Limp Bizkit - Results May Vary (2003)

It took a long, long time for Limp Bizkit to get their follow-up to "Chocolate Starfish and the Hotdog Flavored Water" into the stores. First, guitarist Wes Borland, generally regarded as the band's musical force, up and left the band, and it took a long, long time to find a replacement guitarist. After a national talent search performed at Guitar Center stores, where candidates had to sign contracts that gave up their rights to anything original they played at their audition, Limp Bizkit settled on former Snot guitarist Mike Smith and recorded an album. Then scrapped it. Then they recorded another album. Then scrapped it. They were going through album titles, too -- it was called Bipolar and then, charmingly, Panty Sniffer. Finally, all the sessions and the turmoil were whittled down into one very long album called "Results May Vary". Without Borland on the album, Limp Bizkit turns to frontman Fred Durst, who already dominated the band's personality and now must provide direction in addition to bravado. Durst doesn't come up with any new musical ideas, apart from slight hints of Staind and emo on the ballads, and he generally runs amuck, spewing bile at targets including Britney Spears, ranting about how she broke his heart. He complains about being picked on in high school and about radio and MTV playing the same old bands, and invokes icons like Kurt Cobain. Results May Vary would have been improved if the music had a fraction of Durst's anger (no matter how misguided it is) or had energy to match the clown jumping up and down and screaming in front.

Track List:

01. "Re-Entry" (Durst, Otto, Rivers) - 2:37
02. "Eat You Alive" (Fred Durst) - 4:12
03. "Gimme the Mic" (Fred Durst) - 3:05
04. "Underneath the Gun" (Fred Durst) - 5:42
05. "Down Another Day" (Durst, Otto, Rivers) - 4:06
06. "Almost Over" (Fred Durst) - 4:38
07. "Build a Bridge" (Durst, Otto, Rivers) - 3:57
08. "Red Light-Green Light" (Snoop Dogg, Durst DJ Lethal) - 5:36
09. "The Only One" (Fred Durst) - 4:08
10. "Let Me Down" (Durst, Otto, Rivers) - 4:16
11. "Lonely World" (Fred Durst) - 4:34
12. "Phenomenon" (Durst, DJ Lethal, Otto, Rivers) - 3:59
13. "Creamer (Radio Is Dead)" (Durst, Otto, Rivers) - 4:30
14. "Head for the Barricade" (Fred Durst) - 3:34
15. "Behind Blue Eyes (The Who cover)" (Pete Townshend) - 6:05
16. "Drown" (Durst, Rivers) - 3:51

Released: September 23, 2003
Recorded: August 2002 - January 2003; May - June 2003 in Los Angeles, California
Genre: Alternative Rock, Rap Metal
Length: 68:35
Label: Flip, Interscope
Producers: Terry Date, Fred Durst, Rick Rubin
Mastering: Stephen Marcussen
Mixing: Michael Patterson, Brendan O'Brien

Personnel:
DJ Lethal - turntables, keyboards, samples, programming, sound development
Fred Durst - vocals, guitar
John Otto - drums, percussion
Sam Rivers - bass, guitar
Brian Welch - guitar
Mike Smith - guitar

Grace Jones - Island Life (1985)

"Island Life" was Grace Jones' 1985 compilation album, featuring songs from her Island Records albums like "Portfolio" (1977), "Fame" (1978), "Muse" (1979), "Warm Leatherette" (1980), "Nightclubbing" (1981), "Living My Life" (1982) and "Slave To The Rhythm" (1985). She wasn't taken seriously as a musician up until the release of Warm Leatherette in 1980, but I have always enjoyed her early disco work, especially the Portfolio album with its great tracks like Tomorrow, Send In The Clowns, I Need A Man and La Vie en Rose. The following two albums, Fame and Muse, were weaker but still contained a sprinkling of memorable disco musings like Autumn Leaves, Do Or Die and others. "Warm Leatherette" really put her on the musical map, especially on account of her version of the title track that was an obscure synth-pop single by Daniel Miller's The Normal. She also did interesting versions of Private Life (The Pretenders) and Love Is The Drug (Roxy Music). Tracks 6 to 8 come from Jones' very successful Nightclubbing album. Libertango and Walking In the Rain are witty, accessible pop ballads while the funky Pull Up To The Bumper is controversially sensual. My Jamaican Guy from the innovative Living My Life album is jerky, funky and tribal with stunning vocal arrangements. Unfortunately "Island Life" doesn't really succeed in providing the best of Grace Jones. It ought to properly have been a double disc as there are many other classics in her oeuvre that deserve to be on a best of album. Songs like Demolition Man, the title track from Nightclubbing, Rolling Stone, Art Groupie, Nipple To The Bottle and The Apple Stretching are equally worthy of inclusion on a greatest hits compilation. The cover is by Grace Jones’ then-partner Jean-Paul Goude, published in New York magazine in 1978. The impossibly graceful arabesque is a montage of separate images, following Goude’s ideas on creating credible illusions.

Track List:

01. "La Vie en Rose" (Mack David/Marcel Louiguy/Edith Piaf) – 7:25
02. "I Need a Man" (Pierre Papadiamandis/Paul Slade) – 3:22
03. "Do Or Die" [7" Edit] (James Bolden/Jerry Robinson) – 3:22
04. "Private Life" (Chrissie Hynde) – 5:10
05. "Love is the Drug" [Eric "E.T." Thorngren Remix] (Bryan Ferry/Andy Mackay) – 6:02
06. "I've Seen That Face Before (Libertango)" (Nathalie Delon/Ástor Piazzolla/Barry Reynolds/Dennis Wilkey) – 4:29
07. "Pull Up to the Bumper" [7" Edit] (Koo Koo Baya/Grace Jones/Dana Mano) – 3:38
08. "Walking in the Rain" (Harry Vanda/George Young) – 4:18
09. "My Jamaican Guy" (Grace Jones) – 6:00
10. "Slave to the Rhythm" [7" Edit] (Simon Darlow/Trevor Horn/Steve Lipson/Bruce Woolley) – 4:22

Released: 1985
Label: Island Records
Genre: Reggae Pop
Length: 47:48
Producers: Tom Moulton, Chris Blackwell, Alex Sadkin, Trvor Horn

Idris Muhammad - Power Of Soul (1974)

This album is one of the reasons that Idris Muhammad is regarded as the drumming king of groove. Featuring the arrangements and keyboards of Bob James, the saxophone punch of Grover Washington, Jr., guitarist Joe Beck, trumpeter Randy Brecker, percussionist Ralph MacDonald, and the knife-edge slick production of Creed Taylor, this 1974 issue is a burning piece of deep, jazzy soul and grooved-out bliss. The funk flies fast and heavy, particularly on the title track (Jimi Hendrix's tune), with soaring solos by Grover and James, who fall down in the groove to Muhammad's powerful pace, setting from the heart of the pocket. Beck's own solo is special in that he moves against the tempo just a bit, but that only increases the listener's dependence on the groove of Muhammad. Clocking in at only 34 minutes it's a perfect slice of the raw-onion emotion Muhammad was pulling down at the time. While there isn't a weak track in the four, it's Washington's "Loran's Dance" that takes the cake, even over Hendrix. While the former is dark and heavy, and the immediately preceding tracks by James and Beck, respectively, are light, fancy, free nods to Creed Taylor's hoping for a jazz radio single, it's "Loran's Dance" that showcases not only Washington as an aspiring writer in his own right (this is only a year before Feels So Good and Mr. Magic appeared), but also as a talented interpreter of the edges where jazz and soul come together. James' arrangements are tight, and everybody gets to solo with a little more freedom and grace. Muhammad keeps the pocket wide and Brecker and Washington dance all around in it as James plays the accents furtively. This is some easy-moving, yet musically complex jazz. There is great power in these four tracks to make you move or reflect or just tap your foot while nodding "yeah" at your speakers imperceptibly.

Track List:

01  "Power of Soul Hendrix" (J.Hendrix) - 7:07
02  "Piece of Mind James" (B.James) - 9:24
03  "The Saddest Thing Beck" (J.Beck) - 7:10
04  "Loran's Dance Washington" (G.Washington Jr.) - 10:39

Release: November 1974
Recorded at: Van Gelder Studios
Label: Epic Records
Genre: Jazz, Post-Bop
Length: 34:20
Producer: Creed Taylor
Arranged and Conducted: Bob James
Engineer: Rudy Vann Gelder

Personnel:
Idris Muhammad - Drums
Grover Washington Jr. - Soprano/Tenor, Saxophone
Bob James - Keyboards
Gary King - Bass
Joe Beck - Guitar
Ralph MacDonald - Percussion
Randy Brecker - Trumpet/Flugelhorn

Tori Amos - Scarlet´s Walk (2002)

"Scarlet's Walk" is the seventh album released in singer-songwriter Tori Amos' solo career. The 18-track concept album details the cross-country travels of Scarlet, a character loosely based on Amos, as well as the concept of America post-September 11th (2001). The album was the first released by Amos on Epic Records after her split with former label Atlantic Records. After a period of trouble with her last label, Amos proved her fan base was still with her when the album debuted at US # 7. The first single from the album was the catchy, radio-friendly track "A Sorta Fairytale" (released September 2002), which proved to be one of Amos' more successful singles, landing her in the US Top 10 Adult Contemporary chart. A commercial single was also released in the UK with a B-side entitled "Operation Peter Pan", based on the Cuban Missile Crisis of 1962. This served as the last commercial CD single of Amos' career to date.
"Taxi Ride," a partial homage to the late make-up artist Kevyn Aucoin, a friend of Amos' who died in May 2002, served as the second single from the album. An on-line contest was held asking fans to direct and submit a music video for the song. The song reached the Top 40 Adult Contemporary chart in the US. The third single, "Strange," was released to radio in a redone version that was given a Country and Western feel with twangy guitars and additional vocals. A Timo Maas dance remix of "Don't Make Me Come to Vegas" served as the fourth single continued Amos' fortunes on the dance charts

Track List:

01. "Amber Waves" - 3:38
02. "A Sorta Fairytale" - 5:30
03. "Wednesday" - 2:29
04. "Strange" - 3:05
05. "Carbon" - 4:33
06. "Crazy" - 4:23
07. "Wampum Prayer" - 0:44
08. "Don't Make Me Come to Vegas" - 4:51
09. "Sweet Sangria" - 4:01
10. "Your Cloud" - 4:30
11. "Pancake" - 3:54
12. "I Can't See New York" - 7:14
13. "Mrs. Jesus" - 3:05
14. "Taxi Ride" - 4:00
15. "Another Girl's Paradise" - 3:34
16. "Scarlet's Walk" - 4:16
17. "Virginia" - 3:55
18. "Gold Dust" - 5:54

Released: October 28, 2002 (UK)
Recorded: Cornwall, winter/spring 2002
Genre: Alternative Rock, Baroque Pop
Length: 74:09
Label: Epic
Producer: Tori Amos
All songs written and composed by: Tori Amos

The Baker Gurvitz Army - The Baker Gurvitz Army (1974)

"Baker Gurvitz Army" is Baker Gurvitz Army's first studio album.
Ginger Baker's mid-'70s profile took another unexpected turn following Cream's blues-rock blood and thunder and his Afro-beat matchups with Fela Kuti. He formed this straight-ahead power trio with the guitar- and bass-playing brother team of Adrian and Paul Gurvitz, who'd briefly lit up the '60s U.K. charts as Gun (of "Race With the Devil" fame). Such a step might have seemed subversively normal for Baker, but he and the brothers had an undeniable chemistry; not surprisingly, their debut album is a self-assured, aggressive affair. "Help Me" and "I Wanna Live Again" are punchy and succinct; so are the hard-driving instrumentals "Love Is" and its funkier cousin, "Phil 4." The band leavens their hard-hitting delivery with subtle orchestration and piano; the latter instrument works to haunting effect on the introspective "Memory Lane." There's some engaging humor, too; "Mad Jack"'s lyrics about a reckless outback race are silly, but kitschy fun. The only real clinker is "Since Beginning," which is bogged down from self-consciously "meaningful" lyrics and meandering delivery; its eight minutes could have benefited from judicious pruning. Naturally, no Ginger Baker album could pass without some drum solos, but they're tastefully done. He's very much a team player here, in contrast to infamous stick-bashing marathons like "Toad." That said, this album's a strong, decisive statement, and if hard rock's what you crave, you won't be disappointed.

Track List:

01. "Help Me" (Gurvitz) 4:34
02. "Love Is" (Gurvitz) 2:47
03. "Memory Lane" (Baker, Gurvitz ) 4:46
04. "Inside Of Me" (Gurvitz) 5:33
05. "I Wanna Live Again" (Baker, Gurvitz) 4:22
06. "Mad Jack" (Baker, Gurvitz) 7:54
07. "4 Phil" (Baker, Gurvitz) 4:25
08. "Since Beginning" (Gurvitz) 5:18

Released: 1974
Recorded: Ramport Studios
Genre: Rock
Label: Vertigo Records
Length: 42:53
Producer: Eddie Offord
Mixed at: Trident Studios and Island Studios

Personnel:
Ginger Baker - drums, percussion, vocals
Adrian Gurvitz - guitar, vocals
Paul Gurvitz - bass, vocals

Buckingham Nicks - Buckingham Nicks (1973)

A short tour through the American south commenced after the release of the album; Buckingham and Nicks had already joined Fleetwood Mac, but the band was still committed to the dates that were scheduled. It was a good enough resumé for Fleetwood Mac, who re-recorded the beautifully cerebral "Crystal" when the duo joined them for 1975's self-titled comeback album. The high-octane rockabilly of "Don't Let Me Down Again" became a staple of the band's concert sets well into the 1980s. Crisp, ringing acoustic guitars and a bottom-heavy rhythm section (using the talents of Waddy Wachtel, Jim Keltner, and Jerry Scheff) framed the pair's songs in a sound something akin to FM-ready folk-rock. Lesser known tracks like the glistening opener, "Crying in the Night," from Nicks and Buckingham's lonely-guy lament, "Without a Leg to Stand On," are on a par with their later mega hits. At the same time, the misogyny of Buckingham's "Lola, My Love" is a real eye-roller and the orchestral overtones of "Frozen Love" show that the two were over-reaching themselves just a bit. Buckingham-Nicks was a stiff however and the couple had lost their deal with Polydor. But 1975, of course, proved to be one of their better years. Despite the enduring popularity of both of its key contributors, the album was never officially released on CD. Bootlegs dubbed from vinyl have circulated since the late 1980s. It has become one of the most requested titles for CD release.

Track List:

01. "Crying in the Night" (Nicks) - 2:48
02. "Stephanie" (Buckingham) - 2:12
03. "Without a Leg to Stand On" (Buckingham) - 2:09
04. "Crystal" (Nicks) - 3:41
05. "Long Distance Winner" (Nicks) - 4:50
06. "Don't Let Me Down Again" (Buckingham) - 3:52
07. "Django" (Lewis) - 1:02
08. "Races Are Run" (Nicks) - 4:14
09. "Lola (My Love)" (Buckingham) - 3:44
10. "Frozen Love" (Nicks, Buckingham) - 7:16

Released: September 1973
Recorded: 1973
Genre: Rock
Length: 36:42
Label: Polydor Records
Producer: Keith Olsen
Executive Producer: Lee Lasseff
Engineer: Keith Olsen
Assistant Engineer: Richard Dashut
Photography: Jimmy Wachtel
Album Design: Jimmy Wachtel

Personnel:
Lindsey Buckingham - Guitar, percussion, vocals
Stevie Nicks - vocals
Ronnie Tutt - drums
Jim Keltner - drums
Jerry Scheff - Bass
Gary Hodges - drums, Percussion Overdubs
Monty Stark - Synthesizer
Peggy Sandvig - keyboards
Jorge Calderón - Percussion
Waddy Wachtel - Additional Guitar on "Lola (My Love)"
Richard Hallagan - String arrangement

Ellen Foley - Another Breath (1983)

Her first release, "Night Out," is probably the most infectious since "Spirit of St. Louis" and "Another Breath" both breeze through British-tinged punk and eighties-style production respectively, and I prefer the seventies sound of "Night Out" over either of those two genres. This isn't to discredit her other works however! Having almost as readily dimissed "Night Out" as "Another Breath" upon my first initial listen, the second time around for each proved Foley had not only put out a product worth hearing but poured her heart and soul into every recording.
Despite possessing something of a Blondie sound coupled with mid-eighties Heart in the mix, the compositions "Boys in the Attic," "Let Me Be the One You Love" and "Read My Lips" still shine, while "Another Breath" and "Come to Me" literally leave their listener, shall we say, breathless? "Run for My Life" and bonus track "Beat of a Broken Heart" suffer from being a bit too eighties-ish, with the first sounding like a contender for the film "Flashdance," but the additional bonus track "Ghost of a Chance" is actually quite haunting. I fear Ellen Foley was more a product of her times than she should have been, forced into a company category and promoted incorrectly since "Nightline" has to be the worst track on this disc, even taking the previously accounted for bonus cuts into consideration, yet was apparently pushed the hardest since the extended release of "Another Breath" features three alternate mixes of this song? Should the company choose to put out a similar package for "Night Out," a true Ellen Foley revival might well come about but, alas three releases are all we're treated to of an artist who possibly didn't reach her full potential, and certainly didn't reach as many fans as someone with so much talent was so capable of doing.

Track List:

01. "Boys In The Attic" (Ellie Greenwich, Jeff Kent, Rob Parissi) - 4:37
02. "Johnny And Mary" (Robert Palmer) - 4:07
03. "Another Breath" (Bob Riley) - 4:06
04. "Let Me Be The One You Love" (David Landau, Desmond Child) - 3:53
05. "Read My Lips" (Desmond Child, Ellen Foley - 3:30
06. "Nightline" (Brie Howard, David Faragher, Glen Ballard) - 5:06
07. "Come To Me" (Karen Brooks, Randy Sharp) - 3:47
08. "Run For My Life" (Ellen Foley, Ellie Greenwich, Jeff Kent) - 4:23
09. "Come And Get These Memories" (Brian Holland, Lamont Dozier, Eddie Holland) - 3:02
10. "Spy In The House Of Love" (Bob Riley, Ellen Foley) - 4:08
11. "Nightline (Single Version)" - 3:52
12. "Beat Of Broken Heart (Single Version)" - 4:51
13. "Ghost Of A Chance" - 5:16
14. "Nightline (Dance Mix Short Version)" - 3:31
15. "Nightline (Dance Mix Long Version)" - 6:15

Released: 1983
Recorded: Media Sound, New York, N.Y.
Label: Wounded Bird Records
Genre: Pop Rock
Length: 1:04:33
Producer: Vini Poncia

Personnel:
Ellen Foley (vocals, background vocals)
Phil Grande (guitar); Leonard Pickett (saxophone)
Tommy Mandel (keyboards, synthesizer)
Benjy King (synthesizer)
Tony Bridges (bass guitar)
Bob Riley (drums)
Leonard Pickett - Saxophone
Backing Vocals - Elaine Caswell , Maria Vidal , Zephryn Conte, Ellie Greenwich , Jeff Kent , Susan Collins , Vini Poncia , Zora Rasmussen, Lou Christie

Jean Michel Jarre - Equinoxe (1978)

"Equinoxe" was the second major-label album release by French musician Jean Michel Jarre, released on Disques Dreyfus (with license to Polydor) in late 1978.
The album reflects a day in the life of a human being, from morning to night. Parts 1 to 4 (i.e. side A) and tracks 5 to 8 (side B) segué smoothly from one to the next.
Jarre had developed his sound, employing more dynamic and rhythmic elements, particularly a greater use of sequencing on basslines. Much of this was achieved using custom equipment developed by his collaborator Michel Geiss. As the follow up album to "Oxygene", "Equinoxe" offers the same mesmerizing affect, with rapid spinning sequencer washes and bubbling synthesizer portions all lilting back and forth to stardust scatterings of electronic pastiches. Using more than 13 different types of synthesizers, Jarre combines whirling soundscapes of multi-textured effects, passages, and sometimes suites to culminate interesting electronic atmospheres. Never repeating the same sounds twice, it is obvious that the science fiction hype of the late 70's played a large part in the making of this album. Computerized rhythms and keyboard-soaked transitions scurry by, replaced by even quicker, more illustrious ones soon after. There is always a pulsating beat or a fluttering tempo happening somewhere in each of the tracks, which are titled as a numbered sequence one to eight. Each track harbors its own energy and electronic fleetness, but none are identical in sound or pace. So much electronic color is added to every track that it is impossible to concentrate on any particular segment, resulting in waves of synth drowning the ears at high tide.
Two singles were released from the album, "Équinoxe Part 5" first, and then "Équinoxe Part 4".

Track List:

01. "Équinoxe Part 1" – 2:23
02. "Équinoxe Part 2" – 5:01
03. "Équinoxe Part 3" – 5:11
04. "Équinoxe Part 4" – 6:53
05. "Équinoxe Part 5" – 3:47
06. "Équinoxe Part 6" – 3:23
07. "Équinoxe Part 7" – 7:25
08. "Équinoxe Part 8" – 5:02

Released: December 1978
Recorded: January 1978 – August 1978
Genre: Electronica, New Age
Length: 39:09
Label: Disques Dreyfus
Producer: Jean Michel Jarre

Personnel:
Jean-Michel Jarre – ARP 2600 Synthesizer, EMS Synthi AKS, VCS 3 Synthesizer, Yamaha CS-80, Oberheim TVS-1A, RMI Harmonic Synthesizer, RMI Keyboard Computer, ELKA 707, Korg Polyphonic Ensemble 2000, Eminent 310U, Mellotron, ARP Sequencer, Oberheim Digital Sequencer, Matrisequencer 250, Rhythmicomputer (Korg MiniPops 7), EMS Vocoder

Elton John - Honky Château (1972)

"Honky Château" is the fifth studio album by British singer/songwriter Elton John, released in 1972. In 2003, the album was ranked number 357 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Considerably lighter than Madman Across the Water, Honky Chateau is a rollicking collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send Honky Chateau to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think I'm Gonna Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupin's lyrics aren't much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes Honky Chateau a classic is the songcraft, and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop -- it's one of the finest collections of mainstream singer/songwriter pop of the early '70s.

Track List:

01. "Honky Cat" – 5:13
02. "Mellow" – 5:32
03. "I Think I'm Going to Kill Myself" – 3:35
04. "Susie (Dramas)" – 3:25
05. "Rocket Man (I Think It's Going to Be a Long, Long Time)" – 4:45
06. "Salvation" – 3:58
07. "Slave" – 4:22
08. "Amy" – 4:03
09. "Mona Lisas and Mad Hatters" – 5:00
10. "Hercules" – 5:20
11. "Slave" [Alternate Take] (Bonsu Track) – 2:53

Released: 19 May 1972
Recorded: Château d'Hérouville, Hérouville, France, January 1972
Genre: Rock
Length: 45:15
Label: Uni/DJM Records
Producer: Gus Dudgeon
Engineer: Ken Scott
Mastering Engineer: "Legs" Larry Smith
Remastering: Tony Cousins
Editing: Gus Skinas
All songs written by: Elton John and Bernie Taupin

Personnel:
Elton John - acoustic and electric pianos, organ
Davey Johnstone - guitars, banjo, mandolin
Dee Murray - bass
Nigel Olsson - drums, congas, tambourine
Ivan Jullien (fr.) - trumpet
Jacques Bolognesi (fr.) - trombone
Jean-Louis Chautemps & Alain Hatot - saxophones
Jean-Luc Ponty - electric violin
"Legs" Larry Smith - tap dance
David Hentschel - A.R.P. synthesizer
Ray Cooper - congas
Gus Dudgeon - rhino whistle & backing vocals
Madeline Bell, Liza Strike, Larry Steel, Tony Hazzard - additional backing vocals

The Beach Boys - Landlocked (1970)

"The Landlocked Sessions" were recordings made in 1969/1970 after the Beach Boys left Capitol records and signed on to the Warner/Reprise roster. The Boys’ new label rejected these recordings, feeling they did not capture the group at their best (in a purely commercial sense). "Landlocked" by the Beach Boys is a much circulated, rejected version of what would eventually become "Sunflower". After leaving Capitol Records in 1969, the band compiled an album's worth of demos and recordings for approval by their new label. In 1970 Warner/Reprise smartly demanded that the band continue work on new songs. The Beach Boys went back to the drawing board, abandoning the Landlocked songs at the time. (A second rejected "version" is available in bootleg form as Add Some Music to Your Day.) Some of the songs in Landlocked remained unreleased for decades while others made their way onto future Beach Boys albums. "Take a Load off Your Feet," and "'Til I Die," were first heard on Landlocked but made it onto "Surf's Up". "Good Time" was eventually recorded for "Love You", "Big Sur" was released on "Holland", and Mike Love's "When Girls Get Together" was heard on 1980's classic "Keepin' The Summer Alive". Other songs like "I Just Got My Pay" stayed in a vault until the release of the "Good Vibrations: Thirty Years of the Beach Boys Box Set" in 1993. Standout tracks include "Loop De Loop" which was a collaboration between Brian Wilson and Van Dyke Parks (later heard on Endless Summer Soundtrack) and "Lady" which was a Dennis Wilson composition. Clearly, this is a record for diehards only. It is worth tracking down for Beach Boys fans who are interested in their recording process, especially in the post-Pet Sounds world where other members like Dennis and Al Jardine began taking a more active role in the group. Landlocked is the only time when these songs fit into their original context. To that end the well-developed demo of "'Til I Die" is fascinating. It is perhaps the best song on this bootleg and fit in perfectly on their 1971 album. But here is where it first appeared.


01. "Loop De Loop (Flip Flop Flyin' In An Airplane)" - 2:59
02. "Susie Cincinnati" - 2:56
03. "San Miguel" - 2:26
04. "H.E.L.P. Is On The Way" - 2:19
05. "Take A Load Off Your Feet" - 2:33
06. "Over The Waves" - 1:02
07. "I Just Got My Pay" - 2:21
08. "´Til I Die" - 4:59
09. "Good Time" - 3:08
10. "Big Sur" - 2:40
11. "Lady" - 2:20
12. "When Girls Get Together" - 3:18

Released: 1970
Recordings: 1969/1970
Label: Warner/Reprise Records
Genre: Pop, Surf Rock
Length: 37:14
Producer: The Beach Boys

Personnel:
Mike Love – lead vocals
Carl Wilson – lead guitar, vocals
Al Jardine – guitar, vocals
Dennis Wilson – drums
Bruce Johnston – bass, keyboards, vocals
Brian Wilson – keyboards, bass, vocals

The Alan Parsons Project - Gaudi (1987)

"Gaudi" was the last collaboration between Alan Parsons and his musical partner Eric Woolfson under the "Alan Parsons Project" name. An album inspired by the life and works of architect Antonio Gaudi, "Gaudi" is a very rich, elegant, powerful album for the Project to go out with. "La Sagrada Familia" is a beautiful orchestral rock epic, with a great lead vocal by John Miles. Longtime Project vocalist Lenny Zakatek takes the mike on "Too Late," an awesome pop-rocker that could've been (and should've been) a huge hit for the group, though it wasn't released as a single. Eric Woolfson sings on "Closer To Heaven," a very beautiful, heavenly Project number. The lone single release from the album, "Standing On Higher Ground," is a very cool, catchy tune, sung by Geoff Barradale of the mid-80's group Vitamin Z. John Miles returns for another lead vocal on "Money Talks," which is a great, down & dirty rocker. Woolfson then returns once more for the lovely "Inside Looking Out," and the album concludes on a very high note with a short instrumental reprise of "La Sagrada Familia," featuring excellent spanish guitar by Project veteran Ian Bairnson. As always on a Project album, the performances, production and sound quality are sharp & superior, and the outstanding orchestral touches by Andrew Powell is the icing on an already delicious musical cake. "Gaudi" is a gorgeous, dazzling, memorable album to close out the Alan Parsons Project with.

Tracklist:

01. "La Sagrada Familia" (lead vocal John Miles backing vocal Eric Woolfson) – (8:46)
02. "Too Late" (lead vocal Lenny Zakatek) – (4:31)
03. "Closer to Heaven" (lead vocal Eric Woolfson) – (5:52)
04. "Standing on Higher Ground" (lead vocal Geoff Barradale) – (5:03)
05. "Money Talks" (lead vocal John Miles) – (4:26)
06. "Inside Looking Out" (lead vocal Eric Woolfson) – (6:22)
07. "Paseo de Gracia" (Instrumental) – (3:47)

Released: January 1987
Recorded: October 1985 – August 1986 The Grange, Mayfair Studios
Genre: Progressive rock, Pop rock
Length: 38:47
Label: Arista Records
Producer: Alan Parsons, Eric Woolfson
All songs written by: Alan Parsons and Eric Woolfson

Personnel:
John Miles, Lenny Zakatek, Geoff Barradale, Chris Rainbow (vocals)
Eric Woolfson (vocals, keyboards)
Ian Bairnson (guitars)
Richard Cottle (synthesizers, saxophones)
Laurie Cottle (bass)
Stuart Elliot (drums, percussions)
David Cripp (horn leader)
John Heley (cello)
Bob Howes (tympani, conductor)

The Who - Who Are You (1978)

"Who Are You" is the eighth studio album by English rock band The Who. It is The Who's last album with Keith Moon as the drummer; Moon died approximately three weeks after the release of this album.
"Who Are You" was put out at a time when the two major camps of rock, progressive rock and punk rock, were conflicting due to their antipodal styles. Pete Townshend's compositions were written as an attempt to bring the two styles together. The album showcases some of the most complicated song structures guitarist Townshend had ever composed, with multiple layers of synthesizer and strings. Many of the songs also represented another attempt by Townshend to complete his long-contemplated Lifehouse project. Like Who's Next, many of whose songs were also inspired by Lifehouse, many tracks on Who Are You feature prominent synthesizer parts and lyrics about songwriting and music as a metaphor for life (as indicated by titles like "Music Must Change", "Guitar and Pen", "New Song", and "Sister Disco"). "Sister Disco" seems to mourn the death of disco, although it could be construed to be a criticism of it. Nevertheless, the song could be interpreted to be about a prositute character within a larger Tommy-like concept album.

Track List:
01. "New Song" (Pete Townshend) – 4:12
02. "Had Enough" (John Entwistle) – 4:30
03. "905" (Entwistle) – 4:02
04. "Sister Disco" (Pete Townshend) – 4:21
05. "Music Must Change" (Pete Townshend) – 4:37
06. "Trick of the Light" (Entwistle) – 4:06
07. "Guitar and Pen" (Pete Townshend) – 5:58
08. "Love Is Coming Down" (Pete Townshend) – 4:06
09. "Who Are You" (Pete Townshend) – 6:21
10. "Guitar And Pen" (Alternate Version) (Pete Townshend) - 5:58

Released: 18 August 1978
Recorded: October 1977 – April 1978 at Ramport, Battersea; Olympic Studios; RAK Studios, St John's Wood and Pete's own Studio in Goring-on-Thames
Genre: Rock
Length: 43:00
Label: Polydor
Producer: Jon Astley, Glyn Johns, The Who

Personnel:
Roger Daltrey – lead vocals, percussion
John Entwistle – bass guitar, backing vocals, synthesizer
Keith Moon – drums
Pete Townshend – guitar, backing vocals, piano, synthesizer
Rod Argent – synthesizer, piano
Ted Astley – string arrangement
Andy Fairweather-Low – backing vocals, Guitar

Kula Shaker - K (1996)

"K" is the debut album by Kula Shaker, released September 16, 1996. The album reached the #1 position in the UK charts.
By the mid-'90s, most bands had abandoned the sounds and sensibilities of late-'60s psychedelia, which is what makes Kula Shaker's debut album, K, such a weird, bracing listen. The band doesn't simply revive the swirling guitar and organ riffs of psychedelia, it embraces the mysticism and Eastern spirituality that informed the music. On both "Tattva" and "Govinda," lead singer Crispian Mills has adapted portions of Sanskrit text for the lyrics, chanting Indian mantras without a hint of embarrassment. Similarly, Kula Shaker are unashamed about their devotion to Hendrix, Traffic, and the Beatles, cutting their traditionalist tendencies with an onslaught of volume, overdriven guitars, and catchy melodies -- though they have a song called "Grateful When You're Dead," a homage to Jerry Garcia and his band The Grateful Dead. The Grateful Dead's psychedelic rock style is an influence on Kula Shaker's first and second albums. The hidden track after "Hollow Man" is a recording of A. C. Bhaktivedanta Swami Prabhupada, the founder of the International Society for Krishna Consciousness, speaking about his own guru. All of their psychedelic sensibilities derive from British rock, not the more experimental American counterpart. Kula Shaker may play well -- they have a powerful rush that makes you temporarily forget how classicist their music actually is -- but they still have trouble coming up with hooks. About half the record ("Hey Dude," "Tattva," "Govinda," "Grateful When You're Dead") has strong melodies, while the rest just rides by on the band's instrumental skills. Consequently, much of K doesn't stick around once the record is finished, but the singles remain excellent blasts of colorful neo-psychedelia.

Track List:
01. "Hey Dude" (Kula Shaker, Mills) - 4:09
02. "Knight on the Town" (Kula Shaker, Mills) - 3:25
03. "Temple of Everlasting Light" (Bevan, Mills) - 2:33
04. "Govinda" (Kula Shaker, Mills) - 4:57
05. "Smart Dogs" (Kula Shaker, Mills) - 3:17
06. "Magic Theatre" (Bevan, Mills) - 2:39
07. "Into the Deep" (Bevan, Mills) - 3:48
08. "Sleeping Jiva" (Bevan, Darlington, Mills) - 2:03
09. "Tattva" (Kula Shaker, Mills) - 3:45
10. "Grateful When You're Dead/Jerry Was There" (Kula Shaker, Mills) - 5:42
11. "303" (Bevan, Mills) - 3:09
12. "Start All Over" (Mills) - 2:36
13. "Hollow Man, Pts. 1 & 2" (Bevan, Mills) - 19:26

Released: September 16, 1996
Recorded: January–May, 1996 at Eden, RAK, Townhouse, Chipping Norton, Livingston, The Pierce Room, Wessex, Maison Rouge, Eastcote Studios
Genre: Psychedelic rock, Britpop
Length: 48:51 (not including 13:04 silence)
Label: Columbia
Produced-By: John Leckie, Shep & Dodge, Crispian Mills

Personnel:
Crispian Mills (vocals, electric & acoustic guitars, tamboura)
Jay Darlington (piano, Mellotron, organ)
Alonza Bevan (piano, bass, tabla, background vocals)
Paul Winterhart (drums)
The Kick Horns (horns)
Himangsu Goswami (tabla)

Eagle-Eye Cherry - Sub Rosa (2003)

Third album from the son of Don Cherry & brother of Neneh Cherry follows 2000's 'Living In The Present Future'. Working with a variety of producers including Tim Simenon (Massive Attack) & Al Stone (Bjork), he has moved away from the stripped-down, live feel of his first two albums towards a bigger, more panoramic sound utilizing electronic elements. With personal lyrics colored by his worldview following the events of 9/11, it includes the single 'Skull Tattoo'. Eagle-Eye Cherry offers up his third album, "Sub Rosa", some five years after the runaway success of ´Save Tonight´, three years after his mainly unremarkable second album "Living In The Second Future", after some extensive touring and even a guest appearance on Santana's Supernatural album. After a late start (he only started song-writing in 1996, age 26) the man has been busy. As expected from Eagle-Eye, the vocals are as warm, rich and sweet as molten caramel, making the album the aural equivalent of an afternoon in a big leather sofa sipping a macchiato. His voice resonates consistently through the variety of songs on offer, providing a touchstone against losing the way in some of the more experimental pieces. ´Skull Tattoo´ and ´Feels So Right´ are as good examples of pop songs as you could want to hear anywhere, with simple catchy choruses, tunes that you will be humming hours later and insistent rhythms that make you tap your toes or even want to dance. Both seem made for sing-along encores when Eagle-Eye goes back on tour. Feels So Right in particular seems like the Save Tonight of the album, although its impact may be heightened by the fact that the relatively weak How Come precedes it. Musically, Eagle-Eye rings a few changes around the guitar, drum and bass basics, with some strings adding depth in Don't Give Up, guitar solos and electronica beepings in Up To You and some particularly funky bass in Crashing Down. The final song, If You Don't Know By Now, ends with what sounds like a fun, spontaneous jamming session of real musicianship. Eagle-Eye's original vocation as a drummer also shines through with some great drum rhythms in Skull Tattoo and good use of percussion in Crashing Down. That said, it is the repetitive, almost militaristic, drums on How Come which make that song a real disappointment. Lyrically, Cherry tends towards pared-down pop, which sometimes means catchy, but sometimes means monotony or banality. Repeating the phrase, "How come," six times does not a chorus make. At times, though, the lyrics exhort listeners to a better world ("We must believe that if we give we will receive / We must believe it's gonna get better") and it seems that "How come" is a heartfelt (if overly repeated) cry for meaning.

Track List:
01. "This Paralysis" - 4:07
02. "Skull Tattoo" - 3:22
03. "The Strange" - 3:52
04. "It's Up To You" - 3:39
05. "Don't Give Up" (featured on the Disney movie Holes) - 3:58
06. "How Come" - 4:12
07. "Feels So Right" - 4:19
08. "Crashing Down" - 5:06
09. "Twisted Games" - 3:29
10. "The Food Song" - 4:19
11. "If It Can't Be Found" - 4:55
12. "If You Don't Know By Now" - 5:06

Released: 06 Oct 2003
Label: Polydor
Genre: Rock
Length: 50:02
Mixed By: Adrian Bushby
Producer: Al Stone, Cameron McVey, Paul Simm, Pete Davis
Programmed By: Jony Rockstar , Ned Douglas, Pete Davis
Recorded By: Christian Edgren

Merril Bainbridge - The Garden (1995)

In 1994 Bainbridge was signed to Ross Fraser and John Farnham's newly-formed Gotham Records label. Fraser first heard Bainbridge when he received a tape in the mail and was interested by the combination of voice and guitar. "Mouth" was Bainbridge's debut release and the first song released from her debut album "The Garden". The album has a main genre of alternative pop songs. Sweet but never saccharine, Merrill Bainbridge demonstrated that pop and pop-rock could be sugary and edgy at the same time. Four singles were taken from this album, ´Under The Water´, The Power Of One´ and the fourth and final song "Sleeping Dogs" was released in Australia in February 1996 and featured Bee Gees song "I Started a Joke" which was used for the bridge of the track. The song only peaked at number fifty-five in Australia. Even stronger are the hauntingly seductive "Garden In My Room," The Innocent "Song For Neen" and the gorgeous "Julie." In contrast to artists who tend to avoid sentimentality and unapologetically pretty melodies for fear of not being taken seriously, Bainbridge thrives on them and savors their delights. But not one of her songs is insipid or corny. Bainbridge is clearly an artist of depth and substance.

Track List:
01. "Garden in My Room" (Bainbridge) – 4:32
02. "Under the Water" (Bainbridge, Owen Bolwell, Stan Paulzen) – 4:13
03. "Miss You" (Bainbridge) – 3:03
04. "Mouth" (Bainbridge) – 3:25
05. "Julie" (Bainbridge) – 3:56
06. "Song for Neen" (Bainbridge) – 2:40
07. "Sleeping Dogs" (Bainbridge, Barry Gibb, Robin Gibb, Maurice Gibb) – 3:28
08. "Reasons Why" (Bainbridge, Siew) – 2:57
09. "Spinning" (Bainbridge, Bolwell) – 4:09
10. "Being Boring" (Chris Lowe, Neil Tennant) – 3:51
11. "State of Mind" (Bainbridge, Siew) – 5:01
12. "Power of One" (Bainbridge) – 4:08
13. "Garden in My Room" (reprise) (Bainbridge) – 1:13

Released: July 31, 1995
Recorded: 1994–1995 at 001 Studios, Carlton, Victoria, Australia
Genre: Pop
Length: 46:36
Label: Gotham, Universal Music
Producer: Siew

Personnel:
Merril Bainbridge — background vocals, vocal arrangement
Owen Bolwell — electric guitar, keyboards, programming, producer, engineer
Angus Burchall — percussion, drums
Jason Catherine — vocal percussion
Gary Costello — double bass
Mark Domoney — acoustic guitar
Tony Espie, Ross Fraser — mixing
Aaron Humphries — assistant engineer
Chong Lim — piano
Michael Losin — violin
Brian Marsh — engineer
Roger McLachlan — bass
Sam Melamed — electric guitar, keyboards, programming, producer, engineer, mixing
Greg O'Connor — graphic design
Steve O'Hara — strings
Adrienne Overall — photography
Siew — keyboards, programming, producer
Mark Wallace — accordion
Chris Wilson — harmonica, vocals

Boston - Third Stage (1986)

"Third Stage" is the third album by American rock band. The album was recorded at Tom Scholz's Hideaway Studio over a six-year period "between floods and power failures". After rushing their second album "Don't Look Back", Boston took eight years to complete the album Third Stage. The long delay is even more surprising considering that their sound didn't change at all; even though only songwriter/guitarist Tom Scholz and vocalist Brad Delp remained from the original lineup, they were the ones responsible for Boston's sound. As such, it is difficult to avoid comparisons with their landmark debut. "Third Stage" has some strong moments, especially the number one hit "Amanda" where the band blends acoustic and electric guitars to complement the layered vocals. However, the songs are not as strong as those on their debut, and the album is marred by the presence of instrumental fillers and an attempt to cling to a theme of "journey through life's third stage." Thus, rather than focusing on universal topics such as the exuberance and uncertainties associated with youth, the mature lyrics are lost on most of their young rock audience. Given the time between albums and the changes in the pop landscape, it was a little disappointing to find Boston stuck in the same sound. The album still sounds great when it works on all cylinders ("We're Ready," "Cool the Engines. Third Stage went to #1 on the Billboard 200 where it stayed for four weeks.

Track List:

01. "Amanda" (Tom Scholz) - 4:16
02. "We're Ready" (Scholz) - 3:58
03. "The Launch" (Scholz) - 2:55
04. "Cool the Engines" (Scholz, Brad Delp, Fran Sheehan) - 4:23
05. "My Destination" (Scholz) - 2:19
06. "A New World" (Jim Masdea) - 0:36
07. "To Be a Man" (Scholz) - 3:30
08. "I Think I Like It" (Scholz, Jerry English) - 4:06
09. "Can'tcha Say (You Believe in Me)/Still in Love" (Gary Green, Scholz, Delp) - 5:13
10. "Hollyann" (Scholz) - 5:11

Released: September 23, 1986
Recorded: 1980-1986
Genre: Rock
Length: 36:27
Label: MCA
Producer: Tom Scholz

Personnel:
Brad Delp - lead vocals, harmony vocals
Tom Scholz - guitars, organs, piano, bass, drums, percussion
Jim Masdea - drums, percussion
Sib Hashian - drums, percussion
Fran Sheehan – bass
Gary Pihl - guitar on "I think I like It"

Rick james - The Anthology (2002)

Of the many Rick James hits compilations available, ANTHOLOGY is one of the best. James was the flagship artist at Motown throughout the late 1970s and '80s, keeping the sound of the label vital and contemporary long after the heyday of the Temptations and Smokey Robinson. Over the course of two discs and 28 tracks, ANTHOLOGY surveys the length of James's Motown tenure, extending all the way up to 1988's "Loosey's Rap" (featuring Roxanne Shante), and representing the performer's mix of classic R&B, disco-inflected dance-floor anthems, '80s electro-groove, and hard party funk. Like the best Motown artists, James had an outstanding ear as an arranger and producer. His songs feature roiling beds of rhythm, burbling synthesizers, sharp horn charts, swirling strings, and unfolding choruses of male and female backup singers. The biggest hits--"You and I" (James's first single), the exuberant "Give It to Me Baby," and the irrepressible "Super Freak (Part 1)," his signature song--are here. However, the set is also packed with other gems, including collaborations with Smokey Robinson ("Ebony Eyes"), the Temptations ("Standing on the Top [Part 1]"), and Teena Marie ("Fire and Desire"). ANTHOLOGY works perfectly as a retrospective, and as a top-notch sampler of this funk icon's work. (Note: The 22-track GOLD collection features many of the selections found here.)

Track listing

Disc 1
01. "You And I" - 8:02
02. "Mary Jane" - 4:55
03. "Hollywood" - 7:20
04. "Bustin' Out (On Funk)" - 5:18
05. "Fire It Up" - 4:00
06. "Love Gun" - 5:44
07. "Come Into My Life" - 7:12
08. "When Love Has Gone" - 7:35
09. "Big Time" - 6:26
10. "Island Lady" - 4:08
11. "Give It To Me Baby" - 4:09
12. "Super Freak" - 3:24
13. "Fire And Desire" (with Teena Marie) - 7:16

Disc 2
01. "Dance Wit' Me" - 7:18
02. "Standing On The Top" (with The Temptations) - 9:55
03. "Hard To Get" - 4:06
04. "Happy" (with Teena Marie) - 5:29
05. "She Blew My Mind (69 Times)" - 4:11
06. "My Love" - 2:52
07. "U Bring The Freak Out" - 4:01
08. "Cold Blooded" - 5:56
09. "Ebony Eyes" (with Smokey Robinson) - 5:02
10. "P.I.M.P The S.I.M.P" - 4:30
11. "17" - 4:09
12. "Glow 5:40
13. "Moonchild" - 4:17
14. "Sweet And Sexy Thing" - 4:23
15. "Loosey's Rap" (with Roxanne Shante) - 3:53

Credits
Rick James (vocals, arranger, various instruments)
John McFee (guitar)
Daniel LeMelle (saxophone)
Roy Poper (trumpet)
John Ervin (trombone)
Roy Ayers (vibraphone)
Randy Dunlap, Cheryl Dunlap (background vocals)

Notes
Release Date: (June 18, 2002)
Recorded: between 1978 and 1988
Label: Motown
Genre: Funk, Soul
Producer: Rick James
Compilation producer: Harry Weinger

© 2002

The Rolling Stones - Love You Live (2CD) (1977)

"Love You Live" is a double live album by The Rolling Stones, released in 1977. The album is drawn from Tour of the Americas shows in the United States in the summer of 1975, Tour of Europe shows in 1976 and performances from the infamous El Mocambo nightclub concert venue in Toronto in 1977. It is the band's third official full-length live release and is dedicated to the memory of audio engineer Keith Harwood, who died in a drug-induced car accident shortly before the album's release.
This set has all the songs you want to hear in a Stones concert, like "Honky Tonk Women," "You Can't Always Get What You Want," and "Tumbling Dice." Disk Two begins with Chuck Berry, Howlin' Wolf, etc. stuff, like "Around and Around" and "Little Red Rooster." The sound quality and performance are a bit spotty, but they certainly are not on the last four songs: "It's Only Rock 'N Roll," "Brown Sugar," "Jumpin' Jack Flash," and "Sympathy for the Devil." What better choices to end a Stones concert can there be! The middle two are the Stones' best rockers ever, in my view, and all four give the band opportunities to open up. This was LP side four in college, and always the choice in parties and car stereos. The soloing is terrific, again, fast paced, and the band is ever so tight, everything clicking perfectly. Keith Richards and Ron Wood are fabulous on guitar, and there are blistering leads on the last three of the four songs. Billy Preston shines on keyboards. "Love You Live" is great live Stones for sure.

Track List:
Disc 1
01. "Intro: Excerpt from Fanfare for the Common Man" – 1:24
02. "Honky Tonk Women" (June 5, 1976: Les Abattoirs, Paris) - 3:19
03. "If You Can't Rock Me / Get off of My Cloud" (May 27, 1976: Earls Court, London) - 5:00
04. "Happy" (June 5, 1976: Les Abattoirs, Paris) - 2:55
05. "Hot Stuff" (June 6, 1976: Les Abattoirs, Paris) - 4:35
06. "Star Star" (June 6, 1976: Les Abattoirs, Paris) - 4:10
07. "Tumbling Dice2 (June 7, 1976: Les Abattoirs, Paris) - 4:00
08. "Fingerprint File" (June 17, 1975: Maple Leaf Gardens, Toronto) - 5:17
09. "You Gotta Move" (June 5, 1976: Les Abattoirs, Paris) - 4:19
10. "You Can't Always Get What You Want" (June 7, 1976: Les Abattoirs, Paris) - 7:42

Disc 2
01. "Mannish Boy" (March 4 or 5, 1977: El Mocambo Tavern, Toronto) - 6:28
02. "Crackin' Up" (March 4 or 5, 1977: El Mocambo Tavern, Toronto) - 5:40
03. "Little Red Rooster" (March 4 or 5, 1977: El Mocambo Tavern, Toronto) - 4:39
04. "Around and Around" (March 4 or 5, 1977: El Mocambo Tavern, Toronto) - 4:09
05. "It's Only Rock 'n Roll (But I Like It)" (June 17, 1975: Maple Leaf Gardens, Toronto) - 4:31
06. "Brown Sugar" (June 6, 1976: Les Abattoirs, Paris) - 3:11
07. "Jumpin' Jack Flash" (June 7, 1976: Les Abattoirs, Paris) - 4:03
08. "Sympathy for the Devil" (July 9, 1975: Inglewood Forum, Los Angeles) - 7:51

Released: 23 September 1977
Recorded: 1975–1976-1977
Genre: Rock
Length: 83:12
Label: Rolling Stones Records
Producer: Mick Jagger, Keith Richards

Personnel:
Mick Jagger – lead vocals, guitar, harmonica
Keith Richards – guitar and backing vocals
Charlie Watts – drums, percussion
Ronnie Wood – guitar, bass guitar, backing vocals
Bill Wyman – bass guitar
Ollie Brown – percussion
Billy Preston – piano, clavinet, and backing vocals
Ian Stewart – piano, backing vocals

Big Head Todd And The Monsters - Crimes Of Passion (2004)

Big Head Todd & the Monsters are a rock band formed in 1986 in Colorado, with Todd Park Mohr on guitar and vocals, Brian Nevin on drums and vocals and Rob Squires on bass and vocals. The band has developed a sizable live following especially in the Mountain States of the United States. They are known for their powerful live performances and unique sound.
On "Dirty Juice," the opening track from Big Head Todd & the Monsters 8th Album “Crimes Of Passion”, one has to do a double-take to make sure it's not a ZZ Top album in the player. This happens in two other places on the set as well, on "Conquistador" and "Love Transmission." No, this is not a good thing, but there is plenty of good news as well. The other eight cuts here are among the most ambitious and beautiful that Todd Park Mohr and company have ever put to tape. It is shot through the album with the beautifully woven acoustic and electric guitars, the subtle synthesized ambiences and rhythms, and the organic juxtaposed with the electronic on tracks like the streetwise, shuffling, Caribbean-kissed strut of "Beauty Queen"; the sci-fi country music that emanates from "Drought of 2013"; the shimmering soul of "Angela Dangerlove"; the driving, off-kilter funk blues of "Come On"; the wispy, late-night folksy lounge groove of "Imaginary Ships"; the paranoid, post-Boz Scaggs R&B of "ICU in Everything"; the wispy, haunting, elegiac rock of "Lost Child Astronaut"; and the drifting, lilting, poignantly wrought folk song that is "Peacemaker's Blues." In all this is a very strong record that features three tracks that seem more a nod to the ghosts of the boogie jam band that was Big Head Todd rather than having much to do with the cats who laid these other tracks down. This album gives up its secrets slowly, but the payoff is big despite the cloying big rock & roll setbacks.

Tracklist:
01. "Dirty Juice" - (4:31)
02. "Beauty Queen" - (4:35)
03. "Conquistador" - (3:50)
04. "Angela Dangerlove" - (5:20)
05. "Come On" - (2:49)
06. "Drought of 2013" - (4:18)
07. "Love Transmission" - (4:41)
08. "Imaginary Ships" - (5:24)
09. "Icu in Everything" - (4:17)
10. "Lost Child Astronaut" - (4:49)
11. "Peacemaker's Blues" - (3:07)

Release Date: February 10, 2004
Recorded at: Immersive Studios, Boulder, Colorado.
Label: Sanctuary Records
Genre: Rock / Pop
Length: 47:16
Producer: Todd Park Mohr
Audio Mixers: James Stone, Todd Park Mohr

Personnel:
Todd Park Mohr - (vocals, guitar, saxophone, keyboards);
Brian Nevin - (drums, percussion)
Rob Squires - (vocals, bass)

Rare Earth - Ma (1973)

"Ma" is the sixth studio album by rock band Rare Earth, which was released in 1973, and is written and produced by Norman Whitfield. It´s considered one of their best overall works, and features their version of "Hum Along and Dance". Rare Earth's most satisfying LP, Norman Whitfield wrote and produced all five songs. "Ma," the title track, had been done by Temptations and Undisputed Truth but nobody rocked the sucker like Rare Earth; they jam for 17:17 on the funkiest mama song ever.
 "Hum Along and Dance," first appeared on the Temptations' Psychedelic Shack; Rare Earth gives the groover and update, a rolling organ sets it off. Lead, Gil Bridges brags about his musical ability on the loud, horn dominated stomper "Big John In My Name."A haunting arrangement of "Smiling Faces Sometimes" will make you shiver. And you don't get much more sensual than the soft and lush "Come With Me," where a female simulates an orgasm that puts Donna Summers' exhibition on "Love to Love You Baby" to shame; it's the only new song on the LP, but who's quibbling, MA is da bomb!

Track List:

01. "Ma" – 17:21
02. "Big John Is My Name" (Norman Whitfield) – 4:06
03. "Smiling Faces Sometimes" (Norman Whitfield, Barrett Strong) - 6:20
04. "Hum Along and Dance" (Norman Whitfield, Barrett Strong) - 5:15
05. "Come With Me" (Norman Whitfield) - 4:30

Released: 1973
Genre: Rock
Length: 37:26
Label: Motown Records
Producer: Norman Whitfield

Personnel:
Gil Bridges – flute, saxophone, vocals
Peter Hoorelbeke – drums, percussion, lead vocals
Ray Monette – lead guitar, vocals
Mark Olson – keyboards, vocals
Mike Urso – bass, vocals
Edwin Guzman – congas, timbales

Slash´s Snakepit - Ain´t Life Grand (2000)

The second Slash's Snakepit album, "Ain't Life Grand", reigns in the blues-rock jamming of "It's Five O'Clock Somewhere" in favor of a more song-oriented approach. New vocalist Rod Jackson is a combination of '80s pop-metal bluster and Faces-era Rod Stewart, which -- with more than a touch of Aerosmith added -- is actually a pretty accurate way to describe the band as well. The new Snakepit does kick up a lot of noise as the album rushes by, and the strong chemistry between the members is immediately obvious. In fact, Slash's guitar work sounds oddly tamed, as if he's trying to subsume his playing to that of the ensemble and emphasize the full band's talents instead of his own virtuosity as a soloist. Theoretically, that's a nice concept, but in actuality, it ends up making the project sound kind of bloodless and generic. The main problem is the songwriting: it never rises above the level of solid, and too many tracks are by-the-numbers hard rock at best (and pedestrian at worst). A couple of the catchier numbers are undone by lyrical awkwardness -- "Mean Bone" starts off with an embarrassing female rap full of gold-digger clichés, while the chorus of "Serial Killer" is cringe-inducing ("Do you like the way I murder your heart?"). But even when the songs click -- like the opener "Been There Lately" and the Stonesy, horn-driven title track -- Slash's burning solo work is conspicuous in its relative absence, and often not all that memorable when it does show up. It isn't that Slash or the band don't sound committed to what they're playing; in fact, it's obvious that everyone involved genuinely loves this kind of music. It's just that since the material isn't generally that inspired or vital, it needs a certain extra spark to really come across as alive and passionate -- the sort of spark that could be supplied by instrumental fireworks, which are never really emphasized. In the end, Ain't Life Grand is still a passable, workmanlike record that will definitely appeal to fans of grimy, old-school hard rock, but since it doesn't really breathe new life into that style, it's never much more than that.

Track List:
01. "Been There Lately" - 4:28
02. "Just Like Anything" (Jack Douglas) - 4:23
03. "Shine" - 5:21
04. "Mean Bone" (Douglas) - 4:40
05. "Back to the Moment" (Jeff Paris) - 5:33
06. "Life's Sweet Drug" - 3:53
07. "Serial Killer" (Douglas) - 6:19
08. "The Truth" (Douglas) - 5:17
09. "Landslide" (Douglas) - 5:30
10. "Ain't Life Grand" - 4:54
11. "Speed Parade" - 3:52
12. "The Alien" (Douglas) - 4:27

Released: October 10, 2000
Recorded: 1999 at Ocean Way Studios and Snakepit Studios, Los Angeles, California
Genre: Hard Rock, Blues Rock
Length: 58:37
Label: Koch International
Producer: Jack Douglas

Line Up:
Slash (guitar)
Rod Jackson (vocals)
Ryan Roxie (guitar)
Johnny Griparic (bass)
Matt Laug (drums)

Additional Musicians:
Teddy Andreadis – keyboards, backing vocals
Collin Douglas – percussion
Jimmy "Z" Zavala – saxophone, harmonica
Lee Thornburg – trumpet
Jeff Paris – backing vocals
Karen Lawrence – backing vocals
Kelly Hansen – backing vocals
Kim Nail – backing vocals
Raya Beam – vocals on "Mean Bone"

Production Personnel:
Jack Douglas – production, sitar, backing vocals
Jay Messina – mixing
Jim Mitchell – additional production, engineering
Ales Olssen – engineering assistance
John Tyree – engineering assistance
Maurizio "Maui" Tiella – engineering assistance
George Marino – mastering
Greg Calbi – mastering

Rush - Grace Under Pressure (1984)

"Grace Under Pressure" was the first Rush album since 1975's Fly by Night to not be produced by Terry Brown, who was replaced by Peter Henderson (Supertramp, Paul McCartney). The change resulted in a slightly more accessible sound than its predecessor, "Signals", and marked the beginning of a period where many Rush fans feel that synths and electronics were used too prominently -- in effect pushing guitarist Alex Lifeson into the background. The album's running theme is pressure and how humans act under different kinds of pressure. In songs like "Between the Wheels" and "The Body Electric", Peart's lyrics explore the pressure put on by life as a whole. In "Afterimage", Peart describes the impressions left by a loved one that dies suddenly. One track, "Red Sector A," is notable for its allusions to The Holocaust, inspired by Geddy Lee's memories of his mother's stories about the liberation of Bergen-Belsen, where she was held prisoner. While the album's opening track "Distant Early Warning" has been interpreted as dealing with the pressure involving the aftermath of nuclear holocaust, Peart demurred in a contemporaneous interview, saying, "It's about a lot of stuff." "The Enemy Within" is part one of the "Fear" series of songs that started with part three, "Witch Hunt," on Rush's 1981 album "Moving Pictures", through part two,"The Weapon" on 1982's "Signals".

Track List:
01. "Distant Early Warning" – 4:59
02. "Afterimage" – 5:04
03. "Red Sector A" – 5:10
04. "The Enemy Within (Part I of Fear)" – 4:33
05. "The Body Electric" – 5:00
06. "Kid Gloves" – 4:18
07. "Red Lenses" – 4:42
08. "Between the Wheels" – 5:44

Released: 12 April 1984
Recorded: November 1983 - March 1984 Le Studio, Morin Heights, Quebec
Genre: Hard Rock, Progressive Rock
Length: 39:23
Label: Mercury
Produced by: Rush and Peter Henderson
Music and lyrics by: Alex Lifeson, Geddy Lee and Neil Peart

Personnel:
Geddy Lee - bass guitar (Steinberger XL-2), synthesizers (Minimoog, PPG Wave, Oberheim OB-Xa, Roland Jupiter 8), vocals
Alex Lifeson - guitars (Hentor Sportscasters), synthesizers
Neil Peart - drums (Simmons and Tama), percussion

Placebo - Meds (2006)

"Meds" is the fifth studio, released in 2006 by Placebo, an alternative rock band formed in London in 1994.
"Because I Want You", was the first UK single from the album. The first single outside of the UK was "Song to Say Goodbye". Their success has been gradual in the sense that their style and sound have progressed naturally with each album. Meds builds upon that notion while also embarking on a new phase for Placebo. Meds is their second coming. Frontman Brian Molko is no longer the glam-chic, gender-bending firestarter he once was. His songs are still angry and twisted in self-reflection and social rejection. Meds doesn't contain the rush to experiment like their previous records do. It's as bare and honest as Placebo have ever been, thanks to French producer Dimitri Tikovoi's straightforward approach in getting the band to make a bona fide rock record. There's a fresh vulnerability here and a sense of danger, too; the album's title track quickly enters this sphere. It's an obsessive moment confronting the social hypnosis and dependence of medication. The Kills' Alison Mosshart lends an anxious vocal backdrop as Placebo deliver an aggressive guitar-driven assault. Meds doesn't stop for breath until its end. Fans should be pleased with the menacing "Infra-Red" and the sexy ensnaring of "One of a Kind," two tracks that showcase Placebo's signature fiery performance style. When they're not deconstructing social expectations, Placebo's storytelling is equally powerful on the more lilting tracks. The shifty slow burn of "Space Monkey" is an epic ballad for the band. Placebo step out of their skin here. A squall of fuzzed guitars, strings, and Molko's brooding vocals strike to knock down the celebrity pedestal that creates a false human image. "Broken Promise," a duet with Michael Stipe, takes similar shape as a dramatic tale of adultery unfolds into a dark, emotional storm. Letting go of toxic relationships on "Song to Say Goodbye," a melancholic closing to Meds, brings the album full circle.

Track List:
01. "Meds" (featuring Alison "VV" Mosshart) – 2:55
02. "Infra-Red" – 3:15
03. "Drag" – 3:21
04. "Space Monkey" – 3:51
05. "Follow the Cops Back Home" – 4:39
06. "Post Blue" – 3:11
07. "Because I Want You" – 3:22
08. "Blind" – 4:01
09. "Pierrot the Clown" – 4:22
10. "Broken Promise" (featuring Michael Stipe) – 4:20
11."One of a Kind" – 3:20
12. "In the Cold Light of Morning" – 3:52
13. "Song to Say Goodbye" – 3:36

Release Date: March 13, 2006
Recorded: December 2005 – January 2006 RAK Studios, London
Genre: Alternative Rock, Post-Punk Revival
Length: 48:22
Label: Virgin
Producer: Dimitri Tikovoi
Arranged By [Strings]: - Fiona Brice
Engineer: James Brown
Engineer [Assistant]: Dan Porter, Mark Neary, Raj Das, Richard Woodcraft, Rob Smith, Steve Mustarde
Mastered By: Tim Young
Mixed By: David Bascombe, Flood, James Brown
Producer: Dimitri Tikovoï
Written By: Placebo

Personnel:
Brian Molko – lead vocals, guitar, keyboards, harmonica, saxophone (since 1994)
Stefan Olsdal – bass guitar, guitar, keyboards, synthesizers, piano, backing vocals (since 1994)
Steve Hewitt – drums, percussion (1994; 1996–2007)
Cello - Helen Rathbone, Ian Burge, Sarah Willson, Vicky Matthews
Viola - Emma Owens, Fiona Griffiths, Katherine Shave, Reiad Ceibah
Violin - Dave Williams, Deborah White, Ellie Stanford, Gita Langley, Jessie Murphy, Krista Caspersz, Lucy Wilkins, Natalia Bonner, Sarah Button, Tom Piggot-Smith

Cuby + Blizzards - Hotel Grolloo (2000)

De 35 jarige jubileum-cd "Hotel Grolloo" is opgenomen in het Bruincafé "De Amer" in Amen. De opnamen werden gemaakt door Jan Schuurman en John Sonneveld. De laatste deed ook de productie. 

De eindmix werd gedaan door George Kooymans in zijn Laguna Studio in België. Het is een heel bijzondere cd door de medewerking van tal van collega’s. 

Bennie Jolink van Normaal, Tineke Schoenmaker van Barrelhouse, Huub van der Lubbe van De Dijk, Daniël Lohues van Skik en Barry Hay van The Golden Earring, allemaal waren ze van de partij.
Vier nieuwe nummers zijn van de hand van Muskee.Opnieuw een nummer over de Indianen in Noord-Amerika, "I’m wandering where the Indians gone". Blues is minderheidsmuziek, ontstaan uit onderdrukking en verzet en daardoor zeer geschikt om de problematiek van de Indianen weer te geven. 

De bluesmuziek van Harry Muskee kenmerkt zich ook door het aan de kaak stellen van misstanden. In zijn teksten komt hij op voor de kleine man en de verdrukten. In de jaren zestig koos Harry voor de blues. 

Ook al heeft de muzikale vorm zich ontwikkeld, in de kern is hij de blues trouw gebleven. In "Last minute flight" zingt hij dat als je eenmaal een keuze hebt gemaakt, er geen weg terug is. 

Zo rechtlijnig is Muskee zelf ook. Een ander nummer van de cd is "Once in a lifetime", een liefdesliedje uit 1959, waarin Harry zijn gevoelige kant toont. 

Een bluescarrière zonder drank bestaat niet. Ook Harry kent de verleidingen en gevaren van de 'booze'. De strijd, wie de sterkste is. Een terugkerend thema in zijn werk. Zoals in "Liquor blues" op "Hotel Grolloo".

Track List:

01. "Another Day, Another Road" (met Barry Hay) (Muskee,Brood) - 3:57
02. "Appleknockers Flophouse" (met Tineke Schoemakers (Muskee,Gelling)- 3:13
03. "Last Minute Flight" (met Daniël Lohues) (Muskee,Deinum,Java,LaFaille,v/d Vegt) - 8:49
04. "Nobody in Town" (met Huub van der Lubbe) (v/d Lubbe,Arzbach) - 4:56
05. "Just for Fun" (met Bennie Jolink) (Muskee,Gelling) - 3:44
06. "Somebody Will Know Someday" (met Tineke Schoemaker) (Muskee,Gelling) - 5:59
07. "Wondering Where the Indians Have Gone" (met Sander Schuurman) (Muskee,Deinum,Java,LaFaille,v/d Vegt) - 4:52
08. "Window of My Eyes" (met Huub van der Lubbe) (Muskee,Gelling,Brood) - 3:41
09. "Liquor Blues" (met Daniël Lohues) (Muskee,Deinum,Java,LaFaille,v/d Vegt) - 4:30
10. "Going Home" (met Bennie Jolink) (Muskee,Gelling) - 4:08
11. "So Many Roads" (met Daniël Lohues) (Muskee) - 4:27
12. "Once in a Lifetime" (met George Kooijman) (Muskee,Deinum,Java,LaFaille,v/d Vegt) - 3:53

Released: 2000
Recorded at: Bruincafé "De Amer" in Amen
Label: Munich Records
Genre: Blues
Length: 51:17

Personnel:
Harry Muskee - zang
Helmig v.d. Vegt - keyboards
Hans Lafaille - drums
Herman Deinum - bass
Erwin Java - gitaar
John Lagrand - mondharmonica

Guest Members:
Barry Hay - zang
Tineke Schoemaker - zang
Daniël Lohues - gitaar, ritmegitaar
Huub van der Lubbe - zang
Bennie Jolink - zang, slidegitaar
Peter van Soest - trompet
Sander Schuurman - mondharmonica
George Kooymans - ritmegitaar

Carlos Santana - Havana Moon (1983)

"Havana Moon" is a 1983 album by Carlos Santana released as a solo project. It features covers of Bo Diddley and Chuck Berry songs and performances by Booker T & the MGs, Willie Nelson, and The Fabulous Thunderbirds, and also Carlos' father Jose singing "Vereda Tropical", a song Carlos had first heard when his father was serenading his mother following an argument.
The third Carlos Santana solo album marks a surprising turn toward 1950s rock & roll and Tex-Mex, with covers such as Bo Diddley's "Who Do You Love" and Chuck Berry's title song. Produced by veteran R&B producers Jerry Wexler and Barry Beckett, the album features an eclectic mix of sidemen, including Booker T. Jones of Booker T & the MG's, Willie Nelson, and the Fabulous Thunderbirds. Havana Moon is a light effort, but it's one of Santana's most enjoyable albums, which may explain why it was also the best-selling Santana album outside the group releases in ten years. The first two tracks are more of a throwback to the almost 50's noirish style of rock and roll blues. There's even a faint undertone of Cajun as well. Was Santana trying to cover different eras or genres? I'm glad the Fabulous Thunderbirds as well as Jimmie Vaughan were included to pull off this feat with finesse.Yet, they seem out of place at times. Tracks like Ecuador, Tale of Kilimanjaro, and the last tracks are defintiely the sounds of Carlos Santana (trademark sound) ! They All Went to Mexico (vocals by Willie Nelson) has a Texas Tornadoes feel to it-very sharp, very nice ! The mood of the album is very experimental and raw at times.

Track List:
01. "Watch Your Step" (Phelps, Phelps) – 4:01
02. "Lightnin'" (Jones, Santana) – 3:51
03. "Who Do You Love?" (McDaniel) – 2:55
04. "Mudbone" (Santana) – 5:51
05. "One with You" (Jones) – 5:14
06. "Ecuador" (Santana) – 1:10
07. "Tales of Kilimanjaro" (Pasqua, Peraza, Rekow, Santana) – 4:50
08. "Havana Moon" (Berry) – 4:09
09. "Daughter of the Night" (Huss, Rickfors) – 4:18
10. "They All Went to Mexico" (Brown) – 4:47
11. "Vereda Tropical" (Curiel) – 4:57

Released: April 1983
Label: CBS
Genre: Latin Rock, Blues-Rock
Length: 46:08
Produced By: Jerry Wexler, Barry Beckett
Engineered By: Jim Gaines
Mastered By: George Horn

Personnel:
Carlos Santana — guitar, percussion, backing vocals
Willie Nelson, Greg Walker, Roberto Moreno, Candelario Lopez — vocals
Alex Ligertwood — percussion, vocals
Cherline Hall — backing vocals
Jose Santana — violin, vocals
Armando Peraza — percussion, bongos, vocals
Graham Lear — percussion, drums
Raul Rekow — percussion, conga, backing vocals
David Hood, Keith Ferguson, Luis Gonsalez — bass
David Margen — bass, percussion
Fran Christina — drums
Flaco Jimenez — accordion
Booker T. Jones — keyboards, backing vocals
Richard Baker, Barry Beckett — keyboards
Alan Pasqua — keyboards, vocals
Jose Salcedo — trombone, trumpet
Chris Solberg — keyboards, guitar, vocals
Tramaine Hawkins, Stephen Kupka, Marc Russo, Lanette Stevens — horn
Jimmie Vaughan — guitar
Orestes Vilató — flute, percussion, timbales, backing vocals
Kim Wilson — harmonica, backing vocals
Greg Adams — strings, horn
Gabriel Arias, Francisco Coronado, Raymundo Coronado — violin
Oscar Chavez — trombone, trumpet
Mic Gillette — trumpet, horn
Emilio Castillo — horn, backing vocals

Ry Cooder - My Name Is Buddy (2007)

"My Name Is Buddy" is a social-political concept album by Ry Cooder. Cooder has described it as the second in a trilogy that began with "Chávez Ravine" and concluded with "I, Flathead". The album is packaged in a small booklet that includes a brief story and drawing to accompany each song. Both the songs and the stories relate tales from the viewpoint of the characters, Buddy Red Cat, Lefty Mouse, and Reverend Tom Toad. The liner notes ask listeners/readers to join them as they "Journey through time and space in days of labor, big bosses, farm failures, strikes, company cops, sundown towns, hobos, and trains... the America of yesteryear."
On "My Name Is Buddy", Ry Cooder revisits, in a new set of original material, the sound and feeling of the "dust bowl songs" he first explored more than three decades ago on such groundbreaking albums as his self-titled 1970 debut and 1971's "In The Purple Valley". In fact, he's joined by old friends like pianist Van Dyke Parks and drummer Jim Keltner who were with him at the start of his extraordinary, ultimately globe-spanning musical odyssey, which has yielded him six Grammy Awards to date, several more nominations, and perennial acclaim. My Name Is Buddy is also a journey, a phantasmagorical rendering in music, words and pictures of the travels of three unlikely cohorts - Buddy Red Cat, Lefty Mouse and Reverend Tom Toad - as they meander through the west "in the days of labor, big bosses, farm failures, strikes, company cops, sundown towns, hobos and trains...the America of yesteryear." For this allegorical tale, Cooder marshals all his remarkable skills as a producer, arranger, songwriter, soundtrack composer and musicologist. (The Christian Science Monitor recently dubbed him "a modern-day Alan Lomax.") My Name Is Buddy recalls Woody Guthrie's Bound for Glory - that is, if it had been enacted by the articulate animal characters of Walt Kelly's classic comic Pogo. Cooder conjures up the dark shadows of an earlier time to wryly comment on the political and social issues of the present. As back-story to his songs, Cooder has written short stories for each one and they're accompanied by evocative illustrations from noted San Antonio-based painter and muralist Vincent Valdez, all of which are included in a specially designed package.

Track List:
01. "Suitcase in My Hand" (Ry Cooder) - 2:54
02. "Cat and Mouse" (Ry Cooder) - 5:02
03. "Strike!" (Ry Cooder) - 5:07
04. "J. Edgar" (Ry Cooder) - 2:37
05. "Footprints in the Snow" (Traditional with new lyrics by Ry Cooder) - 3:07
06. "Sundown Town" (Ry Cooder, Joachim Cooder) - 2:57
07. "Green Dog" (Ry Cooder) - 7:33
08. "The Dying Truck Driver" (Ry Cooder) - 4:56
09. "Christmas in Southgate" (Ry Cooder) - 3:27
10. "Hank Williams" (Ry Cooder) - 4:09
11. "Red Cat Till I Die" (Ry Cooder) - 3:08
12. "Three Chords and the Truth" (Ry Cooder, Joachim Cooder) - 5:02
13. "My Name Is Buddy" (Ry Cooder) 3:12
14. "One Cat, One Vote, One Beer" (Ry Cooder, Joachim Cooder, Jared Smith) - 4:15
15. "Cardboard Avenue" (Ry Cooder) - 4:33
16. "Farm Girl" (Ry Cooder) - 3:54
17. "There's a Bright Side Somewhere" (Traditional with new lyrics by Ry Cooder) - 4:49

Released: March 6, 2007
Genre: Americana, Country Colk, Bluegrass, Blues, Honky Tonk
Label: Nonesuch
Length: 1:10:42
Produced By: Ry Cooder
Production Assistant: Aisha Ayers
Recorded at: Sound City Studios, Van Nuys, CA, Orange Stella Studio, Santa Monica, CA, Beacon, NY & Chateau Martín, Los Angeles, CA
Additional Recording By: Sunny D. Levine at Orange Stella Studio, Santa Monica, California and in Beacon, New York; Martin Pradler at Chateau Martin, Los Angeles
Mixded at: Don Smith and Martin Pradler at Sound City Studios
Mastering By: Martin Pradler

Personnel:
Ry Cooder - Guitar, Vocals
Juliette Commagere, Roland White, Bobby King , Terry Evans - Vocals
Buddy Red Cat - Guitar, Vocals
Roland White - Mandolin
Flaco Jiménez - Accordion
René Camacho, Mike Elizondo - Bass
Joachim Cooder, Jim Keltner - Drums
Mike Seeger - Fiddle
Van Dyke Parks, Jacky Terrasson - Piano
Paddy Moloney - Tin Whistle, Bagpipes
Jon Hassell - Trumpet
Lefty Mouse - Fiddle
The Reverend Tom Toad - Tambourine
Stefan Harris - Vibraphone, Marimba

The Havalinas - The Havalinas (1990)

The Havalinas formed by LEDFOOT a.k.a. Tim Scott McConnell In 1989, with Smutty Smiff (Rockats, 13kats) and Chalo Quitana (Cruzados, Bob Dylan, Social Distortion). The band signed to Elektra after a bidding war between the major companies and released "The Havalinas" in 1990. They toured around USA extensively and did support gigs for Bob Dylan, Chris Isaak and Tina Turner. The band also made Tim well known in Europe as they did 3 tours around Europe. In 1993 Tim Scott moved to Norway and the bands only release on Electra became their first album.
Rejoining another former member of the Rockats (British stand-up bassist Smutty Smith), New York singer/guitarist Tim Scott McConnell ended (or at least shelved) his trend-jumping solo career by forming a tough and dusty California trio with ex-Plugz/Cruzados drummer Chalo Quintana. A selfconscious cowboy rock album played on acoustic instruments, The Havalinas (deftly produced by Don Gehman, who does much the same work for John Mellencamp) sets McConnell's any-style-in-a-storm songs into an atmospheric and energetic , but ultimately unconvincing campfire stew.

Track List:
01. "High Hopes" (Bruce Springsteen) - 3:26
02. "Not A Lot To Ask For" - 3:25
03. "Fill 'Em Up!" - 3:32
04. "There Was This Mother" - 4:18
05. "Jesus And Johnny" - 4:10
06. "Sticks And Stones" - 3:14
07. "Don't Feel Bad" - 4:02
08. "Good For Nothin' Rag" - 2:48
09. "Inexperienced" - 3:08
10. "Another Out" - 3:59
11. "Why Didn't I?" - 3:32

Release Date: February 8, 1990
Label: Elektra / Wea
Genre: Folk Rock
Length: 39:23
Produced By: Don Gehmen

Personnel:
Smutty Smith - Bass
Chalo Quintana - Drums, Backing Vocals, Percussion
Tim Scott - Guitar, Harmonica, Mandolin, Bouzouki, Fiddle, Banjo, Keyboards, Ukulele