking…dark piano and a plaintive violin sound create a tension that is rarely achieved with such little means…
- Ragazzi

…the album closes with “The Distance Between Dreams”, an epilogue in the form of an apocalypse…
- Rock en Stock

fred – “live at the bitter end”

…the group as a whole is to these ears more enjoyable than either the Mahavishnu Orchestra or the Billy Cobham band…in fact they are providing the kind of solid rhythmic electric music that I didn’t think existed in pop circles anymore…
- Soho Weekly News

…impressive solos, sculptured unison passages, fantastic melodic escapades…a convincing adventure in sound full of immense power and sophistication…
- Ragazzi

…somewhere between King Crimson and the Mahavishnu Orchestra, the album is so powerful and playful that one is surprised it took 30 years to release these recordings…the sound is fresh, dynamic, forceful, and crisp…fred's brilliant ensemble playing creates a witches' brew of bubbling virtuoso interaction, while the more relaxed passages build tension for the next volcanic eruption…
- Babyblaue Prog-Reviews

…white hot instrumental fusion similar to Mahavishnu Orchestra…simply blazes from beginning to end…killer guitar solos throughout…
- The Laser’s Edge

fred – “Notes on a Picnic”

…the music on “Notes on a Picnic” is tight – really tight – like one would expect from a Frank Zappa recording…it is often fusiony in ways that bring to mind early Mahavishnu Orchestra (“Variations” could have fit perfectly on “Inner Mounting Flame”)…the overall album feel is both adventurous and cutting edge…I cannot compliment this band or recommend this album highly enough and am always struck by the fact that these are compositions from recordings made in 1973…for that year or any year, this is a first rate jazz-rock/fusion release…
- ProGGnosis

…it's a rarity to find musicians so deeply bonded…sometimes seasoned and studio musicians can really lock with one another…fred takes it much deeper to a freedom that I would imagine many intuitive musicians long for…these guys are great, top musicians with their own sound…I enjoyed all of the songs, especially “Perverseerance”, “Variations”, and an obsessive favorite, one that will be on my fav list for at least the next decade, “Mantra”…it is simply perfect – the theme, the meters, the dynamics, the instrumentation, the composition – perfect…
- Odd Time Obsessed

…fred combines jazz, classical, and rock for a set filled with instrumental invention and an excellent tight performance…
- Variety

…fine progressive rock…sophisticated original compositions that feature a remarkably accessible synthesis of rock rhythms with a classical sense of structure breaking into wide-open improvisational jazz sounds…“Here’s a Wet One” features a marvelously melodic vocal section and a super guitar/violin duet…and with all the musical diversity fred displays, there is a powerful rock bottom to all the music, especially “Mantra”…
- Record World

…powerful jazz/rock, unbelievably vital and energetic…multiple layers of melody unify in a fantastic way… the musicianship is outstanding…David Rose on the electric violin plays up a storm…
- Ragazzi

…one of the favorites among Prog Rock fans…
- Tom Gagliardi, Host/DJ at Gagliarchives Radio Philadelphia
Do you play live?
fred headlined at The Bitter End for an entire summer, played at Max’s Kansas City, The Bottom Line, My Father’s Place, Kenny’s Castaways, Dr. Generosity’s, and opened for The Guess Who in front of 50,000 people at an outdoor rock festival in Buffalo. The live shows at The Bitter End were mixed and recorded by fred’s sound technician, Roger Brown, and were finally released 30 years later on CD.

Rehearsed with the legendary jazz tenor saxophonist Stan Getz for an entire album of my original compositions on Columbia Records. The first time was with fred, when we met Teo Macero, who was interested in producing our collaboration with Getz. It was certainly a thrill to meet the man who produced my Top 3 Miles Davis albums: “In a Silent Way”, “Bitches Brew”, and “Jack Johnson”. The following year, Getz wanted to try again, this time without fred, but intending to feature David Rose (from fred) on electric violin, along with some top NYC jazz/fusion musicians. Neither album ever materialized for various business reasons, but playing with someone of Getz’s melodic improvisatory genius was an amazing musical experience.

Played at Merce Cunningham’s studio in Greenwich Village at Westbeth Artists’ Housing, accompanying dancers from The Max Company (their rehearsal space was above the punk-era version of Max’s Kansas City.) Composed the piece “Ulterior Motives” for the event. Performance by myself on acoustic piano, David Rose on electric violin, and prepared tape multi-tracked with bass violin plus echo effects.

Played acoustic piano for singer/songwriter duo Margaret Dorn/Linda Lawley in their NYC group Lady. They were both backup singers for Petula Clark at the time. One night while playing at The Other End on Bleecker Street, Joni Mitchell came to hear the group and sat in the front row. Intimidating, to say the least.

Composed/arranged/performed a 2-hour concert of original classical/latin/jazz called “Contradictions” with a 9-piece ensemble in a downtown Soho loft. Instrumentation was flute, clarinet, soprano sax, alto sax, violin, cello, acoustic piano, electric & acoustic guitars, electric bass, and two percussionists. Tom Johnson, minimalist composer and New Music critic for The Village Voice, attended the concert. He wrote a review for The Voice and included that review in his book “The Voice of New Music”:

“The classical element is provided by...the arrangements, which involve little improvisation, some intricate harmonies and rhythms, many textural inventions, and some subtle doublings. The second ingredient comes mostly from the two percussionists, who concentrate on Latin instruments and Latin rhythms. The jazz can often be heard...in the piano work of Peter Eggers, and in the chord changes…the group was so tight, and its conviction so clear, that I found most of the evening irresistible, even in some of its most shamelessly romantic moments. And perhaps particularly at those times.”
- Tom Johnson in The Village Voice

Played drums in downtown NYC art star Richard Prince’s post-punk band Boystown with Jeffrey Glenn on bass. Jeffrey went on to record epic guitar symphonies with experimental/minimalist/noise rock composer Glenn Branca. Richard Prince went on to form the no-wave band Menthol Wars with fellow “Pictures Generation” artist Robert Longo.
How, do you think, does the internet (or mp3) change the music industry?
Too bad we didn’t have the internet back in the 70’s.
But we have it now, so please check out these websites:

Peter Eggers on MySpace
www.myspace.com/petereggers

Peter Eggers on SoundClick
www.soundclick.com/petereggers

Musea (French record label/distributor for David Rose albums)
www.musearecords.com

iTunes (digital downloads for David Rose Group - “Live” album)

fred on MySpace
www.myspace.com/fredworldinsound

fred on SoundClick
www.soundclick.com/fredWorldinSound

World In Sound (German record label for fred)
www.worldinsound.com

Tasty Odds (World in Sound online shop for fred albums)
www.tastyodds.com
Would you sign a record contract with a major label?
Don’t think they’re interested. They haven’t called recently.

When you could actually get material to record labels, before the lawyers got involved with their “we don’t accept unsolicited material” thing, I tried an experiment with three different labels that I admired.

New Albion Records was a New Music, non-mainstream label. Their artists included John Adams, Harold Budd, Terry Riley, and Ingram Marshall. So I sent them my most experimental, minimalist, and modern classical-sounding pieces. I got back a really nice personal letter saying they really liked my stuff, but it was too commercial for their label.

Private Music was a label specializing in contemporary instrumental music, largely electronic, some of it labeled New Age, but much of it just a creative outlet for musicians making music that was not easily classified by retailers. Their artists included Jerry Goodman, Andy Summers, Patrick O’Hearn, and Tangerine Dream. So I sent them my most atmospheric, strongly melodic, synthesized material that had a positive vibe. I got back a really nice personal letter saying they really liked my stuff, but it was too edgy for their label.

Blue Note Records has been around a long time and is known for their focus on jazz, although when I contacted them they were looking to branch out a bit. I had met the Blue Note President, Bruce Lundvall, years before at Stan Getz’s house. Our band “fred” was then rehearsing with Getz for a possible jazz rock fusion album on Columbia Records, where Bruce had successfully introduced Herbie Hancock’s electric jazz to a rock audience. So I knew Mr. Lundvall had big ears and an open mind. I sent him my most harmonically complex, rhythmically vibrant pieces that also included sections with improvised solos. I got back a really nice personal letter saying he really liked my stuff, but it was not jazzy enough for his label.

I realized then that my interest in composing music that was in-between genres was not going to be paying off in a big way anytime soon.
Band History:
Played jazz piano in a series of cool groups in college, most notably Innertube with saxophonist David Sholl, who went on to play blistering tenor sax for R&B singer Barrence Whitfield, as well as create the genre-busting instrumental band Four Piece Suit.

Played drums for the progressive rock/fusion band fred from Lewisburg PA, then moved over to keyboards. Soon I was furiously composing for fred, and they played whatever oddball music I could come up with. They only asked “how” to play it, never “why”, which is pretty much a composer’s dream come true. It was an exciting and creative time, filled with startling musical growth and an incredible freedom. If I could hear it in my head, fred would play it.

Musicians in fred included David Rose on electric violin/vocals, Joe DeCristopher on electric/acoustic guitars, Ken Price on keyboards/vocals, Peter Eggers on keyboards/tenor sax/percussion, Mike Robison on electric bass/vocals, and Bo Fox on drums/percussion/vocals.
Your influences?
Frédéric Chopin – “Nocturnes” (1827 – 1846)
Igor Stravinsky – “The Rite of Spring” (1913)
Béla Bartók – “Music for Strings, Percussion & Celesta” (1936)
Olivier Messiaen – “Quartet for the End of Time” (1941)
Bernard Herrmann – “Psycho” (1960)

Mothers of Invention – “Freak Out!” (1966)
Mothers of Invention – “Absolutely Free” (1967)
Frank Zappa – “Lumpy Gravy” (1967)
Mothers of Invention – “We’re Only in It for the Money” (1968)
Mothers of Invention – “Uncle Meat” (1969)
Frank Zappa – “Hot Rats” (1969)

Jimi Hendrix Experience – “Are You Experienced?” (1967)
Jimi Hendrix Experience – “Axis: Bold as Love” (1967)
Jimi Hendrix Experience – “Electric Ladyland” (1968)

Miles Davis – “Bitches Brew” (1969)
Mahavishnu Orchestra – “The Inner Mounting Flame” (1971)
Mahavishnu Orchestra – “Birds of Fire” (1972)
Herbie Hancock – “Head Hunters” (1973)
Return to Forever – “Hymn of the Seventh Galaxy” (1973)

Philip Glass – “Music in Twelve Parts” (1975)
Keith Jarrett – “Arbour Zena” (1975)
Steve Reich – “Music for 18 Musicians” (1976)
Philip Glass – “Einstein on the Beach” (1976)
Michael Hoenig – “Departure from the Northern Wasteland” (1978)
Brian Eno – “Ambient 1: Music for Airports” (1978)

King Crimson – “Discipline” (1981)
Peter Gabriel – “Security” (1982)
Harold Budd & Brian Eno – “The Pearl” (1984)
Patrick O’Hearn – “Ancient Dreams” (1985)
Peter Gabriel – “Passion” (1989)

Harold Budd – “Music for 3 Pianos” (1993)
Jan Garbarek – “Visible World” (1995)
John McLaughlin – “The Heart of Things” (1997)
Jan Garbarek – “Rites” (1999)
Favorite spot?
Recording Sessions:

Recorded with fred at Blue Rock Studios in Soho over a period of two years. Designed by John Storyk, who also designed Electric Lady Studios for Jimi Hendrix, Blue Rock had walls made of denim and Turkish rugs on the floor. It was dark and comfortable. It felt like an opium den. Rolling Stone called Blue Rock “the apotheosis of the laid back.” Bob Dylan, Carla Bley, Leon Russell, Astrud Gilberto, the New York Dolls, and Don Cherry all had recorded there. The fred tracks from Blue Rock were finally released 30 years later on CD.

Played electric piano on a wonderfully weird record date with fred for Yoko Ono at The Record Plant in NYC. Besides the six members of fred and Yoko on vocals, some of New York’s top session musicians were on the session: David Spinozza on electric guitar (Paul McCartney, Carly Simon, Dr. John), Leon Pendarvis on grand piano (Saturday Night Live Band, Sting, Blues Brothers Band), Gordon Edwards on electric bass (Paul Simon, Joe Cocker, James Brown), and Rick Marotta on drums (John Lennon, James Taylor, Steely Dan). The track was eventually released on the album “A Story” almost 25 years later, marketed as Yoko’s lost album from John Lennon’s “lost weekend”.

Recorded a series of sessions at Jimi Hendrix’s Electric Lady Studios on West 8th Street in NYC. David Rose (fred, Transit Express) asked me to compose some original material for him. So there we were inside Jimi Hendrix’s innovative vision of a recording studio, with large psychedelic murals and futuristic high-tech equipment. And besides Hendrix, artists as diverse as Frank Zappa, Billy Cobham, John Lennon, and Led Zeppelin had all already recorded there. Musicians on David’s sessions at Electric Lady included Gerry Brown on drums (Stanley Clarke’s influential “School Days” album), John Lee on electric bass (Larry Coryell’s ground-breaking The Eleventh House), Denny Morouse on soprano sax (Stevie Wonder), and of course David Rose on electric violin/vocals. Besides composing and arranging, I played grand piano, Fender Rhodes, clavinet, synthesizer, and Hammond B-3 organ.

Recorded/played on David Rose’s 1st solo album “Distance Between Dreams”, along with the French progressive fusion group Transit Express. Even though he had moved to Paris, David Rose once again asked me to compose some original material for him, so I came up with four pieces, including the title track. David flew me to Paris for rehearsals. Then we drove out to Le Château d’Hérouville, in the countryside outside Paris, where Vincent van Gogh made his final paintings and Frédéric Chopin once lived. Converted from a French château built in 1740, Le Château was one of the world’s first residential recording studios, with 30 rooms, a pool, in-house chef, and even their own wine. Nicknamed the “Honky Château” by Elton John, classic albums by David Bowie, Pink Floyd, Cat Stevens, the Bee Gees, and Elton John had all been recorded there. Plus, the year before, John McLaughlin had brought his funk/fusion version of Mahavishnu to Le Château to record “Inner Worlds”. Musicians on the “Distance Between Dreams” sessions were David Rose on electric/acoustic violins, Serge Perathoner on grand piano/Fender Rhodes/organ/ARP & Moog synthesizers, Peter Eggers on grand piano/clavinet/organ/Fender Rhodes, Christian “Basile” Leroux on electric/acoustic guitars, Jean-Claude Guselli on electric bass, and Dominique Bouvier on drums/percussion. Laurent Thibault, bass player/producer for the influential French progressive rock band Magma, was the recording engineer/mixer.

Composed two pieces for David Rose’s 2nd post-Transit Express album “Worlds Apart”, performed by his band Rose. The album was recorded in Paris at Studio Davout, where Transit Express recorded their first album. Musicians included David Rose on electric violin/vocals, Serge Perathoner on grand piano/Fender Rhodes/organ/synthesizers, Gérard Prevost on fretless bass/marimba/acoustic bass, Claude Salmiéri on drums/timbales/vibraphone, and Steve Shehan on percussion. Didn’t play with this band. Just sent music scores/demo tapes to France via airmail and next thing I knew, the album was in Tower Records, just like magic. And Billboard named it a Top Album Pick in the USA.

Performed/recorded a series of original tracks at lower Manhattan studio Roxy Recorders with recording engineer/mixer Ilana Pelzig, who worked with the British guitarist/songwriter Richard Thompson. Pieces were a kind of electronic chamber music. Arrangements were for grand piano with overdubs on Prophet-5 synthesizer. All these tracks aired for many years on John Schaefer’s “New Sounds” radio program, which features contemporary New Music. Broadcast on WNYC 93.9 FM, “New Sounds” is also syndicated on National Public Radio (NPR). Billboard called it “The No. 1 radio show for the Global Village”.
Equipment used:
My instruments:
grand piano, fender rhodes, synthesizers, samplers, clavinet, organ, tenor sax, drums, percussion

Other instruments/musicians:

electric violin
(David Rose)

electric guitar
(Joe DeCristopher, Christian “Basile” Leroux)

fender rhodes/organ
(Ken Price, Serge Perathoner)

grand piano, synthesizers, samplers
(Serge Perathoner)

electric bass
(Mike Robison, John Lee, Jean-Claude Guselli, Gérard Prevost)

drums/percussion
(Bo Fox, Gerry Brown, Dominique Bouvier, Claude Salmiéri)

percussion
(Steve Shehan, Gérard Kurdjian)

vocals
(David Rose, Ken Price, Mike Robison, Bo Fox)
Anything else...?
Wrote the music for “Dots Just Right”, 1st Prize Winner in experimental dance video, American Dance Films Association, 12th Annual Dance Film & Video Festival. Composed on an expensive Steinway acoustic piano, but recorded using a cheap Casio VL-Tone “electronic musical instrument” (essentially a toy with 29 teeny-tiny keys) plugged into an MXR phase shifter. It was fun using funky low-tech music gear to produce something quite beautiful/lyrical for cutting edge modern dance combined with high-tech video special effects.

Scored “FDNY: Brothers in Battle”, a 45-minute Cable TV documentary about NYC firefighters, airing on the A&E series “Investigative Reports”, hosted by Emmy Award winning television reporter Bill Kurtis. Later released on VHS by A&E Home Video under the title “Fire Fighters: Brothers in Battle”. Much admired, since it was made about firefighters by the firefighters themselves, including Captain Brian Hickey of Rescue Company 4, who perished in the World Trade Center on 9/11 along with many of the other firemen featured in the documentary. “FDNY: Brothers in Battle” has now become a “tribute” to these brave men, and is used in training at the FDNY Fire Academy.

Composed all internal music for two seasons of “Martha Stewart Living”, a weekly nationally-syndicated half-hour lifestyle program for Broadcast TV. Created a library of over 4 hours of music containing 412 distinct cues, all instantly accessible via a computer database. Composed/played/recorded/mixed everything in my MIDI home recording studio, affectionally nicknamed “Far From Normal Studios”. Was also the Video Editor for the “Martha Stewart Living” series at the time, and wrote the music on a “bet” with the Producer of the show, that I could come up with better music than they were using.

In a long parallel career as a professional Video Editor, edited music videos for The Rolling Stones, Rick James, Rubén Blades, Nile Rodgers, Nine Inch Nails, Branford Marsalis, Sammy Hagar, B.B. King, Richard Lloyd (Television), David Van Tieghem (Laurie Anderson), Guru (Jazzmatazz), Inspiral Carpets, Skid Row, Stephanie Mills (The Wiz), and Gorky Park.