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!