May 08, 2024

Talking Heads - The Name of This Band Is Talking Heads (1982) reissue 2004

posted by all-musicrecords

The Name of This Band Is Talking Heads is a double live album by the American new wave band Talking Heads, released in 1982 by Sire Records. 
The first LP features the original quartet in recordings from 1977 and 1979, and the second LP features the expanded ten-piece lineup that toured in 1980 and 1981. 
The album contains live versions of songs that appear on their first four studio albums: Talking Heads: 77, More Songs About Buildings and Food, Fear of Music, and Remain in Light.

Although most people probably think the only Talking Heads live release is Stop Making Sense, the fact is that there's an earlier, better live album called The Name of This Band Is Talking Heads. Originally released in 1982 on LP and cassette, the album chronicles the growth of the band, both stylistically and personnel-wise. 
The first LP is the original quartet version of the band, recorded between 1977 and 1979, performing excellent versions of tunes (mostly) off 77 and More Songs About Buildings and Food. 
Also included were the previously unavailable "A Clean Break" and "Love Goes to a Building on Fire," as well as early versions of "Memories Can't Wait" and "Air." The second LP comes from the Remain in Light tour, recorded in 1980 and 1981. 
In order to present something close to the music on that album, the original quartet lineup was greatly expanded. Added were two percussionists (Steven Stanley, Jose Rossy), two backup singers (Nona Hendryx, Dollette McDonald), Busta Cherry Jones on bass, Bernie Worrell (!) on keys, and a young Adrian Belew on lead guitar. 
The excitement of this material is palpable, and the muscular band rips into these tunes with more power than the originals in most cases. "Drugs" gets revamped for live performance, and "Houses in Motion kicks into high gear with a great art-funk coda. 
Belew is absolutely on fire throughout, especially on "The Great Curve" and "Crosseyed and Painless," where his deranged feedback soloing has never sounded better. 
At this point in their career, Talking Heads were still basically an underground band; it was "Burning Down the House" that really thrust them into the mainstream, and Stop Making Sense documents their arrival as a more or less mainstream act. 
The Name of This Band Is Talking Heads captures a hungry band on its way up, performing with a fire that was never matched on later tours. 



CD reissue (2004)
Disc one
1. New Feeling - 3:09
     [WCOZ broadcast, Northern Studio, Maynard, Massachusetts; November 17, 1977] 
2. A Clean Break (Let's Work) - 5:05
    [WCOZ broadcast, Northern Studio, Maynard, Massachusetts; November 17, 1977] 
3. Don't Worry About the Government - 3:03
    [WCOZ broadcast, Northern Studio, Maynard, Massachusetts; November 17, 1977] 
4. Pulled Up - 4:04 
    [WCOZ broadcast, Northern Studio, Maynard, Massachusetts; November 17, 1977] 
5. Psycho Killer - 5:31
    [WCOZ broadcast, Northern Studio, Maynard, Massachusetts; November 17, 1977] 
6. Who Is It? - 1:44
    [WCOZ broadcast, Northern Studio, Maynard, Massachusetts; November 17, 1977; bonus track, previously unissued] 
7. The Book I Read 4:22
   [WCOZ broadcast, Northern Studio, Maynard, Massachusetts; November 17, 1977; bonus track, previously unissued] 
8. The Big Country - 5:09
   [WXRT broadcast, the Park West, Chicago, Illinois; August 23, 1978; bonus track, previously unissued] 
9. I'm Not in Love - 4:57 
    [KSAN broadcast, the Boarding House, San Francisco, California; September 16, 1978; bonus track, previously unissued] 
10. The Girls Want to Be With the Girls - 3:44
      [The Agora, Cleveland, Ohio; December 18, 1978; bonus track, previously issued on Live on Tour: The Warner Bros.     
        Music Show (1979)] 
11. Electricity (Drugs) - 3:28 
      [The Agora, Cleveland, Ohio; December 18, 1978; bonus track, previously issued on Live on Tour: The Warner Bros. 
        Music Show (1979)] 
12. Found a Job - 5:35 
      [The Agora, Cleveland, Ohio; December 18, 1978; bonus track, previously issued on Live on Tour: The Warner Bros. 
        Music Show (1979)] 
13. Mind - 4:55
      [WBCN broadcast, Berklee Performance Center, Boston, Massachusetts; August 24, 1979; bonus track, previously 
       unissued] 
14. Artists Only - 3:49 
      [Capitol Theater, Passaic, New Jersey; November 17, 1979] 
15. Stayungry - 4:05 
      [Capitol Theater, Passaic, New Jersey; November 17, 1979] 
16. Air - 4:01 
      [Capitol Theater, Passaic, New Jersey; November 17, 1979] 
17. Love → Building on Fire - 3:47
      [Capitol Theater, Passaic, New Jersey; November 17, 1979] 
18. Memories (Can't Wait) - 3:44 
      [Capitol Theater, Passaic, New Jersey; November 17, 1979] 
19. Heaven - 4:31
      [Capitol Theater, Passaic, New Jersey; November 17, 1979; bonus track, previously unissued] 

Disc two
1. Psycho Killer - 5:33
    [Sun Plaza Concert Hall, Tokyo, Japan; February 27, 1981; bonus track, previously unissued] 
2. Warning Sign - 5:40 
    [Sun Plaza Concert Hall, Tokyo, Japan; February 27, 1981; bonus track, previously unissued] 
3. Stay Hungry 3:56 
    [Sun Plaza Concert Hall, Tokyo, Japan; February 27, 1981; bonus track, previously unissued] 
4. Cities 5:00 
    [Emerald City, Cherry Hill, New Jersey; November 8–9, 1980] 
5. I Zimbra -3:30
    [Emerald City, Cherry Hill, New Jersey; November 8–9, 1980] 
6. Drugs (Electricity) - 4:41 
    [Emerald City, Cherry Hill, New Jersey; November 8–9, 1980]
7. Once in a Lifetime - 5:57
    [Sun Plaza Concert Hall, Tokyo, Japan; February 27, 1981; bonus track, previously unissued] 
8. Animals 4:05 
   [Sun Plaza Concert Hall, Tokyo, Japan; February 27, 1981; bonus track, previously unissued] 
9. Houses in Motion - 6:54 
    [Emerald City, Cherry Hill, New Jersey; November 8–9, 1980] 
10. Born Under Punches (The Heat Goes On) - 8:24 
      [Sun Plaza Concert Hall, Tokyo, Japan; February 27, 1981; bonus track, previously unissued] 
11. Crosseyed and Painless - 5:58
      [Emerald City, Cherry Hill, New Jersey, November 8–9, 1980; truncated version from original release] 
12. Life During Wartime - 4:54 
      [Central Park, New York City, New York; August 27, 1980] 
13. Take Me to the River - 6:33 
      [Central Park, New York City, New York; August 27, 1980] 
14. The Great Curve - 6:42 
      [Central Park, New York City, New York; August 27, 1980] 

Talking Heads

Additional musicians

Technical
  • Talking Heads – producer, mixing assistant
  • David Hewett – audio engineer
  • Kooster McAllister – engineer
  • Rod O'Brien – engineer
  • Katshuiko Sato – engineer
  • Brian Eno – assistant engineer
  • Ed Stasium – mixing engineer
  • Butch Jones – mixing assistant
  • Clive Brinkwood – mastering engineer
  • Greg Calbi – mastering engineer
  • Jeff Shaw – mastering engineer
Reissue personnel
  • Gary Stewart – producer
  • Andy Zax – producer
  • Dave Artale – mixing engineer
  • Ken Rasek – mixing engineer
  • Bob Ludwig – remastering engineer

Notes
Released:  March 24, 1982
Recorded:  November 17, 1977 – February 27, 1981
Genre:  Art punk
Length:  156:30 (expanded CD release)
Producer:  Talking Heads

Label - Rhino Records(reissue)
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May 06, 2024

Quincy Jones - The Dude (1981)

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“The Dude” is a 1981 album by American music impresario, conductor, record producer, musical arranger, film composer and trumpeter Quincy Jones. 
The album featured the debut of vocalist James Ingram on the singles "Just Once" and "One Hundred Ways", and Patti Austin on the single "Razzamatazz". 

Three singles were released from the album in the US, all of which charted on the US Top 40. "Just Once" and "One Hundred Ways" both feature vocalist James Ingram's debut and reached No. 17 and 14, respectively, on the Billboard Hot 100. 
The album gained moreover heavy dance airplay for lead single "Ai No Corrida", which reached No. 28 on the Top 40 and 14 in the UK Singles Chart. 

The album also contains "Razzamatazz" (with vocals by Patti Austin) which reached No. 11 in the United Kingdom, Jones's biggest solo hit in that country. 
He won the Grammy award for best R&B vocal performance for his work on the album. 
Belgian harmonica player and puccaloist Toots Thielemans also contributed to the album, appearing on the instrumental track "Velas". 

The album also gained heavy dance airplay for the songs "Ai No Corrida" (a remake of Chaz Jankel's song), is the Quincy Jones hit method par excellence -- great pacing, superb sound, a catchy tune, a hot Ernie Watts tenor sax solo and you can dance to it, too. Stevie Wonder's irresistible synthesizer hooks lift his "Betcha Wouldn't Hurt Me," and Q and omnipresent composer Rod Temperton are far-seeing enough on the title track to anticipate the rise of rap. 
Obviously, though, the main purpose here is to make hit pop singles, and The Dude does a pretty good job of that.


Tracklist

1. "Ai No Corrida" - (6:18)
2. "The Dude"  (with James Ingram, Michael Jackson) - (5:35)
3. "Just Once"  (with James Ingram) - (4:32)
4. "Betcha Wouldn't Hurt Me"  (with Patti Austin) - (3:33)
5. "Somethin' Special" (with Patti Austin - (4:03)
6. "Razzamatazz" (with Patti Austin) - (4:20)
7. "One Hundred Ways" (with James Ingram) - (4:19)
8. "Velas"  (with Toots Thielemans) - (4:05)
9. "Turn On The Action"  (with Patti Austin) - (4:17)


Personnel
  • Quincy Jones – producer, backing vocals (2), vocal arrangements (1–4, 7), rhythm arrangements (1, 3, 4, 7, 8), synthesizer arrangements (1, 4, 6)
  • Patti Austin – lead vocals (4–6, 9), backing vocals (1–6, 9), vocal arrangements (1)
  • Tom Bahler – backing vocals (1, 5)
  • Michael Boddicker – synthesizer and vocoder (2)
  • Robbie Buchanan – acoustic piano and string synthesizer (3)
  • Mike Butcher – engineer for Toots Thielemans (8)
  • Lenny Castro – handclaps (2, 9)
  • Ed "Big Julie" Cherney – assistant engineer
  • Kasey Cisyk – backing vocals (6, 9)
  • Paulinho da Costa – percussion (1–6, 8, 9), mouth percussion (1)
  • Chuck Findley – trumpet (1, 3, 5–7, 9)
  • David Foster – acoustic and electric piano (3)
  • Jim Gilstrap – backing vocals (1, 2, 5)
  • Bernie Grundman – mastering
  • Herbie Hancock – electric piano (1, 5, 6, 9)
  • Jerry Hey – trumpet (1–3, 5–7, 9), horn arrangements (1–3, 5–7, 9), string arrangements (6, 9), synthesizer arrangements (1, 4, 6, 9)
  • Craig Hundley – beam-microtonal tubulons (1)
  • Kim Hutchcroft – saxophone (1–3, 5–7), flute (2, 3, 5–7)
  • James Ingram – lead vocals (2, 3, 7), backing vocals (2)
  • Michael Jackson – backing vocals (2, 5, 9)
  • Louis Johnson – bass (1, 2, 4, 5, 7, 8), handclaps (1, 2, 4, 9)
  • Abraham Laboriel – bass (3, 9)
  • Yvonne Lewis – backing vocals (6, 9)
  • Steve Lukather – guitar (1–7, 9), guitar solo (1, 6)
  • Johnny Mandel – string and synthesizer arrangements (3, 7, 8)
  • Charles May (Dune) – lead vocals (1)
  • Greg Phillinganes – synthesizer (1, 3–6, 8, 9), electric piano (2–4, 7–9), handclaps (1, 4), synthesizer solo (7)
  • Bill Reichenbach Jr. – trombone (1, 3, 5–7, 9)
  • John Robinson – drums, handclaps (1, 2, 4, 9)
  • Bruce Swedien – engineering and mixing
  • Rod Temperton – vocal and rhythm arrangements (2, 5, 6, 9), synthesizer arrangements (5, 6, 9)
  • Jean "Toots" Thielemans – guitar, harmonica and whistle (8)
  • Ian Underwood – synthesizer (1, 3, 5-9), synthesizer programming (1, 3–9)
  • Gerald Vinci – concertmaster (3, 6–9)
  • LaLomie Washburn – backing vocals (2)
  • Ernie Watts – saxophone (1–3, 5–7), flute (2, 3, 5–7), tenor saxophone solo (1, 2, 9), alto saxophone solo (5), tenor saxophone solo fills (7)
  • Larry Williams – saxophone and flute (2)
  • David J. "Hawk" Wolinski – Clavinet (1, 9), mini-Moog synthesizer (5), Yamaha CS-80 synthesizer bass (6), synthesizer programming (5, 9)
  • Stevie Wonder – Yamaha CS-80 synthesizer (4), rhythm arrangements (4), Yamaha CS-80 synthesizer solo (2, 4), Yamaha CS-80 synthesizer solo fills (4)
  • Syreeta Wright – backing vocals (2)

Notes
Released:  March 26, 1981 
Recorded:  1981 Studio Westlake, Los Angeles, California 
Genre:  Soul, Funk
Length:  41:02 
Producer:  Quincy Jones 

Label - A&M Records 
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Peter Green - Little Dreamer (1980)

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Little Dreamer is an album by the British blues rock musician Peter Green, who was the founder of Fleetwood Mac and a member from 1967–70. 
Released in 1980, this was his third solo album, and the second in his 'middle period' of the late 1970s and early 1980s.
Fleetwood Mac founder Peter Green released his third solo album Little Dreamer in 1980. Peter’s brother Mike was responsible for the lyrical content, while Peter was the man behind the musical ideas. 
He invited some other musicians, like Fairport Convention’s drummer Dave Mattacks and Status Quo’s bass guitarist John ‘Rhino’ Edwards, to play on the record. 
The third track “Born Under A Bad Sign” takes you right back to the roots of his music, while “Loser Two Times” is his venture into the disco music. But above all he shows how he is still the master of the blues. 

Peter Green has always had a talent for producing sublime, beutiful pieces of Blues music. 
This album is no exception. No it's not Fleetwood Mac, let's get that out of the way first. There are no heavy riffs and wailing guitar solos here. 
Instead this is a collection well crafted songs, featuring Green's signature haunting guitar tone sprinkled tastefully through-out. 
This album has an atmospheric feel to it, similar to it's predecessor "In The Skies", though the guitar work is more restrained, with more emphasis on songs than instrumentals. 
There are in fact no true instrumental tracks here, unlike "In The Skies" which features five!
This album should be taken for what it is, not for what Peter Green used to do. As I said before, it's no hard riff, Oh Well type. This album shows Peter Green's true colours...


Tracklist
  1. "Loser Two Times" – 4:34
  2. "Momma Don'tcha Cry" – 3:26
  3. "Born Under a Bad Sign"   (Booker T. Jones, William Bell) – 3:01
  4. "I Could Not Ask for More" – 5:02
  5. "Baby When the Sun Goes Down" – 5:39
  6. "Walkin' the Road" – 3:52
  7. "One Woman Love" – 5:34
  8. "Cryin' Won't Bring You Back" – 5:09
  9. "Little Dreamer"  (Peter Green, M. Green) – 7:01
  • All tracks written by Mike Green unless indicated.

Musicians

Production

Companies, etc.

Notes
Released:  April 1980 
Recorded:  Late autumn 1979 Studio Rock City Studios, Surrey 
Genre:  Blues rock 
Length:  43:18 
Producer:  Peter Vernon-Kell 

Label - PVK Records
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May 05, 2024

Bob Dylan - Bob Dylan at Budokan (1978) - 2LP

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Bob Dylan at Budokan is a live album by American singer-songwriter Bob Dylan, released August 1978 on Columbia Records in Japan only, followed by a worldwide release in April 1979. 
It was recorded during his 1978 world tour and is composed mostly of the artist's "greatest hits". 
The performances in the album are radically altered from the originals, using almost all the musicians that played on Street-Legal, but relying on a much larger band and stronger use of woodwind and backing singers. 
In some respects the arrangements are more conventional than the original arrangements, for which the album was criticized. 
For a few critics, such as Janet Maslin of Rolling Stone, the differences between the older and newer arrangements had become less important.
The audio recording is from shows on 28 February and 1 March 1978. Columbia Records released this double LP in Japan on 21 August 1978.
However it seems that during this era Dylan really wanted to try a Springsteen-esque approach to his repertoire: big, maybe slightly saccharine Arena Rock. I’m a fan of The Boss, it comes as part of my TriState Area residency, but the way Dylan brings these songs to the arena style is truly baffling at times.

On his third live album in a mere five years, Bob Dylan brings the big, professional showmanship of Street Legal to the stage, recasting recent and classic favorites into that album's image -- and, he does that over the course of two albums, no less. 
It's a bit much, even for the diehards, even if moments work pretty well. Nevertheless, those moments work because of pizzazz, although those are the very moments that will make most long-term Dylan fans bristle. 
Which, of course, raises the question -- who is this for? The dedicated aren't going to be dazzled by the slickness and the casual fans certainly aren't going to pay much attention to a live album from 1978. Interesting historically, perhaps, but only marginally.


Side one
1.  Mr. Tambourine Man - 4:54
2.  Shelter from the Storm - 4:30
3.  Love Minus Zero/No Limit - 3:52
4.  Ballad of a Thin Man - 4:47
5.  Don't Think Twice, It's All Right - 4:55

Side two
1.  Maggie's Farm - 5:06
2.  One More Cup of Coffee (Valley Below) - 3:19
3.  Like a Rolling Stone - 6:31
4.  I Shall Be Released - 4:12
5.  Is Your Love in Vain? - 4:02
6.  Going, Going, Gone - 4:22

Side three
1.  Blowin' in the Wind - 4:25
2.  Just Like a Woman - 5:03
3.  Oh, Sister  (Bob Dylan, Jacques Levy) - 4:44
4.  Simple Twist of Fate - 4:15
5.  All Along the Watchtower - 3:20
6.  I Want You - 2:34

Side four
1.  All I Really Want to Do - 3:37
2.  Knockin' on Heaven's Door - 4:00
3.  It's Alright, Ma (I'm Only Bleeding) - 6:04
4.  Forever Young - 5:38
5.  The Times They Are a-Changin' - 5:31 

All tracks are written by Bob Dylan; except where indicated


Personnel

Companies, etc.

Production

Notes
Released:  21 August 1978 
Recorded:  28 February and 1 March 1978 Venue Nippon Budokan Hall, Tokyo, Japan 
Genre:  Folk Rock 
Length:  99:41 
Producer:  Don DeVito 

Label - CBS/Sony Records
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May 04, 2024

Rainbow - Long Live Rock 'n' Roll (1978)

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Long Live Rock 'n' Roll is the third studio album by the British heavy metal band Rainbow, released on 14 April 1978 and the last to feature original lead vocalist Ronnie James Dio.
Recording of the album commenced in April 1977 at a studio in Château d'Hérouville, France, featuring Ritchie Blackmore, Ronnie James Dio and Cozy Powell. 
Keyboards were initially played on a session basis by former Rainbow member Tony Carey, while bass parts were started by Mark Clarke. 
Clarke was soon dismissed, however, and the bass parts were recorded by Blackmore himself. 
By July 1977 seven tracks that ended on the album were in demo form. 
Recording was suspended while the band recruited Bob Daisley and David Stone and thereafter commenced extensive touring of Europe in the summer and autumn of 1977. 
A return to the Château d'Hérouville studio in December saw the band finish the album and also yielded a final track, "Gates of Babylon".
Although Daisley and Stone are listed on the album credits for their contributions, they joined the band partway through the recording sessions and only appear on three and four songs, respectively. 
Stone wrote parts of "Gates of Babylon", the middle 8 section during the guitar solo. He was paid for the work, but not credited on the album.

Long Live Rock 'n' Roll may be singer Ronnie James Dio's last album with Rainbow, but at least he went out on a high note. 
While the material is not quite as strong as on the previous studio effort, Rising, Long Live Rock 'n' Roll maintains the momentum the band had built up. 
"Kill the King" had been previously heard on the live On Stage record, but here it sounds more fully realized. Also, the title track from the album stands as one of the best songs the band did, not to mention a noble sentiment. 
The chugging "L.A. Connection" is another highlight. As with all of their first four albums, this one was produced by Martin Birch (who produced everyone from Blue Öyster Cult to Wayne County), and he really knows how to get the best out of the band by this point. 
The result is that the songs couldn't sound any better, so even if some of the material isn't quite up to their best, the album is still very cohesive, steady, and, ultimately, satisfying. 
This would turn out to be the last great album Rainbow would ever make, although they did enjoy a great deal of chart success in the post-Dio era.


Tracklist

1.  Long Live Rock 'n' Roll - 4:24 
2.  Lady of the Lake - 3:39 
3.  L.A. Connection - 5:02 
4.  Gates of Babylon - 6:49 
5.  Kill the King  (Blackmore, Dio, Cozy Powell) - 4:29 
6.  The Shed (Subtle)  (Blackmore, Dio, Powell) - 4:47 
7.  Sensitive to Light - 3:07 
8.  Rainbow Eyes - 7:31 

All songs written by Ritchie Blackmore and Ronnie James Dio except where noted. All lyrics by Dio

Rainbow
Additional musicians
  • Rainer Pietsch - scoring and conducting on "Gates of Babylon" and "Rainbow Eyes"
  • Bavarian String Ensemble - strings on "Gates of Babylon"
  • Rudi Risavy – flute on "Rainbow Eyes"
  • Max Hecker – recorder on "Rainbow Eyes"

"'Rainbow Eyes' String Quartet":

  • Ferenc Kiss - first violin, concert master
  • Nico Nicolic – second violin
  • Ottmar Machan – viola
  • Karl Heinz Feit – cello
Production
  • Martin Birch – producer and engineer
  • Max Hecker – classical instruments recording engineer
  • Bruce Payne – direction
  • Recorded at The Strawberry Studio at Château d'Hérouville, France, May–July and December 1977

Notes
Released:  14 April 1978 
Recorded:  May–July and December 1977 Studio The Strawberry Studio, Château d'Hérouville, France 
Genre:  Heavy metal
Length:  39:48 
Producer:  Martin Birch 

Label - Polydor Records 
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May 03, 2024

Herman Brood & his Wild Romance - Street (1977)

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Herman Brood verliet Cuby and the Blizzards en begon zijn eigen formatie Herman Brood & His Wild Romance. 
Er werd druk getimmerd aan een muzikale carrière die door het succes van de eerste in Blaricum opgenomen elpee 'Street' als een komeet omhoog schiet. 
Mede door Broods intensieve levensstijl, het toerschema en druk van de platenmaatschappij wisselt de samenstelling van de Wild Romance in rap tempo.

Sterk debuutalbum van Herman Brood, een frisse aanpak van bluesrock met ook wat jazz. Vocaal is hij beperkt maar hij kan zelf prima songs schrijven en zijn pianospel is uitstekend. De dope-sfeer is hier ook al aanwezig maar zou nog meer tot uiting komen op het volgende album.
Overtuigend is het zeker, frisse brutale rock met fijne hooks en een stel uitstekende songs.
De drugs sfeer is al hoorbaar, al komt dat nog effe beter tot zijn recht met de legendarische Wild Romance bezetting met Lademacher, Cavalli en Meerman. Misschien wel de beste line up ooit in de Nederrock.
"Turn It On" is geschreven door Ro-d-Ys-zanger Harry Rijnbergen.


Tracklist

1.  Street   (Herman Brood) - 2:45 
2.  Turn It On   (Harry Rijnbergen) - 5:22 
3.  Syrup   (Hugo Sinzheimer, Erik Strack) - 3:35 
4.  Back in Your Love   (Herman Brood, Gerrit Veen, Pé Hawinkels) - 3:16 
5.  Crocodile (The Penthouse)   (Herman Brood, Pé Hawinkels) - 4:15 
6.  Pop It   (Herman Brood) - 7:54 
7.  Romanza di Cavalli   (Jan Akkerman) - 1:23 
8.  Spine Pain   (Herman Brood) - 2:00 
9.  One More Dose (Lonely Pain Part 2)   (Herman Brood, Pé Hawinkels, Hugo Sinzheimer) - 4:03 
10.  Feels Like Love   (Herman Brood) - 1:22


Personnel
  • Herman Brood – piano, keyboards, vocals
  • Jan Akkerman – guitar
  • Erik de Zwaan & Rob Ten Bokum – guitar, slide guitar, harmonica, vocals
  • Margriet Eshuis – vocals
  • Sjoukje van 't Spijker – vocals
  • Josée van Iersel – vocals
  • Gerrit Veen – bass
  • Peter Walrecht – drums
  • Bertus Borgers – saxophone
  • Frans Mijts – trumpet
  • Nippy Noya – conga

Companies, etc.

Credits

Technical
  • Herman Brood – design
  • Anton Corbijn, Henk Venema, John Timmer, Philip Pelgrom – photography

Notes
Released: 1977 
Recorded at: Studio Soundpush Studios, Blaricum, The Netherlands 
Genre:  Rock and roll, Blues 
Length:  36:08 
Producer:  Jan Schuurman 

Label - Ariola Records
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May 02, 2024

America - Hideaway (1976)

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Hideaway is the sixth studio album by American folk rock trio America, released by Warner Bros. Records in April 1976. 
The album was produced by longtime Beatles producer George Martin, the fourth of seven consecutive albums he produced with America.
It was recorded at Caribou Ranch in Colorado in February 1976, with the album cover and inner sleeve photos reflecting the wintry environment. Deciding that they needed a contrast, the group recorded its next album Harbor in Hawaii.
This album was a hit in the US, peaking at number 11 on the Billboard album chart and being certified Gold by the RIAA. It produced two hit singles: "Today's the Day",and "Amber Cascades".

Released in 1976, Hideaway is the sixth studio album by the American rock band America. While the music on this album would showcase further evolution within the band’s production style and songwriting, this evolving nature isn’t to the band’s detriment for on this release they took their acoustic-driven folk-rock style even further by adding higher production values and a fuller musical presentation. The result is one of the greatest rock albums of the 70s and one of the best releases in America’s illustrious career.
While the album artwork is mundane, it’s effective and is a perfect visual counterpart to the musical style of the album. Granted, the music surpasses the album cover in terms of quality, for there isn’t a dull song to be heard on the album, and while each fan will have their own preferred favourite America release, Hideaway is certainly mine; followed by Hat Trick and their self-titled debut, America. 
Speaking of the music contained within this classic release, Hideaway demonstrates America's ability to seamlessly blend different musical styles while staying rooted in their signature folk-rock sound. Incorporating elements of pop, soft rock, and a touch of country, Hideaway is one of those pleasurable listens that has a smooth well-balanced mix that allows each instrument and vocal harmony to shine. 
While America’s legacy is legendary, when you have a producer of the calibre of George Martin producing Hideaway, one of five studio albums that he would produce for the band, there’s little wonder as to why Hideaway is so exceptionally pleasing. For those really interested in geeking out, Geoff Emerick was also the engineer for this recording. With two of the core Beatles’ production team behind the scenes, there’s little doubt as to why Hideaway is such a compelling release. Of course, America had to have musical skill in the first place and the songwriting throughout delivers a strong set of compositions that are introspective and often contemplative, exploring themes of love, longing, and self-discovery. Overall, the songwriting maintains a poetic quality, complemented by the band's trademark harmonies, and this, along with the quality of production further validates the importance of every aspect in the creation of a timeless record.


Tracklist

1.  Lovely Night   (Gerry Beckley) - 2:32 
2.  Amber Cascades   (Dewey Bunnell) - 2:50 
3.  Don't Let It Get You Down   (Bunnell) - 2:58 
4.  Can't You See  (Dan Peek) - 2:22 
5.  Watership Down  (Beckley) - 4:58 
6.  She's Beside You   (D. Peek) - 2:58 
7.  Hideaway Part I (Bunnell) - 1:30 
8.  She's a Liar   (Beckley) - 3:28 
9.  Letter  (Bunnell) - 3:05 
10.  Today's the Day  (D. Peek) - 3:15 
11.  Jet Boy Blue  (D. Peek, Catherine Peek) - 3:21 
12.  Who Loves You  (Beckley) - 4:33 
13.  Hideaway Part II  (Bunnell) - 2:03

America
  • Dewey Bunnell – guitar, lead and backing vocals
  • Gerry Beckley – guitar, lead and backing vocals, keyboard
  • Dan Peek – guitar, banjo, lead and backing vocals, keyboard

with:

  • David Dickey – bass guitar
  • Willie Leacox – drums, percussion
  • George Martin – piano on "She's Beside You" and "Hideaway Part I"

Companies, etc.

Credits

Notes
Released: 9 April 1976
Recorded:  February 16–28, 1976 Studio Caribou Ranch, Nederland, Colorado
Genre:  Folk rock, pop rock
Length:  39:59
Producer:  George Martin

Label - Warner Bros. Records
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May 01, 2024

Earth & Fire - To The World Of The Future (1975)

To the world of the future is het vierde studioalbum van Earth & Fire.

Het album werd opgenomen in de Soundpush Studio in Hilversum met geluidstechnici John Sonnevelt, Jan Schuurman en Jan Audier. 
Earth & Fire, dat nogal lang deed over de opnamen, liet ook op dit album een mengeling horen van popmuziek voor de hitparades en symfonische rock, waarbij muren van geluid werden opgetrokken. Jim van Alphen van Het Parool constateerde een toename van elektronische elementen met spacerockachtige elementen (To the world of the future). Ook de geluidseffecten (een storm in The last seagull) vielen hem op. 
 De leden zelf zagen de aanduiding symfonische rock zelf niet zitten; zij hielden er niet van dat hun muziek in hokjes ingedeeld werd. De titel van het album verwijst naar de titeltrack waarin tekstschrijver Hans Ziech (net uit de band gestapt maar gehandhaafd als tekstschrijver) over zijn toekomstbeeld (onder andere overbevolking) schrijft; Jip Golsteijn van De Telegraaf vond dat nogal pretentieus. 
Hij werd daarin gesteund door OOR's Pop-encyclopedie (versie 1979) die het zelfs had over overpretentieus.

Naar eigen zeggen ging Earth & Fire door op de met het vorige album ingeslagen weg, mede doordat fans niets anders wilden. 
Wat zich ook doorontwikkelde was de moeilijke verhouding tussen band en pers en de bandleden onderling. Het album reikte nog ver in de historie; bij het afscheid van Jerney Kaagman in 1993 van BV Pop kwam To the world weer bovendrijven.

Voor het hoesontwerp werd geshopt bij de galerie van Frans Leidelmeijer. De promotiesingles Love of life en Only time will tell scoorden weer hoog in de hitparades.

Het album stond zeven weken genoteerd in de Album top 20 (hoogste plaats 6) 


Tracklist

1.  To the world of the future - 11:29 
2.  How time flies - 3:18 
3.  The last seagull - 7:35 
4.  Only time will tell - 3:42 
5.  Voice from yonder - 7:01 
6.  Love of life - 3:10 
7.  Circus - 6:20


Musici

Met


Companies, etc.

Credits

Notes
Uitgebracht:  zomer 1975  
Genre:  progressieve rock  
TijdsDuur:  41 minuten  
Producent(en): Jaap Eggermont 

Label(s) - Polydor Records 

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March 25, 2024

Afrika Bambaataa & The Soulsonic Force - Lost Generation (1996)

Seminal hip hop and electro outfit of Afrika Bambaataa and Soulsonic Force that recorded such tunes as "Planet Rock" and "Looking For The Perfect Beat".

There is a lot, a lot, a lot wrong with this record. After the expiration of his contract with EMI, Bambaataa finds himself releasing material as an independent, publishing with Hot Productions, Miami dance label. 

This tape consists of 13 long tracks that all last between five and eight minutes (except one randomly at three), for a total of one hour and twenty. Far too much. 
The production is essential, the bass vibrates for the electro beat, the drum is old and difficult, and this is enough to support the rap of the performer. 
The lyrics are coarse and shoddy, half of the album is all about sexual themes and bars, over music that is deleterious and unnerving. The album was born old, even the reissue of "Planet Rock" sounds cumbersome and rusty, little to do with the original song.


Tracklist

1.  Lost Generation - 4:40
2.  Bang Bang - 7:54
3.  Sex Is The Best - 5:02
4.  Who's In The House - 5:36
5.  Blowin' Up (Bring The Ruckus) - 3:02
6.  Rock Whatcha Got - 5:14
7.  Suffer - 5:48
8.  That's Not Right - 6:26
9.  Do The Wrong Thang  (Featuring - Shannon) - 7:44
10.  Planet Rock '96 - 8:12
11.  For What It's Worth - 6:31
12.  What More U Want - 6:02
13.  Ominous Isthmus - 6:45


Companies, etc.
Credits
Notes
Release: 1996
Genre:  Electronic Hip Hop, Bass Music
Length:  1:18:14

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March 22, 2024

Sharon Redd - Sharon Redd (1980)

Sharon Redd (October 19, 1945 - May 1, 1992) was an American singer from New York City. She was the half sister of Snap! singer Penny Ford.

Despite not being as recognized as other stars, Redd was able to establish herself as a Diva on the disco scene in the late 70s and early 80s.
After her third and final Prelude album, Redd slowed down and occasionally did more session work. 
She re-appeared briefly in 1991 for another solo single, but that would prove to be her final output of note. She succumbed to pneumonia complications on January 5, 1992.

Her self-titled debut balances post-disco club music with the extension of '70s soul that many referred to as urban during the '80s. 
The two lead cuts on the album, "You Got My Love" and "Can You Handle It," are easily the highlights -- a 12" featuring both songs hit number five on Billboard's club play chart. 
A young DJ and Prelude employee by the name of François Kevorkian leant his editing and mixing talents to those two songs (arguably the two greatest moments of Redd's career) and helped propel them to their high-chart placement. 
Redd proves that she's more than competent with ballads on "Leaving You Is Easier Said Than Done" and "You Stayed on My Mind," but it's on the two key tracks and the equally upbeat "Try My Love on for Size" (a surprising non-hit) where she truly shines.


Tracklist

A1.  You Got My Love - 5:52
A2.  Can You Handle It - 6:26
A3.  It's A Lie - 5:40

B1.  Try My Love On For Size - 5:06
B2.  Leaving You Is Easier Said Than Done - 3:51
B3.  Love Is Gonna Get Ya - 4:56
B4.  You Stayed On My Mind - 5:38


Companies, etc.

Credits 

Notes
Released: 1980 
Recorded at:  Bias Studios, Falls Church, VA.
Genre: Funk / Soul 
Style: Disco 
Length:  37:38

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