March 29, 2014

Henry Gross - Show Me To The Stage (1977)

After having a big hit record with Shannon, Lifesong/A&M gave Henry Gross an elaborate packaging with a slick cardboard inner sleeve to house the album, lyric sheet/facial photo inside, and a risqué LP cover featuring a naked woman under a sheet while Henry Gross gets his guitar and leaves her...for the stage. The dorky John Denver-style image on his 1972 self-titled ABC release for Jimmy Miller Productions had a more humble and earthly feel but, despite the self-indulgence obvious just four years later, there is some strong pop here, showing the former Sha-Na-Na guitarist to be one of the best products from the stable of producers Cashman and West. That duo provide some backing vocals, but only put their production skills on an interesting cover of the Beatles' "Help." The rest of the project is on Gross' watch, and though there are deficiencies on side one, the album closes with a strong selection of summery numbers that are well-written and played. The title track begins the festivities with some fake applause and a riff borrowing from Loggins & Messina's 1972 hit "Your Mama Don't Dance." He doesn't borrow from Kenny Loggins and Jim Messina on "Painting My Love Song," though: he outright steals from their "Thinking of You" hit from 1973. The Bellamy Brothers' early-1976 record "Let Your Love Flow" gets nicked for both "Painting My Love Song" and "Come Along," while Carole King's "Sweet Seasons" also seems to slip in and out of the melody and sound. Side one really needed a cover song like "Help" to keep whatever listeners who loved "Shannon" tuned in. Perhaps the philosophy expressed in that tune was in the back of his mind while trying to capitalize on his radio success. Gross does an admirable and slick job of crafting a more coherent and practical set of sounds on side two while mixing strong elements of a band he opened for, the Beach Boys, throughout. His voice, despite being quirky, is warm in that John Denver kind of way, and "What a Sound" certainly gives Brian Wilson his due. For those who felt the Beach Boys beautiful voices sometimes overshadowed and overpowered the pretty music, Gross emphasizes the band and lets the barbershop quartet blend in, pianos, drums, and guitars getting their place up in the mix. The harpsichord-type sounds envelope "I Can't Believe," while the singer nicely quiets down on "Hideaway" and "If We Tie Our Ships Together," though "Showboat" goes back to side one's blatant imitation of other artists, this time honoring or victimizing Seals & Crofts. Maybe that's something Henry Gross learned in Sha-Na-Na, but what eludes Show Me to the Stage is a powerful hit single, so you'll find no sequel to "Shannon" here.


01.  "Show Me to the Stage"  (Henry Gross)  - 4:57  
02.  "String of Hearts"  (Henry Gross)  - 3:14 
03.  "Painting My Love Songs"  (Henry Gross)  - 2:57
04.  "Come Along"  (Henry Gross)  - 3:44  
05.  "Help!"  (John Lennon / Paul McCartney)  - 3:01  
06.  "What a Sound"  (Henry Gross)  - 3:40  
07.  "I Can't Believe"  (Henry Gross)  - 4:15  
08.  "Hideaway"  (Henry Gross)  - 3:04  
09.  "Showboat"  (Henry Gross)  - 3:16  
10.  "If We Tie Our Ships Together"  (Henry Gross)  - 5:45  


Credits
Henry Gross - Guitar, Producer, Vocals
Rick Marotta - Drums
Warren Nichols - Bass
Don Payne - Bass
Allan Schwartzberg - Drums
Philip Aaberg - Keyboards
Elliot Cahn - Vocals (Background)
Terry Cashman - Vocals (Background)
Tommy West - Vocals (Background)
Marty Nelson - Vocals (Background)
George Devens - Percussion
Will Lee - Bass
Tony Levin - Bass
Joe Brescio - Mastering
Shelly Yakus - Engineer
Producer(s) – Henry Gross, Terry Cashman, Tommy West
Executive Producer – Terry Cashman, Tommy West


Notes
George Brown - Cover Design
Genre - Soft Rock
Duration Time - 37:53
© 1977 Lifesong Records

Guadalcanal Diary - Flip-Flop (1989)

Guadalcanal Diary is an alternative jangle pop group. They originated in Marietta, Georgia, a suburb of Atlanta, but they were often billed as being "from Athens, Georgia" in the early 1980s. The band formed in 1981 and disbanded in 1989.
“Flip-Flop” is the fourth and final studio album released in 1989 on Elektra Records.
Guadalcanal Diary's final album is simultaneously their most stylistically consistent and their least effective. Most of the songs on this release uneasily mix walloping rock, arena stylings, and ringing R.E.M. touches; most have clearer, somehow less effective lyrics, some of which (most notably in "The Likes of You") are riddled with cliches. The temptation to think that the band is going for chart success in a big way is very strong here. A few off-style excursions can be found, all but one showing strong ties to songs on earlier albums. "Ten Laws" has the slow, ominous feel of "Spirit Train." "...Vista" mixes musical elements of "Country Club Gun" and "T.R.O.U.B.L.E." in an uneasy alliance with nonsense lyrics. And "Fade Out" (probably the album's best track) is a further excursion into paisley-period Beatles that recalls "Lips of Steel." The one surprise here is the power-pop selection "Always Saturday." A number of the songs on this release have sour, angry lyrics excoriating such things as out-of-control drunks ("Whiskey Talk") and women both snooty ("The Likes of You") and vacuous ("Pretty Is as Pretty Does"). In short, the group seems to be stagnating. Fans of this band will likely find this release to be a letdown from earlier efforts.


01.  "Look Up!"  (Attaway)  - 2:33
02.  "Always Saturday"  (Attaway)  - 4:15
03.  "The Likes of You"  (Poe)  - 3:06
04.  "Barometer"  (Attaway)  - 4:07
05.  "Happy Home"  (Poe)  - 2:53
06.  "Whiskey Talk"  (Walls, Attaway)  - 3:36
07.  "Pretty Is As Pretty Does"  (Poe)  - 4:08
08.  "Everything But Good Luck"  (Poe)  - 2:53
09.  "Ten Laws"  (Walls, Attaway)  - 3:44
10.  "Fade Out"  (Poe, Attaway)  - 4:59
11.  "...Vista"  (Attaway, Crowe)  - 3:05

Credits
Murray Attaway - Vocals, Guitar
John Poe - Drums
Jeff Walls - Guitar
Rhett Crowe - Bass
Producer – Don Dixon
Engineer – Mark Williams 
Mastered By – Greg Calbi

Notes
Photography – Terry Allen
Artwork [Cover Art] – David Palmer
Duration 39:20
Genre - Alternative Rock
© 1989 Elektra Records

March 27, 2014

Drive Like Maria - Elmwood (2009)

Drive Like Maria is een Belgisch-Nederlandse hardrockband (beïnvloed door stijlen als Stoner Rock, Blues Rock en Rock & Roll) die debuteren in 2005.
Met enkel nog maar een demo op zak lukt het Drive Like Maria al om een toer te regelen door Noord-Amerika.
Hun debuutalbum “Elmwood”, vernoemd naar de plek in Dallas, Texas waar John Congleton (Black Mountain, The Roots) de plaat mixte en produceerde. Het Nederlands/Belgische drietal heeft als blikvangers de beschikking over de sterke drummer annex zanger Bjorn Awouters en de prima scheurgitaar spelende Nitzan Hoffmann. En zoals het bassisten past, bast Robin van Saaze zijn partijen stoer en strak.
“Elmwood” klinkt gelukkig niet al te zeer productioneel bijgeschaafd, zoals je dat zou verwachten bij het rafelige muzikale karakter. De invloed van Queens of the Stone Age, Led Zeppelin en Triggerfinger moge duidelijk zijn. Stoere rocksongs als 'I'm on a Train' en 'License to Kill' zijn uiterst geschikte deuntjes bij een road trip over lange, uitgestrekte wegen langs statige cactussen en kurkdroge, woestijnachtige steppen. En dit liefst in een oude, benzinezuipende Amerikaanse slee. Maar het is niet alleen maar stonerrock wat de klok slaat. Af en toe laat de band het pedaal ook even los, zoals in het frisse 'Sure Enough'. In 'Die a Little More' komen zelfs de bluesgitaren voorbij. Verrassender dan dat is het feit dat in dat nummer niemand minder dan de Amerikaanse singer-songwriter Janis Ian meezingt. Hoffmann benaderde haar via email, en ze ging tot grote verbazing van de band in op hun uitnodiging, mede omdat ze overtuigd was van de kwaliteiten van de band. En dat mag geen wonder heten, want deze band bezit onmiskenbaar een flinke dosis talent.   http://www.bing.com/translator


01.  "So"  - 2:53 
02.  "I'm On A Train"  - 3:40 
03.  "Talk To Me"  - 3:49 
04.  "Sure Enough" feat. Janis Ian  - 3:39 
05.  "Here Comes The Night"  - 3:29 
06.  "Die A Little More"  feat. Janis Ian  - 4:26 
07.  "King Of My Town"  - 3:12 
08.  "Leave This Town"  - 4:23 
09.  "Elmwood 6h25 / Born On The 4th Of July"  - 3:28 
10.  "License To Kill"  - 3:20 
11.  "Fistful Of Bananas"  - 3:15


Credits
Vocals, Drums, Guitar – Bjorn Awouters
Bass – Robin Van Saaze
Guitar – Nitzan Hoffmann
Drums – Bram van den Berg
Mastered By – Alan Douches
Mixed By – John Congleton
Engineer – Bjorn Awouters, Nitzan Hoffmann
Photography – Kenn Verstraeten (Genthology)
Producer – Bjorn Awouters, Nitzan Hoffmann
Recorded By – Bjorn Awouters, Brandon Bell, Nitzan Hoffmann
Written-By – Bjorn Awouters, Joeffrey Claeys

Notes
Produced, recorded & engineered by Nitzan Hoffmann and Bjorn Awouters at ZooStudios, Hasselt BE.
Vocals on 'Die a little more' & 'Sure enough' recorded by Brandon Bell at Minutia Studio, Nashville TN. Additional guitar on 'So' recorded at Genious Collective Studio, Brooklyn NY.
Artwork By – Marco Simoni, Morgan Blair & Drive Like Maria
Mixed by John Congleton at Elmwood, Dallas TX.
Mastered by Alan Douches at West West Side Music, New Windsor NY.
Genre - Garage Rock, Hard Rock, Stoner Rock
Duration Time - 39:34
© 2009 Play It Again Sam [PIAS]

Elvis Presley - The Home Recordings (1999)

Here's one for the cult of “Elvis Presley: 22 Home Recordings” (15 previously unreleased) of Presley and pals sitting around the piano and belting out favorites. The sound quality is often poor, but, as the notes say, "priority has been given to historic content." The historic content, besides the fact that it's Presley, is the inclusion of many songs Presley did not otherwise record, and the opportunity to hear the King in informal settings singing alone and in harmony with Red West, Charlie Hodge, and others. If you are fascinated by every detail of his life, then you will find this to be a rare and precious glimpse at the private Presley. If you are a more casual fan hoping for raw or unproduced rock & roll, the spirituals and pop ballads that comprise the majority of the tracks will be a disappointment.
This is a compilation of home recordings from 1956-66, two-thirds of which is previously unreleased. Elvis Presley is undoubtedly the artist with the largest posthumous catalog in the world. In addition to the countless recordings he made during his long, prolific career, countless repackagings of old material and the occasional bit of previously unreleased material appeared after his death. By the '90s, the bottom of the barrel had been scraped definitively dry. That's what makes THE HOME RECORDINGS such an event in the world of Elvis. True to its title, this release contains '50s and '60s recordings of Elvis just hanging around at home banging out his favorite tunes on the piano, occasionally accompanied by friends. Many of the performances are off the cuff, with Elvis frequently cutting up with his pals or forgetting lyrics; but it's a treat to hear his majestic voice in such a spontaneous, intimate setting. The song selection everything from "Mona Lisa" and "Tennessee Waltz" to "When the Saints Go Marching In" speaks volumes about both Elvis' roots and the family tree of rock & roll. Rare informal recordings & demos from the period of 1956 through 1966. 22 tracks.


01.  "When the Saints Go Marching In" (James Black, Traditional)  - 1:23  
02.  "I Understand (Just How You Feel)" (Pat Best)  - 2:12  
03.  "I Asked the Lord" (Duncan, John Lange)  - 1:44  
04.  "I'm Beginning to Forget You" (Willie Phelps)  - 2:19  
05.  "Mona Lisa" (Ray Evans, Jay Livingston)  - 2:29   
06.  "Hands Off" (Priscilla Bowman, Jay McShann)  - 1:01    
07.  "Make Believe" (Oscar Hammerstein II, Jerome Kern, Jimmy Work)  - 1:21  
08.  "If I Loved You" (Oscar Hammerstein II, Richard Rodgers)  - 1:49  
09.  "What Now, My Love?" (Gilbert Bécaud, Carl Sigman)  - 2:47  
10.  "Tumblin' Tumbleweeds" (Bob Nolan)  - 4:55  
11.  "San Antonio Rose" (Bob Wills)  - 1:29  
12.  "Tennessee Waltz" (Pee Wee King, Redd Stewart)  - 3:02  
13.  "Show Me Thy Ways, O Lord" (Hazel Shade)  - 2:35  
14.  "After Loving You" (Janet Lantz, Johnny Lantz, Eddie Miller)  - 2:27  
15.  "I've Been Blue" (Red West)  - 0:54  
16.  "Mary Lou Brown" (Red West)  - 2:28  
17.  "It's No Fun Being Lonely" (Red West)  - 1:37   
18.  "Suppose" (Sylvia Dee, George Goehring, Greg Goehring)  - 3:01  
19.  "Indescribably Blue" (Darrell Glenn)  - 2:49  
20.  "Write to Me from Naples" (Alex Alstone, Jimmy Kennedy)  - 2:39  
21.  "My Heart Cries for You" (Percy Faith, Carl Sigman)  - 1:50  
22.  "Dark Moon" (Ned Miller)  - 2:16 


Notes
Release Date - Mar 09, 1999
Compilation producers - Mikael Jorgensen, Roger Semon
Liner notes by - Ernst Jorgensen and Colin Escott
Liner Note Authors - Colin Escott, Ernst Mikael Jorgensen
Genre - Pop, Rock & Roll, Ballad
Duration Time - 49 minutes
© 1999 RCA Records

March 26, 2014

Golden Earring - Millbrook U.S.A. (2003)

“Millbrook U.S.A.” is an album by Dutch hard rock band Golden Earring, released in 2003. It was named after Millbrook, New York, where the band stayed to record the album. It´s a refreshing album, return to basics, just good old classic rock. The Veteran Dutch Band Returns in 2003 with their 31st Album.
This album, as the title says has been recorded in the states and you can really feel it. There's that country/folk feel add to the rocking usual Golden sound. A mix of rocking folk songs and good old hard rock.Some riffs even bring us back to some of their early works (Buddy Joe, Back Home...). No filler tracks, excellent performance from A to Z. A little bit of slide guitar, the usual complaints of Kooymans as co-singer, a blasting rythm section, and last but not least no synths or horns. The excellent opening riff to Skyscraper sounds like AC/DC, and the guitar playing is fantastic. Better Off Dead is a hard rocker about wasting your life being a hooker, and Hammer Of Love features some harmonica playing. I have to say that Hammer Of Love is a good song but is one of those that is better performed live. The Thief is a slow acoustic, spanish flavored song that was born at the last second when the American fan Dan Lynch's (who was invited by the band to visit and film their studio videos) wife had her car stolen back in Masschusettes. Kingfisher is a threatening rocker about a guy who's drunk on Kingfisher and is hallucinating in the night. Albino Moon, the big hit from the album, is a very catchy, fast paced song with a western flair. The Last frontier Hotel was made in memory of The Who's John Entwistle. It's a beautiful song sung by lead guitarist George Kooymans and I especsially love the choir singing at the end. All in all, Millbrook USA contains 14 tracks, many of which are now immortal Earring classics.
The Cover Art Looks Typically Dutch, with a Windmill and Typical Dutch Blue Etchings


01.  "The Hammer of Love"  (Barry Hay, George Kooymans)  - 3:46
02.  "Albino Moon"  (Barry Hay, George Kooymans)  - 3:54
03.  "Skyscraper Hell of a Town"  (Barry Hay, George Kooymans)  - 4:18
04.  "A Sound I Never Heard"  (Frank Carillo, Kooymans)  - 4:45
05.  "Better Off Dead"  (Carillo, Kooymans)  - 3:55
06.  "Colourblind"  (Barry Hay, George Kooymans)  - 4:10
07.  "On a Night Like You"  (Barry Hay, George Kooymans)  - 3:51
08.  "Kingfisher"  (Barry Hay, George Kooymans)  - 5:19
09.  "Coming in Going Out"  (Carillo, Hay, Kooymans)  - 3:08
10.  "The Thief"  (Carillo, Hay, Kooymans)  - 3:46
11.  "Beautiful Blue"  (Barry Hay, George Kooymans)  - 4:10
12.  "Love Is a Loser (When Lust Comes Around)"  (Barry Hay, George Kooymans)  - 4:21
13.  "The Last Frontier Hotel"  (Barry Hay, George Kooymans)  - 3:39

Credits
George Kooymans - guitar, vocals
Rinus Gerritsen - synthesizer, harmonica, bass, harmonium, Hammond organ, grand piano
Barry Hay - vocals
Cesar Zuiderwijk - drums
Frank Carillo - dulcimer, harmonium, background vocals, tamboura, slide guitar, laud
Birgit Lewis Singers - choir, chorus
Engineer - Chris Cubeta
Mixed By, Mastered By - Paul Orofino
Producer - Golden Earring

Notes
Photography By – Gerard Wessel
Phonographic Copyright (p) – Golden Earring Benelux BV
Marketed By – Universal Music
Recorded at – Millbrook Studios, Millbrook USA
Genre - Rock
Duration Time - 53:05
© 2003 Universal Records Label

Daniel Lanois - Bella Donna (2005)

“Belladonna” is a 2005 studio album by the Canadian singer-songwriter and producer Daniel Lanois who, according to his website, took the techniques he developed with Brian Eno and went on to produce career albums for Bob Dylan, Peter Gabriel, and Emmylou Harris. This journey comes full circle on “Belladonna”, an instrumental record that captures the often tense emotional dynamics of Eno's pioneering releases. Dense textures evolve into delicate Mexican melodies, capturing the disquieting serenity of American southwest landscapes. This is Lanois' self-proclaimed defining moment. Inspired by a trip to Mexico, Belladonna sounds technically flawless-- every marimba strike and fret run has a specific texture that's almost miniaturist in its realistic detail-- but it's all in service to vocal-less songs that are ponderous and dull, whose strict adherence to an overriding motif hems them in.
“Belladonna” refers to the herb Atropa belladonna, or deadly nightshade, whose poison results in, among other symptoms, total loss of voice which makes it a particularly apt title for an album of instrumentals. The overall scheme is almost soundtrack-like in nature, or rather like a nature soundtrack. Rumbling feedback on opener "Two Worlds" suggests storms on the horizon, time-delay shots of clouds morphing rapidly past New Agey mood scenes conveying the passage of time or the amorality of an arid desert floor. The songs that follow take a similar tack, and song titles refer to south-of-the-border locales or fauna "Oaxaca", "Agave", "Desert Rose", "Todos Santos" giving specificity to the vague evocations of the music. For better or worse, such earthly signposts work to ground the music's spacey ambience. Lanois communicates this ethereality mostly through his pedal steel, which recalls Apollo: Atmospheres and Soundtracks, his 1983 collaboration with Eno. Lanois manages to coax some lovely textures and melodies out of the instrument, as on the florid notes of "Desert Rose" and "Carla", but typically it gets lost among the other elements, proving the least compelling element on the album. As a result, the songs often fold into one another, distinguishable only by inspired flourishes like the reggae rhythms of "Frozen", the Mariachi horns on "Agave" and Brad Mehldau's sparkling keyboard melodies on "Sketches". Lanois is aiming for a kind of ascetic aesthetic, with each song a sort of musical haiku: concise, disciplined, sublime. But on “Belladonna” less is not more, but merely much less. The album is so stuffy and self-serious that it practically demands your respect and admiration.
One track on the album, "The Deadly Nightshade", had earlier been released on a 1996 album by Geoffrey Oryema as "LPJ Christine", although the version on “Belladonna” is without Oryema's vocals.


01. "Two Worlds"  - 2:03
02. "Sketches"  - 4:24
03. "Oaxaca"  - 2:50
04. "Agave"  - 1:59
05. "Telco"  - 3:34
06. "Desert Rose"  - 1:52
07. "Carla"  - 2:02
08. "The Deadly Nightshade"  - 4:06
09. "Dusty"  - 1:39
10. "Frozen"  - 3:17
11. "Panorama"  - 3:01
12. "Flametop Green"  - 2:27
13. "Todos Santos"  - 5:32

Credits
Daniel Lanois - pedal steel guitar
Brad Mehldau - piano
Brian Blade - drums
Aaron Embry
Bill Dillon
Daryl Johnson
Gilbert Castellanos
Malcolm Burn,
Michael Desson
Victor Indrizzo
Producer - Daniel Lanois

Notes
Audio Mixer: Adam Samuels Mojo (Publisher)
Photographers: Margaret Marissen; Jennifer Tipoulow; Malcolm Burn.
Lacquer Cut By – RM
Lacquer Cut At – Capitol Studios
Pressed By – Rainbo Records
Genre - Ambient, Experimental
Duration Time - 36:46
© 2005 Anti, Inc. Records

Bill Wyman's Rhythm Kings - Struttin' Our Stuff (1997)

In the sixteen years it took for bassist Bill Wyman to issue a follow up to his 1982 self-titled release, a lot had happened, most notably his resignation from one of the greatest all-time rock bands, the Rolling Stones. “Struttin' Our Stuff” was the band's debut album and is packed with lively numbers that capture the spirit of the Blues from different eras.
For this 1998 release, “Struttin´ Our Stuff”, this ex-Stone recruits quite an impressive supporting cast of players (dubbed 'The Rhythm Kings'). Among the dozen tracks are jive tunes like 'Jitterbug Boogie' and slow Blues such as 'Bad To Be Alone'. There are also 'covers' of classic hits including Creedence Clearwater Revival's “Green River” and the R&B standard 'Tobacco Road'. The band clearly loves playing together and features an all-star cast of seasoned players, notably Georgie Fame on organ and vocals. Among the guitarists, Eric Clapton, Albert Lee and Peter Frampton contribute some hot solos, and there is an impressive roster of brass players and backing vocalists. These performances are surprisingly energetic, even if they're a little too polished to accurately capture the gritty, roadside vibe they're trying to achieve.


01.  "Green River" feat. Beverley Skeete  (John Fogerty)  - 3:14    
02.  "Walking on My Own" feat. Albert Lee, Beverley Skeete  (Linzi Hunter, Terry 

        Taylor, Bill Wyman)  - 5:36  
03.  "Melody" feat. Eric Clapton, Georgie Fame, Beverley Skeete  (Mick Jagger, 
        Keith Richards) -  4:08  
04.  "Stuff" (Can't Get Enough)  (Bill Wyman)  - 3:41     
05.  "Bad to Be Alone" feat. Beverley Skeete  (Bill Wyman)  - 3:19  
06.  "I'm Mad" (Willie Mabon)  - 3:23 
07.  "Down in the Bottom" feat. Geraint Watkins  (Willie Dixon)  - 2:57 
08.  "Motorvatin' Mama" feat. Georgie Fame, Bobby Keys, Albert Lee  (Terry Taylor, 

        Bill Wyman)  - 3:36   
09.  "Jitterbug Boogie" feat. Albert Lee, Mike Sanchez  (Terry Taylor, Bill Wyman)  - 3:10 
10.  "Going Crazy Overnight" feat. Albert Lee  (Terry Taylor, Bill Wyman)  - 3:53  
11.  "Hole in My Soul" feat. Georgie Fame  (Sascha Burland)  - 4:03 
12   "Tobacco Road" feat. Paul Carrack, Peter Frampton  (John D. Loudermilk)  - 4:33 


Credits
Bass Guitar – Bill Wyman
Brass – Frank Mead, Nick Payn
Drums – Graham Broad
Electric Piano, Vocals – Gary Brooker
Vocals, Backing Vocals – Beverley Skeete, Janice Hoyte
Guitar, Acoustic Guitar, Vocals – Terry Taylor (3)
Guitar, Vocals – Albert Lee
Organ [Hammond], Vocals – Georgie Fame
Mixed At – Bauer Studios GmbH
Executive Producer – Bernhard Roessle
Producer – Michael Au

Notes
Genre - Blues, Roots Rock
Duration Time - 45:33
Photography By [Cover] – Willi Kuper
Recorded on April 26th, 2000 at TV-Studio "Ohne Filter" in Baden-Baden, Germany.
Recorded By – Südwestrundfunk
© 2004 BMG Records

March 25, 2014

Roberta Flack - Roberta Flack Featuring Donny Hathaway (1980)

“Roberta Flack Featuring Donny Hathaway” is Roberta Flack's ninth album. It was intended as the second duets album to feature Donny Hathaway and her. Hathaway only recorded two songs ("You Are My Heaven" and "Back Together Again") for this album before his suicide. Flack finished the rest of the record on her own.
The combination of Donny Hathaway and Roberta Flack undeniably ranks atop the all-time great duet parings in the history of R&B. Any opportunity to have one guest on the other's recordings brought out a sensual energy not to be denied, similar to the magnetic duets between Tammi Terrell and Marvin Gaye for Motown during the '60s. This seven-song session didn't yield any timeless classics à la "The Closer I Get to You," but Flack's distinct and beautiful voice brings a level of class to this outing that few of her contemporaries were able to achieve. Two Stevie Wonder-penned compositions, "You Are My Heaven" and "Don't Make Me Wait Too Long," bring Wonder's unique arrangements together and give this album a more uptempo feel than most of the prior work of Flack and Hathaway, both as solo artists and as a team. Near the end, the album's climatic piece, "Back Together Again," helps to conclude the album on an upbeat note before breaking it down again into a soft, gentle finale of calm, familiar waters. The realization that these tracks are some of the final recordings Hathaway would appear on before his tragic death brings an element of melancholy to the listening experience.


01.  "Only Heaven Can Wait (For Love)"  (Flack, Eric Mercury)  - 4:03
02.  "God Don't Like Ugly"  (Gwen Guthrie)  - 4:34
03.  "You Are My Heaven"  (Eric Mercury, Stevie Wonder)  - 4:10
04.  "Disguises"  (Stuart Scharf)  - 2:24
05.  "Don't Make Me Wait Too Long"  (Stevie Wonder)  - 7:45
06.  "Back Together Again"  (Reggie Lucas, James Mtume)  - 9:45
07.  "Stay With Me"  (Gerry Goffin, Michael Masser)  - 3:47


Credits
Roberta Flack - vocals, piano
John Tropea - guitar
Gwen Guthrie - vocals
Donny Hathaway - vocals, piano
Luther Vandross - vocals
Hiram Bullock - guitar
Ronnie Foster - keyboards
Eric Mercury - vocals
Hubert Eaves III - synthesizer
Reggie Lucas - guitar
Eluriel Tinker Barfield - bass
Errol Bennett - percussion
Ray Chew - keyboards
Basil Fearrington - bass
Anthony Jackson - bass
Raymond Jones - keyboards
Brenda White-King - vocals
Howard King - drums
Eleanore Mills - vocals
Jeff Mironov - guitar
Jocelyn Shaw (Jocelyn Brown) - vocals
Ed Walsh - synthesizer
Harry Whitaker - keyboards
Stevie Wonder - vocals, all instruments on "Don't Make Me Wait Too Long"
Engineer – Howard Lindeman
Engineer [Assistant] – Bobby Warner, Gary Olazabol, Joe Lopes, Pat Martin, Paul Northfield
Mastered By – Jack Adelman
Producer – Eric Mercury, Roberta Flack

Notes
Recording studios: Atlantic Studios, New York, N.Y. / RCA Recording Studios, New York, N.Y. / The Hit Factory, New York, N.Y. / Power Station, New York, N.Y. / Le Studio, Morin Heights, Quebec, Canada / Crystal Industries Inc., Los Angeles, California
Illustration [Album Cover] - Hélène Guetary
Genre - R&B/Soul
Duration Time - 36:41
© 1980 Atlantic Records

The Friends Of Distinction - Real Friends (1970)

The Friends of Distinction are an American vocal group best known for their late 1960s hits, "Grazing in the Grass", "Love or Let Me Be Lonely", and "Going in Circles".
The Friends of Distinction were discovered by American football player Jim Brown, who also discovered Earth, Wind & Fire, and were signed to RCA Records, and formed in 1968 in Los Angeles with original members Floyd Butler, Harry Elston, Jessica Cleaves, and Barbara Love. Butler and Elston had worked together in The Hi-Fi's in the mid 1960s, often opening for Ray Charles. Other members of the Hi-Fi's were Marilyn McCoo and Lamont McLemore, who would later co-found The Fifth Dimension.
It's the summer of 1969, and the whole world is joyfully singing, "Grazing in the grass is a gas, baby, can you dig it!" The Friends of Distinction's debut single was a made-for-radio pop masterpiece that captured the ebullience of that last summer of the '60s in its three minutes of harmonic exuberance. While the group never quite reached those heights again, the Friends did produce a small body of work in their brief lifetime that has held up well. Three hit-singles were taken from this album, "Love or Let Me Be Lonely", "It Don't Matter to Me" and "Long Time Comin' My Way".


01.  "Love Or Let Me Be Lonely"  (Poree, Peters, Scarborough)  - 3:23 
02.  "Lady Mae"  (A. Poree, G. Poree, Peters)  - 4:55 
03.  "It Don't Matter To Me"  (D. Gates)  - 3:22 
04.  "My Mind Is A Camera"   (Poree, Peters)  - 3:55 
05.  "Out In The Country"  (J. Peters)  - 4:50 
06.  "Any Way You Want Me"  (J. Griffin, R. Royer)  - 3:15 
07.  "Crazy Mary"   (Poree, Peters)  - 4:59 
08.  "Just A Little Lovin'"   (Mann-Weil)  - 3:31 
09.  "Long Time Comin' My Way"   (Elston, Evans)  - 2:40 
10.  "On & On"   (Poree, Peters)  - 3:50 


Credits
Performer [The Friends Of Distinction Are] – Charlene Gibson, Floyd, Harry, Jes
Performer [Musical Instruments] – Hollywood's Musical Friends Of The Friends
Arranged By [Vocals] – Jerry Peters
Engineer [Recording] – Hank McGill
Photography By [Liner Photo] – Tony DeMaria
Technician [Recording] – Dennis Smith, George Graves, Kent Tunks, Pat Ieraci, Pete Abbott, Rick Ruggieri, Steve Francisco
Producer – Ray Cork, Jr.


Notes
Illustration [Cover] – Dave Wilcox
Design [Album] – Frank Mulvey
Genre - Funk, Soul
Recorded in RCA's Music Center of the World, Hollywood, California.
© 1970 RCA Victor Records, New York, N.Y.

March 24, 2014

Big Head Todd And The Monsters - Sister Sweetly (1993)

Big Head Todd and the Monsters is a rock band formed in 1986 in Colorado. The band has released a number of albums since 1989 with their 1993 and third album “Sister Sweetly” going platinum in the United States. The band has developed a sizable live following especially in the Mountain States of the United States. “Sister Sweetly” was the band's first album with Giant Records, and their breakthrough album. Starting with Broken Hearted Savior, the power and heartbreak is expressed in the words and music that hit me hard. The texture of the songs and the moods strike me unlike any album I've heard up to that point. The highlight is definitely their "hit" Bittersweet. They refused to shoot a video for it, even though it would've pushed the song to greater commercial success, thus preserving it's integrity and beauty. Other highlights include: It's Alright, Tomorrow Never Comes, and the last 2 tracks, Cirle and Brother John, demonstrating their crunch and folk ability. But it's not until track 10 "Circle" that the warmly glowing embers do more than wind hypnotically around a song, finally erupting into full, flaming guitars and vocal pyrotechnics. Along the way, The Monsters touch on breezy funk "Groove Thing" and acoustic roots "Soul For Every Cowboy".
The three radio hits form this album are “Sister Sweetly”, “Bittersweet”, and “Circle”. This is definitely an album that you can just let play through.

 
01. "Broken Hearted Savior"  - 4:21
02. "Sister Sweetly"  - 4:33
03. "Turn the Light Out"  - 3:37
04. "Tomorrow Never Comes"  - 5:20
05. "It's Alright"  - 4:00
06. "Groove Thing"  - 3:00
07. "Soul for Every Cowboy"  - 3:07
08. "Ellis Island"  - 4:58
09. "Bittersweet"  - 6:16
10. "Circle"  - 6:10
11. "Brother John"  - 3:13
 
Credits
Todd Park Mohr - vocals, guitar, keyboards
David Z. - guitar, percussion
Brian Nevin - drums, percussion, background vocals
Rob Squires - background vocals
A&R - Jeff Aldrich
Art Direction, Design - Janet Levinson
Engineer - Brian Poer, David Z
Engineer [Additional] - Ray Hahnfeldt, Tom Garneau, Tom Tucker
Engineer [Pre-Production] - John Burris
Management - Morris, Bliesener & Associates
Mastered By - George Marino
Photography By - Melodie McDaniel
Audio Mixer - David Z.
Photographer - Melodie McDaniel
Mixed At – Paisley Park Studios
Mastered At – Sterling Sound
 
Notes
All songs written by Todd Park Mohr
Duration Time - 48:35
Genre - Pop, Rock
Recorded at - Paisley Park Recording Studios, Minneapolis, MN.
© 1996 Giant Records

Underworld - Second Toughest In The Infants (1996)

“Second Toughest in the Infants” is the fourth album by Underworld, and the second in their "MK2" line-up with Darren Emerson. With this album, Underworld expanded on their progressive palette, while developing their signature sound of abrasive beats and anthemic melodies. The album opens with Underworld's third longest track to date; the multi-song suite "Juanita: Kiteless: To Dream of Love", which features all three parts intersecting each other at various points during the piece. The loungy, drum and bass track "Banstyle" follows, alongside its downtempo, half-speed counterpart "Sappy's Curry". The rest of the record showcases advancements in the Underworld sound: both "Rowla" and "Pearl's Girl" feature club-ready abrasive beats and basslines, while "Blueski" and "Stagger" incorporate live acoustic guitar and light, melancholic arrangements, respectively. "Pearl's Girl" is one of the few Underworld songs to use breakbeats.
The album as a whole is very solid with all songs being strong on their own, and as a part of the whole. The unusual name of the album derives from a comment made by member Rick Smith's six-year-old nephew, Simon Prosser, when asked on his progress at infant school, the level of schooling attended by four- to seven-year-old children in the United Kingdom.


01. "Juanita: Kiteless: To Dream of Love"  - 16:36
02. "Banstyle / Sappy's Curry"  - 15:22
03. "Confusion the Waitress"  - 6:47
04. "Rowla"  - 6:31
05. "Pearl's Girl"  - 9:36
06. "Air Towel"  - 7:37
07. "Blueski"  - 2:55
08. "Stagger"  - 7:37


Credits
Rick Smith
Darren Emerson
Karl Hyde
Producer – Underworld
Engineer – Rick Smith
Management – Jukes Productions
Mastered By – Dave Turner, George Lambert
Mastered At – Tape To Tape
Published By – Warner/Chappell
Manufactured By – TVT Records
Distributed By – TVT Records
Artwork [Art] – Tomato


Notes
All songs by Darren Emerson, Karl Hyde, and Rick Smith.
Recorded 1995, Lemonworld Studios, London
Genre - Electronic, Techno, Progressive House
Duration Time - 73:01
Produced at Lemonworld.
All songs © 1996 Warner/Chappell Music, Inc.
© 1996 Label Junior Boy's / Own Wax Trax! Records, Inc.

March 23, 2014

The Damnation Of Adam Blessing - The Damnation Of Adam Blessing (1969)

Cleveland acid rock combo the Damnation of Adam Blessing was formed in 1968 from the ashes of a pair of local garage bands, the Society and Dust; led by frontman Adam Blessing (Bill Constable), the group also included guitarists Jim Quinn and Bob Kalamasz, bassist Ray Benich, and drummer Bill Schwark. After months of relentless local gigging often as the opener for hometown heroes the James Gang  the Damnation of Adam Blessing signed to United Artists and issued their self-titled debut LP in 1969, followed by a tour in support of the Faces.
The Damnation of Adam Blessing's debut LP was a fairly worthwhile, though inconsistent, record bridging the late psychedelic and early hard rock eras, with occasional strong traces of blues-rock, psychedelia, folk-rock, and pop. The group's strongest ace in standing out from what was, by 1969, a huge deck of new hard rock bands, was singer Adam Blessing, whose full-throated, husky vocals were  unlike those in so many other similar outfits of the time powerful without being bombastic. The original material was often built around jagged riffs that were more blues-rock-influenced than bluesy. "Le Voyage" is a fairly good Midwestern spin on the kind of proto-psychedelic Yardbirds' songs that had haunting choruses and background vocals, and sort of like some of the best efforts in that regard by the likes of, say, the Amboy Dukes: "Hold On" is similar, though not as good. On "Dreams," though, they could almost be an entirely different band, sounding more like the Strawberry Alarm Clock than anyone besides the Strawberry Alarm Clock themselves. As another change of pace, the harpsichord-speckled "Strings and Things" is almost a hard rock-Baroque rock fusion. The covers were indicative of the group's lack of consistent direction, though, with a pretty well-done cover of "Morning Dew," joined by a routine run-through of the blues standard "You Don't Love Me," and an odd, heavy, funk-rock version of the Monkees' "Last Train to Clarksville."


01.    "Cookbook"   (W. Constable, J.P. Quinn W. chwark, R. Benick R. Kalamasz)  - 3:55 
02.    "Morning Dew"   (B. Dobson, T. Rose)  - 5:15 
03.    "Le' Voyage"   (W. Constable, J.P. Quinn, W. Schwark, R. Benick, R. Kalamasz)  - 3:53 
04.    "You Don't Love Me"   (W. Cobbs)  - 3:18 
05.    "Strings And Things"   (W. Constable)  - 5:45 
06.    "Last Train To Clarksville"  (T. Boyce, B. Hart) - 4:18 
07.    "Dreams"  (W. Constable, J.P. Quinn, W. Schwark, R. Benick, R. Kalamasz)   - 4:52 
08.    "Hold On"  (W. Constable, J.P. Quinn, W. Schwark, R. Benick, R. Kalamasz)   - 2:16 
09.    "Lonely"  (W. Constable, J.P. Quinn, W. Schwark, R. Benick, R. Kalamasz)   - 4:55 


Credits
Adam Blessing (Bill Constable) - Lead Vocals
Bob Kalamasz - Lead Guitar, Backing Vocals
Jim Quinn - Rhythm Guitar, Percussion, Electric Pillow, Backing Vocals
Ray Bench - Bass Guitar
Bill Schwark - Drums
Engineer – Ken Hamann
Executive Producer – Eric Stevens


Notes
Art Direction – Frank Gauna
Artwork By [Artist] – Hans Weingaertner
Genre - Psychedelic Rock
Duration - 38:25
© 1969 United Artists Records ‎

Ray Davies - Other People's Lives (2006)

“Other People's Lives” is an album by Kinks' leader and chief songwriter Ray Davies was Davies' third solo album, but his first straightforward studio release.
As he states in his wonderful liner notes where he details the recording circumstances for each cut, plus the album at large “Other People's Lives” is no concept album, but there are themes that hold it together. It´s a shiny, simmered-in-the-studio album where each song creeps on just a little longer than necessary.
Davies tackles mortality and, one of his favorite themes, domesticity, head-on here, and his wit and wry critical eye remain intact. As an album, “Other People's Lives” may occasionally lag in momentum, but song for song, this is his strongest set of material since Low Budget, but a better comparison may be Misfits. Like that 1978 gem, this record doesn't rock hard and has a distinct writerly bent, as Davies presents a collection of narratives and character sketches that play like short stories. If there's a sense of creeping mortality here, there's also little fear (and there's no rumination over his shooting in New Orleans, either, since all the material was written before that incident). There's humor, irony, earned sentimentality and knowing, careful observations, all wrapped up in meticulously crafted words and music. There are hints of the Kinks  "Is There Life After Breakfast?" lopes along like an outtake from Everybody's in Show-Biz, the absurd "Stand Up Comic" recalls the vaudevillian hard rock of the late '70s but there's nothing written as a conscious emulation of his past; instead, he's returning to his strengths and finding new wrinkles within his signature style. And if there are no flat-out knockouts here, there's not a bad song here, either, and each tune seems stronger with repeated plays. Most of all, Ray Davies sounds engaged as a writer and musician in a way that he hasn't in years, and that doesn't just make for a strong comeback, but it makes listeners realize what they've all missed since he's been away for 13 years (or perhaps longer, given the disconnect on latter-day Kinks records). Here's hoping that “Other People's Lives” kicks off a latter-day renaissance for the singer/songwriter, since it's proof that while many try to emulate him, there's no substitute for the crankiest, funniest songwriter in pop.
Promotional singles were distributed to radio for the tracks "Things Are Gonna Change (The Morning After)" and "Over my Head". No singles have been commercially released.


01. "Things Are Gonna Change (The Morning After)"  - 4:21
02. "After The Fall"  - 4:35
03. "Next Door Neighbour"  - 3:53
04. "All She Wrote"  - 4:10
05. "Creatures of Little Faith"  - 3:45
06. "Run Away From Time"  - 3:48
07. "The Tourist"  - 4:46
08. "Is There Life After Breakfast?"  - 4:30
09. "The Getaway (Lonesome Train)"  - 6:36
10. "Other People's Lives"  - 4:52
11. "Stand Up Comic"  - 4:33
12. "Over My Head"  - 6:02
13. "Thanksgiving Day" (UK-only bonus track)  - 5:10

Credits
Guitar, Keyboards, Vocals, Mellotron, Organ [hammond] – Ray Davis
Guitar – Steve Bolton,
Mandolin, Banjo, Guitar [Dobro] – Mark Johns
Bass – Dick Nolan, Norman Watt-Roy, David Swift
Drums – Dylan Howe, Toby Baron
Tambourine, Cymbal [Mallet Cymbal], Mixed By – Laurie Latham
Choir And Horns – Andy Scarth
New Drums And Guitars – Ben Mason
Guitar – Milton McDonald
Saxophone [Tenor] – Nick Payn, Phil Veacock
Trumpet – Matthew Winch
Vocals – Isabel Fructuoso
Choir – Crouch End Festival Chorus, David Temple, Alida Giusti, Dick Nolan, Linda McBride, Martin Davies, Martin Rex, Serge Krebs
Arranged By, Producer, Written-By – Ray Davies
Mastered By – Bob Ludwig
Mixed By – Andy Scarth, Phil Bodger, Ray Davies, Serge Krebs
Engineer(s) – Graham Dominy, Martin Rex, Adrian Hall, Laurie Latham

Notes
All tracks composed by Ray Davies
Thanksgiving Day is a hidden track, not mentioned on the cover. It is actually kicks in right after after Over My Head, also on track 12
The booklet includes notes by Ray Davies about the songs on the album.
Genre - Rock
Duration Time - 61:07
© 2006 V2 Label

March 22, 2014

Barry White - The Icon Is Love (1994)

“The Icon Is Love” is the nineteenth album by American R&B singer Barry White, which was released in 1994 on A&M Records. The album represented a major comeback for White both critically and commercially, and went on to become easily his most successful album since his 1970s heyday.
Barry White has been to the top of the charts an admirable number of times, but only one of his hits was a ballad (a studio effort for the Quincy Jones album Back on the Block that included El DeBarge, James Ingram and Al B. Sure!). However, as a solo artist, White has never had a ballad usurp the number one spot on the Billboard charts. “The Icon Is Love's” featured release fills that void. "Practice What You Preach," which unites the maestro with producers Gerald LeVert and Edwin Nicholas, has a simmering arrangement, evocative lyric, and White's brawn delivery. The catchy melody and sensuous female backing vocals enhance this already stellar single. White showcases his seductive, bassy baritone with romantic rap introductions on most of the selections. There is a balance of uptempo and balladic songs. The other two featured releases were "Come On" and "There It Is." The former is reminiscent of his days as the king of disco-swing, and the latter is a contemporary funky ballad. Respectively, they tipped in at 12 and 54.
Production credits were mainly shared by White variously with Gerald Levert, Jack Perry, Tony Nicholas and White's godson Chuckii Booker. “The Icon Is Love” also includes two tracks ("I Only Want to Be with You" and "Come On") produced by Jimmy Jam and Terry Lewis and recorded at their Flyte Tyme studios in Minnesota, which are the only tracks ever recorded by White on which he does not have at least a co-production credit. The album contains a remix of "Super Lover", from White's 1989 album “The Man Is Back!” as a bonus track.


01.  "Practice What You Preach"  (Barry White, Gerald Levert, Edwin Nicholas)  - 5:59
02.  "There It Is"  (White, Levert, Nicholas)  - 7:03
03.  "I Only Want to Be With You"  (James Harris III, Terry Lewis, White)  - 5:01
04.  "The Time Is Right"  (White, Chuckii Booker)  - 5:46
05.  "Baby's Home"  (Barry Eastmond, Gary Brown, Jolyon Skinner)  - 8:17
06.  "Come On"  (Harris, Lewis, White, James Wright)  - 5:50
07.  "Love Is the Icon"  (White, Jack Perry)  - 4:38
08.  "Sexy Undercover"  (White, Booker)  - 4:51
09.  "Don't You Want to Know?"  (White, Michael Lovesmith)  - 6:51
10.  "Whatever We Had, We Had"  (White, Lovesmith)  - 10:41
11.  "Super Lover (Undercover Mix)"  (White, Perry, William Jones)  - 5:49


Credits
Vocals, Keyboards - Barry White
Backing Vocals – Carrie Harrington, Core Cotton, Crystal Penni, Jimmy Wright, Libby Turner, Mike Blackmon, Patrick C. Balckmon
Drums, Keyboards, Programmed By – Chuckii Booker, Tony Nicholas, Jack Perry
Saxophone – Gerald Albright
Recorded By [Background Vocals] – Joe Schiff
Recorded By [Strings] – Mike Ross
Executive-Producer – Barry White
Conductor [Conducted By], Orchestrated By – John Roberts
Design – Chuck Beeson, Command A Studios, Inc.
Engineer [Assistant] – Jeff Taylor
Executive Producer – Barry White
Mastered By – Dave Collins
Mastered By [Assisted By] – Patricia Sullivan
Mixed By – Craig Burbidge
Mixed By, Recorded By – Steve Hodge
Other [Spiritual Advisor] – Mr. Larry Nunes
Photography By – Randee St. Nicholas
A&R – Sandra "Sandi" Hawthorne
Art Direction – Chuck Beeson


Notes
Recorded 1993-1994; Record One, Sherman Oaks, CaliforniFlyte Tyme Studios, Edina, Minnesota
Distributed By – PolyGram
Genre - R&B, soul
Duration Time - 73:46
© 1994 A&M Records Inc., Los Angeles

March 20, 2014

Carole King - In Concert (1994)

Singer-songwriter Carole King captured live in concert at the Bushnell Hall, Hartford, during her 1993 “Colour of Your Dreams” tour. “In Concert” was the first of Carole King's live albums to appear, actually preceding the release of the 1971 “Carnegie Hall Concert”. The two couldn't be more different. Carnegie Hall presents a nervous, unassuming artist on the cusp of stardom. The Carole King of “In Concert” is a different woman an abundantly confident, slick professional, with all the timing, glitz, and glamour of a Las Vegas pro. Includes the classics 'Up On the Roof', 'Natural Woman', and 'It's Too Late'. Sometimes this works her mind-boggling collaboration with Slash from Guns N' Roses on guitar, on the version of 'Hold Out for Love' and the rearranged "Jazzman" betters its studio counterpart. But there are disasters, too  "Hard Rock Cafe" is a distinctly unwelcome inclusion, and the blandly flawless band plays as if in a recording studio, rather than on-stage. It's no surprise that King's most unforgettable standard "You've Got a Friend" elicits the warmest crowd response, which might explain why it appears twice, the second time with supporting vocals courtesy of Crosby, Stills & Nash.


01.  Hard Rock Cafe  (Carole King)  - 5:07
02.  Up on the Roof  (Gerry Goffin, Carole King)  - 3:50 
03.  Smackwater Jack  (Gerry Goffin, Carole King)  - 4:52  
04.  So Far Away  (Carole King)  - 4:26  
05.  Beautiful  (Carole King)  - 4:37  
06.  (You Make Me Feel Like) A Natural Woman  (Gerry Goffin, Carole King, Jerry Wexler)  - 4:09  
07.  Hold Out for Love feat. Slash  (Carole King)  - 7:46 
08.  Will You Love Me Tomorrow?  (Gerry Goffin, Carole King)  - 4:20  
09.  Jazzman  (Ed Holstein, Carole King, Dave Palmer, David Palmer, Pretorius)  - 5:56  
10.  It's Too Late  (Carole King, Wilson Pickett, Toni Stern)  - 5:30 
11.  Chains  (Gerry Goffin, Carole King)  - 3:49  
12.  I Feel the Earth Move  (Carole King)  - 3:26  
13.  You've Got a Friend  (Carole King)  - 5:34    
14.  The Loco-Motion feat. Slash  (John Coltrane, Gerry Goffin, Carole King)  - 4:42    
15.  You've Got a Friend feat. David Crosby & Graham Nash  (Carole King)  - 5:52 


Credits
Carole King: Vocals, Piano
Teddy Andreadis: Keyboards, Piano, Harmonica, & Backing Vocals
Bill Mason: Additional Keyboards
Rudy Guess: Guitar and Backing Vocals
Slash: Lead Guitar
Danny Pelfrey: Guitar, Saxophone, Flute, & Backing Vocals
John Humphrey: Bass
Jerry Angel: Drums
Brie Howard Darling: Percussion and Backing Vocals
Sherry Goffin: Backing Vocals
Linda Lawley: Backing Vocals
Voices of Jubilation: Choir
David Crosby & Graham Nash: Guest vocalists on "You've Got A Friend"
Hilton Rosenthal: Executive Producer
Bernie Grundman: Mastering
Legal Representative: Emily Simon
Manager Label Operations: Magda Summerfield
Project Coordinator: Lorna Guess
Production Coordinator: Ivy Skoff
Larry Vigon: Art Direction
Brian Jackson: Design
Catherine Wessel: Photography
Executive-producer – Hilton Rosenthal
Mixed By – Bobby Summerfield
Producer – Rudy Guess


Notes
Recorded at: Universal Amphitheatre – Los Angeles, Le Mobile, Eastman Theatre – Rochester, NY, Proctor's Theatre – Schenectady, NY, Bushnell Auditorium – Hartford, CT
Guy Charbonneau: Recording Engineer
Dr. Dave Gallo: Stage Engineer
Charlie Bovis: Tape Operator
Remote Recording Services, Inc.
David Hewitt: Recording Engineer
John McClintock: Stage Engineer
Phil Gitomer: Tape Operator
Plus 4 Recording Studios, Los Angeles
Bobby Summerfield: Post-Production and Mix Engineer
Duration Time - 1:14
Genre - Folk Rock, Acoustic, Singer/Songwriter
© 1994 Copyright Virgin/Rhythm Safari 

Various Artists - A Tribute to Curtis Mayfield (1994)

“A Tribute to Curtis Mayfield” is a compilation album of various artists, celebrating the music of Curtis Mayfield. While many tribute albums are recorded after an artist has passed, this album was completed five years before Mayfield's death.
A fabulous assortment of artists from different areas of the rock genre give a glorifying tribute to Curtis Mayfield in a sparkling 17-song package. Stevie Winwood does a partying rendition of "It's All Right"; a version of "Let's Do It Again" is performed by Mayfield and the Repercussions that mimics the Staple Singers' original; Mayfield does Roebuck "Pops" Staples' parts. Bruce Springsteen tackles an early Impressions classic, "Gypsy Woman," and makes the mystical song even more eerie. The number of producers equals the artists on this fine production, so the sound changes from track to track. Rocker Lenny Kravitz does "Billy Jack" in a surprising Mayfield-like falsetto. Phil Collins' dead-slow reading of "I've Been Trying" is a subdued dandy. The album's two best performances are pulled off by the Isley Brothers ("I'm So Proud") and Tevin Campbell ("Keep On Pushing"). Ron Isley outdoes himself on Mayfield's pretty classic redefining soul with his emotive phrasings, and Campbell's taking-you-to-church performance of "Keep On Pushing" could inspire the homeless; the cut will make you a Campbell fan if you're not already. The revised Impressions do a remake of their own "I'm a Fool for You" accompanied by Branford Marsalis' jazzy riffs. For blues lovers, B.B. King rocks the house with an up-tempo, jumping "Woman's Got Soul." Stevie Wonder sings an old, obscure Impressions recording, "I'm the One Who Loves You," in the sassy style he exhibited when he was Little Stevie Wonder. Eric Clapton does a rousing version of "You Must Believe Me."


01.  Gladys Knight - Choice of Colors  - 3:52
02.  Steve Winood - It's All Right  - 4:21)
03.  Repercussions and Curtis Mayfield - Let's Do It Again   - 4:55
04.  Lenny Kravitz - Billy Jack  - 6:18
05.  Whitney Houston - Look Into Your Hear  - 3:54
06.  Bruce Springsteen - Gypsy Woman  - 3:34
07.  Eric Clapton - You Must Believe Me  - 4:28
08.  The Isley Brothers - I'm So Proud  - 4:57
09.  Branford Marsalis and The Impressions - Fool for You  - 3:45
10.  Tevin Campbell - Keep On Pushin'  - 3:21
11.  Aretha Franklin - The Makings of You  - 4:26
12.  B.B. King - Woman's Got Soul  - 3:49
13.  Rod Stewart - People Get Ready  - 5:01
14.  Narada Michael Walden - (Don't Worry) If There's a Hell Below, We're All Going to Go  - 5:09
15.  Phil Collins - I've Been Trying  - 5:01
16.  Stevie Wonder - I'm the One Who Loves You  - 3:58
17.  Elton John and Sounds of Blackness - Amen  - 4:41


Credits
Artists Performance: Gladys Knight, Steve Winood, Repercussions and Curtis Mayfield, Lenny Kravitz, Whitney Houston, Bruce Springsteen, Eric Clapton, The Isley Brothers, Branford Marsalis and The Impressions, Tevin Campbell, Aretha Franklin, B.B. King, Rod Stewart, Narada Michael Walden, Phil Collins, Stevie Wonder, Elton John and Sounds of Blackness
All songs written by Curtis Mayfield except "Amen", by Mayfield and John W. Pate, Sr.
Executive-Producer – Ron Weisner
Engineers - Andrew Brown, Mick Dolan, Carlos Glover
Producer(s) - Ron Weisner, Marv Heiman


Notes
What makes this tribute noteworthy isn't the merit of the project or the marquee value of the players...but the quality of the performances...the best ones draw upon the artist's deepest strengths in often surprising ways, like Clapton's astonishing falsetto on "You Must Believe Me."
Phonographic Copyright (p) – Warner Bros. Records Inc.
Genre - Rock, R&B, Soul
Length - 1:15:39
© 1994 Copyright (c) – Warner Bros. Records Inc.

March 17, 2014

Steve Earle And The Del McCoury Band - The Mountain (1999)

On “The Mountain”, Steve Earle has teamed up with one of the very finest bluegrass ensembles around, the Del McCoury Band. The album was a significant departure from Earle's previous work, being the first wholly bluegrass album he had written. Earle made the album as a tribute to the founder of bluegrass music, Bill Monroe, who had died in 1996.
All 14 of the songs here were written by Earle, who confesses in the liner notes that his dream is to create a timeless bluegrass classic that will live on like Bill Monroe's "Uncle Pen." Well, he might very well have attained his dream. Each of the songs on The Mountain holds its own particular charm, and there isn't a loser in the bunch. "Carrie Brown" could have come from the very pen of "the father of bluegrass" himself, Monroe, and "Connemara Breakdown" has plenty enough fury to carve its own niche in the bluegrass tree. Outstanding performances from talented artists abound: there are the vocals of Emmylou Harris and Iris DeMent, the Dobro of Jerry Douglas and Gene Wooten, some smoking Sam Bush mandolin, and the fiddle fire of Stuart Duncan, all wrapped around these instant classics and played straight from the heart. Marty Stuart, Gillian Welch, and John Hartford all drop in to embellish the sound as well. Anyone who saw Earle perform with the McCoury Band was anxiously awaiting an album, and with “The Mountain”, the wait is over. The smooth strains of "Pilgrim," with its unparalleled roster of guest artists, fills the room, and everything in the world seems just a little bit happier. Steve Earle has truly gone to the mountain and had his vision quest answered in the unmistakable tones of a Dobro, a banjo, and a guitar. Some good ol' American music, right from the peak of the mountain.
The album was nominated for a 2000 Grammy Award in the "Best Bluegrass Album" category (Earle's seventh Grammy nomination). Two tracks from the album were released as singles in the UK: "Dixieland" (distributed to radio only) and "The Mountain" (a commercial release). A cover of the song The Graveyard Shift is featured on Wanda Jackson's 2012 album Unfinished Business.


01.  Texas Eagle   3:28
02.  Yours Forever Blue  - 2:28
03.  Carrie Brown  - 4:18
04.  I'm Still in Love With You  (Duet with Iris DeMent)  - 4:05
05.  The Graveyard Shift  - 2:37
06.  Harlan Man  - 3:20
07.  The Mountain  - 4:42
08.  Outlaw's Honeymoon  - 2:01
09.  Connemara Breakdown  - 2:17
10.  Leroy's Dustbowl Blues  - 3:04
11.  Dixieland  - 2:56
12.  Paddy on the Beat  - 2:00
13.  Long, Lonesome Highway Blues  - 2:56
14.  Pilgrim  - 5:28


Credits
Guitar, Vocals – Del McCoury
Guitar, Vocals – Steve Earle
Banjo – Robbie McCoury
Bass – Mike Bub
Mandolin, Vocals – Ronnie McCoury
Bass – Mike Bub
Fiddle – Jason Carter
Other [Assisted By] – Patrick Earle
Mixed By – Ronnie McCoury, The Twangtrust
Recorded By – Ray Kennedy
Producer - Steve Earle, Ray Kennedy and Ronnie McCoury
Recorded At – Room & Board Recording
Mastered At – Mastermix
Mastered By – Hank Williams
Photography By – Senor McGuire


Notes
All tracks written by Steve Earle
Art Direction, Design – Brad Talbott
Management – Dan Gillis
Cover, Artwork – Tony Fitzpatrick
Album Duration - 45:40
Genre - Folk Rock, Bluegrass
© 1999 Copyright (c) New West Records, E-Squared

Latin Quarter - Modern Times (1985)

“Modern Times” is the first album by the British band Latin Quarter. The band enjoyed some chart success with the excellent "Radio Africa' which reached #19 in the UK charts in 1986.
Latin Quarter were a very influential band of the 1980's. Known for their unique brand of social conscience lyrics and a unique blend of folk, reggae and rock styles created 'their own' sound.
Well-meaning, if slickly produced agit-pop that hasn't aged too well, mostly from the over-topicality of the lyrics, circa 1986. This British band's concerns was the rise of the yuppie ("The New Millionaires"), the yawning divide between rich and poor ("Sea-Port September"), American imperialism ("America for Beginners"), and the African situation ("the U.K. hit "Radio Africa""). Granted, nothing much has changed in the world since then, but what is one to make of lyrics like "You've had their OAS/You've had their CGT/And no-one will be living here/When they bring in the CNC" ("Toulouse"), unless you lived through it. Lead singer Steve Skaith delivers his vocals in a hushed whisper, like he's nervous or tremendously upset, while backup singers Carol Doust and Yona Dunsford bring the soul. The sound is a lighter version of that found on Peter Gabriel's third album  influences and references pop up quickly, especially the Tony Levin-like bass  and "No Ordinary Return" sounds suspiciously like Richard Thompson's "You Don't Say." Didactic in spots, soulful in others, it's a brief snapshot of the Left in Britain, mid-'80s.


01.  Modern Times  - 3:45
02.  No Ordinary Return  - 3:35
03.  Radio Africa  - 3:53
04.  Toulouse  - 4:20
05.  America for Beginners  - 5:16
06.  Eddie  - 3:08
07.  No Rope As Long As Time  - 4:28
08.  Seaport September  - 3:18
09.  New Millionaires  - 3:35
10.  Truth About John  - 4:00
11.  Cora  - 2:58


Credits
Carol Douet - Vocals, percussion
Yona Dunsford - Vocals, piano
Greg Harewood - Bass
Steve Jeffries - Keyboards, vocals
Steve Skaith - Vocals, guitar
Richard Stevens - Drums, percussion
Richard Wright - Guitar, vocals
Steve Gregory - Saxophone
Martin Ditcham - Percussion
Steve Greetham - Bass
Producer, Mixed By – Latin Quarter, Pete Hammond


Notes
Produced and mixed at The Workhouse.
Mike Jones - Lyrics
Album Duration - 55:43
Genre - Synth-pop
"Radio Africa" - produced by Nigel Gray at Surrey Sound Studio.
© 1985 Rockin' Horse Records, RCA

Various Artists - Sound City: Real To Reel 606 (2013)

Sound City, Dave Grohl's love letter to the golden age of recording studios, plays very differently as an album than it does a documentary. On the screen, Grohl devotes a significant amount of time tracing the history of Sound City Studios, the legendary Los Angeles studio where such rock classics as Fleetwood Mac's Fleetwood Mac and Rumours, Tom Petty's Damn the Torpedoes, Pat Benatar's Crimes of Passion, Rick Springfield's Working Class Dog, Foreigner's Double Vision, and Nirvana's Nevermind were recorded. Sound City closed in 2011, and Grohl not only wound up purchasing the studio's Neve mixing board, he made his film as a tribute to this golden age of rock and, then, decided to make an accompanying album of all-new songs using that board in his own home studio, finalizing his salute to the golden age of analog. Grohl brought in friends and colleagues, including his longtime jam partner Josh Homme, then invited a bunch of Sound City veterans like Springfield, Stevie Nicks, Cheap Trick's Rick Nielsen, and Fear's Lee Ving to cut new songs. He also roped in Paul McCartney to play with Krist Novoselic and Pat Smear aka, the surviving members of Nirvana  a nifty coup that earned the project tons of publicity and resulted in a pretty good little rocker called "Cut Me Some Slack." It's not the only tune here with an immediate hook or melody Nicks' "You Can't Fix This" isn't bad, Ving's "Your Wife Is Calling" conjures a bit of Fear, and Rick Springfield's "The Man That Never Was" is rather excellent but it's one of only a handful, as the rest of “Sound City: Real to Reel” sounds exactly like what it is: a bunch of old rockers jamming in a studio. Often, this is quite enjoyable, as they're all excellent musicians playing through a top-notch board, but the songs do have a tendency to drift away from the point, sounding like exceedingly well-executed first drafts. It is telling that the songs that do catch hold all come from survivors of the golden age of classic rock, musicians who can knock out a well-sculpted song without too much effort, and that is as much a testament to the heyday of Sound City as the soundtrack itself.
The soundtrack received two Grammy Awards: Best Compilation Soundtrack for Visual Media and Best Rock Song, with "Cut Me Some Slack".


01.  Robert Levon Been, Dave Grohl, Peter Hayes - Heaven And All   - 5:28 
02.  Chris Goss, Tim Commerford, Dave Grohl, Brad Wilk - Time Slowing Down  - 6:00 
03.  Stevie Nicks, Dave Grohl, Taylor Hawkins, Rami Jaffee - You Can't Fix This   - 5:59 
04.  Rick Springfield, Dave Grohl, Taylor Hawkins, Nate Mendel, Pat Smear - The Man That Never Was  - 3:26 
05.  Lee Ving, Dave Grohl, Taylor Hawkins, Alain Johannes, Pat Smear - Your Wife Is Calling  - 3:22 
06.  Corey Taylor, Dave Grohl, Rick Nielsen, Scott Reeder - From Can To Can't - 4:53 
07.  Josh Homme, Chris Goss, Dave Grohl, Alain Johannes - Centipede - 5:11 
08.  Alain Johannes, Josh Homme, Dave Grohl - A Trick With No Sleeve  - 4:58 
09.  Paul McCartney, Dave Grohl, Krist Novoselic, Pat Smear - Cut Me Some Slack  - 4:40 
10.  Dave Grohl, Jessy Greene, Rami Jaffee, Jim Keltner - If I Were Me - 4:14 
11.  Dave Grohl, Josh Homme, Trent Reznor - Mantra  - 7:43


Artists / Performer (s)
Robert Levon Been, Tim Commerford, Chris Goss, Jessy Greene, Dave Grohl , Taylor Hawkins, Peter Hayes, Josh Homme, Rami Jaffee,
Alain Johannes, Jim Keltner, Paul McCartney, Nate Mendel, Stevie Nicks, Rick Nielsen, Krist Novoselic, Scott Reeder, Trent Reznor, Pat Smear, Rick Springfield, Corey Taylor, Lee Ving, Brad Wilk

Credits
Engineer [Additional Engineering Support From] – Derek Silverman
Engineer [Second Engineer] – John Lousteau, Jim Scott
Management – SAM
Mastered By – Emily Lazar, Joe LaPorta
Mixed By – Chris Lord-Alge, James Brown
Mastering - Joe LaPorta, Emily Lazar
Composer - Matt Bissonette, Chris Shiflett
Producer - Butch Vig


Notes
Art Direction, Design – Morning Breath Inc.
Other [Business Management At Vwc Management Inc.] – Lee Johnson
Other [Legal Representation At King, Holmes, Paterno & Berliner, Llp] – Jill Berlinger
Photography By – Sami Ansari
Duration - 55:48
Genre - Alternative Rock, Grunge, Hardrock
© 2013 Roswell Records, RCA March 12

Michael Brook with Brian Eno & Daniel Lanois - Hybrid (1985)

“Hybrid” is an album by Michael Brook with Brian Eno and Daniel Lanois. A specialist in timbre and texture, Brook pioneered the infinite guitar, a guitar outfitted with a feedback transducer to produce non-decaying sustain of any note, which makes its first notable appearance on this album
The mid-'80s proved to be a prolific and exploratory time for the producer/performer team of Brian Eno and Daniel Lanois, who this time out take guitarist Michael Brook under their ambient wing to create an album of considerable beauty and restraint. Taking a "less is more" approach to the project, Brook adapts quite easily as a group member in co-creating these organic pieces (although composer credits go to him alone), and within a few minutes one forgets that he is a guitar player. Hybrid is not an especially dynamic or exciting album, but its depth is nonetheless rewarding. There is substance within the shadows, and the musicians take the necessary time to properly explore them. Highlights include the title cut, "Hybrid," which takes on the tone of a sleepy journey through underwater Morocco, plus "Pond Life," a barely audible meditation that is in its own right the strongest on the disc by simply trusting its atmosphere, assisted in no small part by visiting contributor Gordon Philips. In future recordings, Brook would prove to be a more energetic performer than “Hybrid” would suggest, but it's nice to have evidence that there is a zen master behind all the kung fu. For Eno and Lanois, it was only a year earlier that they delivered U2's groundbreaking album, “The Unforgettable Fire” (which is still considered a landmark recording for the band), so the “Hybrid” project probably seemed like a welcome sigh of relief for them.


01.  Hybrid  - 6:18
02.  Distant Village  - 4:03
03.  Mimosa  - 6:20
04.  Pond Life  - 3:40
05.  Ocean Motion  - 5:5
06.  Midday  - 5:59
07.  Earth Floor  - 4:45
08.  Vacant  - 5:00

Credits
Michael Brook  - Mbira, Steel Guitar, Bass, Percussion, Vibraphone [Vibes]
Brian Eno - Bass, Synthesizer, Percussion (Swamp), Piano, Effects [Treatments]
Daniel Lanois  - Bass, Percussion, Effects [Treatments]
Dick Smith  - Percussion, Congas
Gordon Phillips - Bagpipes [Northumbrian Pipes]
Mixed By - Daniel Lanois, Brian Eno
Composed By – Michael Brook
Engineer [Assistant] – David Bottril
Photography By [Additional] – David Buckland
Photography By [Cover] – Gregory Brook
Artwork, Design – Russell Mills
Producer – Brian Eno, Daniel Lanois, Michael Brook
Remastered By – Michael Brook, Tony Cousins

Notes
Recorded at Bob & Dan Lanois' studio
Many thanks to: Brian Eno, Daniel Lanois, Robert Lanois, Anthea Norman-Taylor & Opal Ltd. for their generous assistance & encouragement on this project
Genre - Ambient, Experimental Electronic
Length - 41:56
© 1985 Label EG Records