KID PHARAON Hands 2xlp 1988 320 kbps & flacPerfect Noise / Pictures And Dreams / Travels / The Snowmen / Cerebral Bleedin' / A Couple Of Years / Adults Stories / Books / I'm Dyin' / Will You Shake (My Helpin' Hands…) /Down / I've Sold My Soul For Sand / I Want You To Cry / Red Coloured Bus / If It's Me Or If It's You / Soft Songs / She's / You'll Never Fall In Love (Again…) / I'd Like To Know / Better Than Me / Revolutionnary Stand / Pavlov Dogs / Bullet Blues / A Lonely Life / Constitution Of Love* / If I was With a Woman* / Knockin' On Heaven's Door* / Lee & Wilko*.
* bonus tracks
Recorded & mixed by M. Sigrist and K. Pharaon.
Songs written & produced by Kid Pharaon.
Kid Pharaon: guitar, organ, piano & vocals / L. Pardo: bass / S. Reynaud: drums, shakers & tambourine + Alain , Stéphane, Zara: backing vocals / F. Michaud: saxophone: / F. Buzon: trumpet / Sharp: lead guitar on "Bullet Blues' / Nicky: bass on "If It's Me Or If It's You" / Christian: slide guitar on "Travels" / Jean-Paul: banjo on "Travels".
"Hands" sort chez Closer Records en 1988 sous la forme d'un double lp rempli de 24 chansons !
Les doubles albums, même si certains ont marqué l'histoire du rock, sont parfois synonymes de remplissage... c'est loin d'être le cas ici ! Qualité et variété des chansons impressionnent d'emblée l'auditeur. Une sorte d' "Exile on Main Street", toutes proportions gardées, bien sûr ...
Cd covers by MAX !
THE PIRATES 
Among those who picked up on the lean, muscular sound Green created was Tony Hicks, future member of the Hollies. Ironically, even though session guitarist Joe Moretti (subbing for Alan Caddy) and not Green, had played on the original "Shakin' All Over," Green, as the most visible guitarist in the Pirates' history, became permanently associated with that song, and vice versa. Although he wasn't widely recognized in the press at the time, or by the world outside of the music community, Green was as influential a musician during this period as any of England's early rock guitar heroes, including Hank Marvin of the Shadows, Joe Brown, and Big Jim Sullivan. Moreover, he exerted as much or more impact on rock & roll in England from 1962 onward as George Harrison, Eric Clapton, Jeff Beck, or Jimmy Page would later be credited with. Johnny Kidd & the Pirates were popular among other musicians and made a living playing clubs and smaller concert venues, but they were unable to sustain their recording success past the early '60s. From 1963 onward, with money being thrust in ever-larger amounts into the hands of the Beatles and other Liverpool acts, the Pirates began falling behind the wave of new acts, unable to rate better than support act status at major venues (though the early Who also played in support of them). This was an instance of the parts being bigger than the whole and by 1964, Green's reputation had outstripped that of the Pirates. He was lured away from the band by an offer to join the Dakotas, who were then placing records very high on the charts and playing
During the mid-'70s, however, the admiration that Green evoked within the music community began to emerge in the press. Wilko Johnson of Dr. Feelgood, in particular, was highly outspoken in his praise for Green. Additionally, several histories of the Who, appearing at a time when the latter band was at the peak of its popularity, credited Johnny Kidd & the Pirates and particularly Mick Green with their role in shaping the group's sound. It was only a short jump for the English music press to draw the connection to Green as one of the progenitors of the then-burgeoning punk sound. During this same period, Spence and Farley had begun playing together again and a one-off Pirates reunion gig was arranged. That 1976 gig proved so successful that it resulted in a recording contract and a semi-permanent reunion. The Pirates became a going concern as a performing band and even managed to release albums, cut live and in the studio, that were distrubuted internationally. Green cut a striking figure on guitar during the second Pirates incarnation, a heavy athlete's build topped by an intense yet clear-eyed expression, coaxing explosive solos out of his instrument.
The Pirates trio became a cult band with a wide reputation, their sound during the 1970s and beyond embraced punk, rockabilly, blues, and classic rock & roll. In more recent years, Green has been recognized as one of British rock & roll's elder statesmen, but remains a busy working musician playing with figures as different as Paul McCartney and Peter Green in the 1980s and 1990s. The McCartney gigs, in particular, on the so-called "Russian album" and several of the former Beatle's subsequent rock & roll ventures, have given Green more mass exposure than at any time in his career and introduced his name to at least a portion of the Beatles' following. Along with reissues of Johnny Kidd & the Pirates' early-'60s work and the Pirates' latter-day recordings, and his music with the Dakotas, the McCartney rock & roll sides comprise Green's most visible music. Source: 
"En cette époque pré-punk, on ne jurait que par ce bon Docteur: l'album noir et blanc tournait en boucle sur les platines et dans les lecteurs cassettes de nos caisses!
This first album from Uncle Sam produced by Bob Martin is amazing. I will quote you the label that was pasted over the cover of the limited nude model posing on this CD re-issue cover. "KKKKK's...an Lp that combines the pure and deadly delicious raw power of the original Cooper outfit at their most frenetic, with MC5, the Stooges an maybe just a tantalizing hint of the Cramps an the Dolls...makes Guns n' roses 'Appetite for Destruction' sound like 'Rebecca of Sunnybrook Farm's Greatest Hits'." - 
"...I mean, it was said that our album could fit between 'Love It To Death' and 'Killer', but I don't think even they could have put out an album that would fit there. I don't think anyone could..."
"'Live For The Day' starts off like a MC5 song very fast furious 2:25 time. 'Don't Be Shy' is one of my favorite tunes w/ jamming guitars. 'Alice D' is a play on words which sounds like LSD. 'No Reason Why' is another 1:55 song that'll just drain you. 'The Candyman' is a demented song that Alice Cooper could of sung. 'The CandyMan' reminds me of the Child Collector from the movie Chitty Chitty Bang Bang. 'Under Sedation' gives a little tribute to Alice Cooper as Scott starts reeling 'Under Sedation' he switches to singing 'Under My Wheels' then back to 'Under Sedation'. As 'Heaven or Hollywood' was from their visit to L.A. The CD comes w/ bonus tracks 'Steppin Stone' by The Monkees and 'Train Kept A'Rollin'." 
When the Dusters proudly titled this CD "This Ain't No Jukebox.....We're a Rock N' Roll Band" they meant every word of it. Not a band who goes for a slick, high-gloss production style, nor a group who lace their rock with a lot of pop, this power trio favors instruments that are played instead of programmed and takes a raw, gritty approach to blues-rock, hard rock, and roots-rock. The Dusters are obviously well aware of rock's blues heritage, and that knowledge serves them well on earthy, down-and-dirty cuts like "Street Legal," "How Much Longer," and "Blues Highway" -- all of which make you feel like you've just wandered into a biker bar. This album isn't the least bit innovative, but it's certainly rewarding and spirited. In fact, one could say that "This Ain't No Jukebox.....We're a Rock N' Roll Band" is derivative in the best sense of the word. Allmusic