Lene Lovich - No Man´s Land (1982)

Lene Lovich (born March 30, 1949) is an American singer, songwriter and musician of English descent based in England.
Born in Detroit, Michigan, Lovich moved to England at the age of 13, where she met the guitarist and songwriter, Les Chappell, who later became her long time music collaborator and life partner. She developed an interest in art and theater, enrolling at the Central School of Art and Design where she took saxophone lessons.In 1975, she joined the band The Diversions and shortly afterwards wrote the lyrics to Cerrone's single "Supernature". After the band broke up, Lovich started looking for another band that would let her join and contacted the radio presenter Charlie Gillett, who got her to record a demo of Tommy James and the Shondells' song "I Think We're Alone Now" and played it to Dave Robinson of Stiff Records, who decided to sign Lovich. The song was released as a single and appeared on her debut studio album Stateless (1978), which produced the single "Lucky Number".
“No Man's Land” is the third studio album by Lene Lovich, released on November 13, 1982 by Stiff Records. It is her last album to be released on the Stiff Records label. The album is produced by Lovich and Les Chappell. It contains songs from her previously released extended play, “New Toy”, since the album was planned to be already released in 1981, but was postponed following the disagreements with the record company.

Track listing

01. "It's You, Only You (Mein Schmerz)"   (Ferdinand Bakker, Hugo Sinzheimer)  - 3:42
02. "Blue Hotel"   (Lene Lovich, Les Chappell, Mauro Goldsand)  - 3:43
03. "Faces"   (Lovich, Chappell)  - 3:32
04. "Walking Low"   (Lovich, Chappell)  - 3:16
05. "Special Star"   (Lovich, Chappell)  - 4:31
06. "Sister Video"   (Jimme O'Neill)  - 4:45
07. "Maria"   (Lovich, Chappell)  - 3:02
08. "Savages"   (Lovich, Chappell)  - 3:47
09. "Rocky Road"   (Lovich, Chappell)  - 4:10

Credits
Lene Lovich – vocals, saxophone, trumpet
Les Chappell – guitar, synthesizer, vocals
Jeff Smith – synthesizer
Mark Hayward-Chaplin – bass
Bogdan Wiczling – drums
Justin Hildreth – drums
Dean Klevatt – piano
Nick Plytas – keyboards
Thomas Dolby – synthesizer ("Rocky Road")
Jimmie O'Neil – rhythm synthesizer, vocals ("Sister Video")
Produced by Lene Lovich, Les Chappell
Remixed by Bob Clearmountain with Lene Lovich, Les Chappell and Dick Wingate

Notes
Genre: New wave
Length: 34:28
Label: Stiff Records
 
© 1982

Manfred Mann´s Earth Band - Somewhere in Afrika (1983)

“Somewhere in Afrika”, an ode to Mann's home country of South Africa, contains a formula that is atypical of Manfred Mann's Earth Band sound. With rhythms that combine an African flavor with a modern rock feel, vocalist Mick Rogers takes over on vocals with the hit "Runner," released as the album's only single. a cover of song by Ian Thomas featuring Thompson on lead vocals. It was a top 40 hit in both Canada and the US and was used during ABC's broadcasting of the 1984 Summer Olympics and in the film; 'The Philadelphia Experiment'. Tracks such as "Demolition Man" and "Eyes of Nostradamus" are model Earth Band efforts, but the compelling material lies in songs such as "Lalela," "Koze Kobenini," and the title track, which conveys Mann's love for his birthplace without sounding overly pretentious or manufactured. The instrumentation is solid and free-flowing, with drums and other percussion work coming to the forefront while maintaining the group's atmosphere as a rock band.  Manfred Mann had become personally active in the international anti-apartheid movement and was banned from entering his home country of South Africa. Undeterred, members of the band made journeys to South Africa to record African musicians for the album “Somewhere in Afrika“ (which in some ways pre-figured Paul Simon's Graceland). The album included a cover of The Police's "Demolition Man" (sung by Steve Waller) and a version of Bob Marley's "Redemption Song".

Track listing

01.  "Demolition Man"   (Sting)  - 3:40
02.  "Runner"   (Ian Thomas)  - 4:40
03.  "Rebel"   (Reg Laws)  - 3:52
04.  "Eyes of Nostradamus"   (Al Stewart)  - 3:28
05.  "Third World Service"   (Moore)  - 3:24
06.  "Somewhere in Africa"   (Trad arr Mann, Lingwood)  - 1:38
07.  "Tribal Statistics"   (Qunta)  - 4:16
08.  "Lalela"   (Mann, Lingwood)  - 1:31
09.  "Redemption Song (No Kwazulu)"   (Bob Marley)  - 4:11
10.  "Africa Suite"   (Mann, Irving, Lingwood)  - 9:54
        a) "Brothers and Sisters of Africa"   (Mann)  - 3:06
        b) "To Bantustan?"   (Mann)  - 2:36
        c) "Koze Kobenini? (How Long Must We Wait?)"   (Mann, Irving)  - 1:26
        d) "Brothers and Sisters of Azania"   (Mann)  - 2:46

Credits
Manfred Mann - keyboards, synthesisers
John Lingwood - drums, percussion
Steve Waller - vocals, guitar
Chris Thompson - vocals
Matt Irving - bass, programming (MC4)
Shona Laing - vocals
Trevor Rabin - lead guitar

Notes
Producer:  Manfred Mann
Genre:  Progressive rock
Length:  55:59
Label:  Bronze Records

© 1983

Steve Lukather - Transition (2013)

Unsurprisingly, Lukather’s 7th solo album Transitions picks up where “Brody’s” and “Flash In The Pan” left off. The former Toto frontman’s vocals might be smooth but his subject matter touches a raw nerve. The idea of a wise old head sitting back aghast at the extremes of society certainly has potential, and “Right The Wrong” feels timely. Lukather’s nostalgic reflection “Remember When, Before The Age Of Virtual Friends, People Looked Into Each Other’s Eyes” mirrors the feelings of an entire generation of Americans who are struggling to comprehend how one of their nation’s most inspiring sporting icons could possibly have entered into a four year loving relationship with a fictitious online girlfriend. Tapping into a growing generational divide alone is not enough. If you’re going to risk sounding like a crotchety old grump you have to give modern culture hell punches must not be pulled. Instead of ripping the 21st century a new one Lukather’s easy style is happy to sway and saunter. “Creep Motel” pussyfoots around employing painfully stilted humour while “Last Man Standing” fails to conjure the feeling of finality expressed in the song’s lyrics.  Perhaps, Lukather was aiming for a level-headed approach. He despairs at vitriolic nonsense so it stands to reason that his solos and vocals would preserve an even keel. “Right The Wrong” certainly offers a pleasing alternative to tub-thumping post-hardcore, but when it comes time for a Springsteenian rallying cry Lukather is overcome by lethargy. “Do I Stand Alone” is lifeless. It’s supposed to be a vital call to arms designed to incite civil unrest, but sadly it’s so glossy and placid that it makes brainless submission seem oddly appealing.
A sprinkling of intriguing solos and virtuoso sequences are buried between the underwhelming outrage and the dreary dated ballads, but they prove too few and far between. The instrumental title track captures a sense of malaise and “Rest Of The World” provides a satisfying conclusion without injecting either the energy or the excitement required to salvage Transition. Lukather remains a consummate professional who has mastered a silky, soothing tone that sadly stifles the irritation and urgency he’s desperate to express.

Track listing

01.  "Judgement Day"   (Steve Lukather, C. J. Vanston)  - 7:17
02.  "Creep Motel"   (Steve Lukather, C. J. Vanston, Fee Waybill)  - 5:46
03.  "Once Again"   (Steve Lukather, C. J. Vanston)  - 4:57
04.  "Right the Wrong"   (Steve Lukather, C. J. Vanston, Trev Lukather)  - 6:20
05.  "Transition"   (Steve Lukather, C. J. Vanston, Steve Weingart)  - 5:32
06.  "Last Man Standing"   (Steve Lukather, Randy Goodrum)  - 5:21
07.  "Do I Stand Alone"   (Steve Lukather, C. J. Vanston)  - 4:10
08.  "Rest of the World"   (Jack Raines, C. J. Vanston)  - 4:01
09.  "Smile"   (Charlie Chaplin, arr. by Lukather, Weingart, Vanston) (Instrumental)  - 2:30

Credits
Steve Lukather – vocals, guitars
C. J. Vanston – keyboards, background vocals
Steve Weingart – keyboards
Renee Jones - bass, background vocals
Eric Valentine – drums
Lee Sklar - bass
Nathan East - bass
John Pierce - bass
Tal Wilkenfeld - bass
Gregg Bissonette - drums
Chad Smith - drums
Toss Panos - drums
Lenny Castro – percussion
Trev Lukather - muted guitar
Phil Collen - background vocals
Jenny Douglas - background vocals
Richard Page - background vocals
Kristina Helene - background vocals
Jack Raines - background vocals
Engineered and mixed by C. J. Vanston
Assistant Producer - Tina Lukather
Producer - Steve Lukather & C. J. Vanston

Notes
Recorded at Steakhouse Studios, North Hollywood and The Treehouse, North Hollywood, December 06, 2011 - September 2012
Genre:  Rock
Length:  45:55
Label:  Mascot Records

© 2013

Danny Kirwan - Second Chapter (1975)

“Second Chapter” is an album by British blues rock musician Danny Kirwan, released in 1975 on the DJM Records label. This was his first solo album after leaving Fleetwood Mac in 1972, and his solo career was being managed by ex-Mac manager Clifford Davis. It starts off with an uncharacteristic "Ram Jam City," which has more Lindsey Buckingham sounds than one would expect, especially since the two guitarists come from two different musical worlds. "Odds and Ends" is more lighthearted, the kind of music Paul McCartney toyed with on The White Album's "Rocky Raccoon." What Second Chapter immediately sets forth is the importance of Kirwan as a pop artist, and how, despite Fleetwood Mac's success after he left, his sounds could still have been beneficial to that supergroup. "Hot Summers Day" is a fine example of that, a beautiful song that could offset Buckingham's gritty ramblings. It would have made a nice counterpoint as Stevie Nicks complemented Christine McVie's tunes with her adventures, bringing an important change of pace to that popular band's hits. The jacket looks like a dusty old family album-style book holding Kirwan's Second Chapter. And the music reflects that old-world feel in titles like "Skip a Dee Doo" and "Falling in Love with You." Three of the best songs on this excellent outing are "Love Can Always Bring You Happiness," "Second Chapter," and a sleepy and beautiful number called "Silver Streams." Kirwan's tune is haunting as well with its lilting "all you need is love to show you the way from here" chorus. As on a follow-up album, he tends to sound a little like the group America, the vocals with that same America tone and warmth. They very well could have covered "Silver Stream" or "Cascades," the album's final track. This material was crafted right in the middle of America's run of hits, and maybe they should have replaced Dan Peek with Dan D. Kirwan? The artist's three solo discs cut in the '70s make for a very pleasant and thought-provoking listening experience, and that this collection is so good only shows he kicked his departure from the big band off with a vengeance.

Track listing

01.  "Ram Jam City"  - 2:48
02.  "Odds and Ends"  - 2:31
03.  "Hot Summer Day"  - 2:40
04.  "Mary Jane"  - 2:54
05.  "Skip a Dee Doo"  - 2:39
06.  "Love Can Always Bring You Happiness"  - 3:12
07.  "Second Chapter"  - 3:24
08.  "Lovely Days"  - 2:26
09.  "Falling in Love With You"  - 2:16
10.  "Silver Streams"  - 3:27
11.  "Best Girl in the World"  - 2:31
12.  "Cascades"  - 3:10

Credits
Danny Kirwan – guitars, vocals
Andy Silvester – bass guitar
Paul Raymond – piano
Geoff Britton – drums
Jim Russell – drums, percussion
Gerry Shury – string arrangements
Producer / Engineer – Martin Rushent

Notes
All songs written by Danny Kirwan
Genre:  Folk Rock, Blues
Length:  31:58
Label:  DJM Records

© 1975

David Lindley - El Rayo Live (1983)

David Perry Lindley (born March 21, 1944, San Marino, California, United States) is an American musician who is notable for his work with Jackson Browne, Warren Zevon, and other rock musicians. He has worked extensively in other genres as well, performing with artists as varied as Curtis Mayfield and Dolly Parton.
Lindley has an extremely large collection of rare, and to the majority of Westerners, unusual looking and sounding instruments. There is a large and detailed display of quite a few rare guitars, as well as instruments that originate from the Middle East and other parts of the world. Lindley has listed and categorized many of them on his website but admits that he has "absolutely no idea" how many instruments he owns and plays, having gathered them since the 1960s. David Lindley's American label, Elektra/Asylum Records, was not sufficiently impressed with the sales of his first two albums, “El Rayo-X” and “Win This Record”, to release this, his third album, domestically. But the international division of the company did find it worthy, so one has the unusual experience of having to dig around import bins to find a great album by an American artist recorded at several clubs in California, yet released only in Europe! Lindley, playing electric guitars, slide guitar, mellobar, and Hawaiian lap steel, is typically virtuosic and zany, opening the proceedings with "Wooly Bully" and taking it from there. The focus is on his string work, though the four-piece band is tight and Lindley's odd, reedy voice emphasizes the quirky nature of the material. Another triumph, and worth seeking out.

Track listing

1.  "Wooly Bully"   (Domingo Samudio)  - 4:22 
2.  "Turning Point"   (Leo Graham, Jr.)  - 6:19 
3.  "Talk To The Lawyer"   (David Lindley)  - 5:35 
4.  "Spodie"   (David Lindley)  - 6:27 
5.  "Rag Bag"   (Bob Fuller, Frizz Fuller)  - 6:45 
6.  "Mercury Blues"   (K.C. Douglas)  - 3:37 

Credits
Vocals, Guitar [Electric], Guitar [Slide] – David Lindley
Vocals, Guitar, Organ – Bernie Larsen
Bass, Vocals – Jorge Calderon
Drums, Percussion – Ian Wallace
Engineer [Live Recording Assistant] – Mike Carver
Engineer [Live Recording] – Biff Dawes, Greg Ladanyi
Recorded By – Greg Ladanyi
Producer, Mixed By – Michael Fagrey

Notes
Tracks 1, 3, 4, 5: Recorded live in concert at Hop Singh's, Marina Del Rey, California on December 11, 1982.
Track 2: Recorded live in concert at the Golden Bear, Huntington Beach, California on December 3, 1982.
Track 6: Recorded live in concert at Little Bavaria, Del Mar, California on June 18, 1982.
Genre:  Soft Rock
Lenght: 33:05
Label:  Asylum Records

© 1983

The Atlanta Disco Band - Bad Luck (1975)

The Atlanta Disco Band was a studio group organized by Dave Crawford that included members of the Philadelphia studio band MFSB. The Atlanta Disco Band was actually not a band at all. The "band" consisted of studio musicians and a collection of unknown singers billed as the Scorpio Group. Their only album was 1975's "Bad Luck". The album was produced by MiLiz, Earl Young and Dave Crawford.  Of the eight songs most were written by A. Terry. The musicians were David Dennis, Robert Popwell, Will Boulware, Earl Young, Mike, Kenny, Dennis and Daryl. Strings and horns were provided by The Atlanta Symphony. The main recording took place in Atlanta with remixing in Philadelphia and Los Angeles. The album, an early disco entry, is mainly an instrumental effort. However in disco's infancy the album produced some great charting music. The title track “Bad Luck”peaked at #-6 on the Disco singles sales charts. "Do What You Feel," "Buckhead" and "My Soul Is Satisfied" all hit #-1 on the Club play charts while "Buckhead" hit #-4 on the Disco singles sales charts. Despite their apparent success Dave Crawford never saw fit to release any other material under this banner. Perhaps it was his phenomenal success with Candi Staton that kept him from pursuing another Atlanta Disco Band project? Still this classic belongs in any disco collection for it's wonderful tunes and it's rare value.

Track listing

01.  "Bad Luck"   (McFadden, Whitehead, Carstarphen)  - 3:58 
02.  "Buckhead"   (A. Terry)  - 3:53 
03.  "It´s Love"  (A. Terry)  - 2:54
04.  "I Am Trying"  (A. Terry)  - 4:30 
05.  "Do What You Feel"   (Earl Young)  - 5:09 
06.  "My Soul Is Satisfied"   (A. Terry)  - 4:52 
07.  "Let It Ride"   (A. Terry)  - 4:33 
08.  "Ole Goat"   (R. Popwell)  - 4:10 

Credits
Arranged By – Earl Young, M. Terry, R. Popwell
Engineer – Carl Parvolo, Don Johnson, Monte Stark
Executive Producer – Dave Crawford
Producer(s) - Dave Crawford, Miliz, R. Popwell, Earl Young

Notes
Recorded at Lefevre Studio Atlanta, Georgia
Remixed at Sigma Studio, Philadelphia, Pensylvannia, Sound City, Los Angeles, California
Genre:  Funk, Soul, Disco
Length:  33:59
Label:  Ariola Records

© 1975

The Human League - Credo (2011)

“Credo” is the ninth studio album by The Human League, released in 2011. It is their first studio album since “Secrets” in 2001. It has been produced by fellow Sheffield act I Monster (Dean Honer and Jarrod Gosling) and is released on Wall of Sound.
Thirty years may have passed since their landmark album “Dare” helped to define the early-'80s electro scene, but the Human League's signature sound remains just as relevant today thanks to synth pop starlets like La Roux, Ladyhawke, and in particular, Little Boots, who collaborated with lead vocalist Phil Oakey on her 2009 debut, Hands. For “Credo”, their their first studio album since 2001's “Secrets”, the Sheffield trio don't require much of a makeover in order to compete with their younger upstarts. I Monster (whose Dean Honer also worked with Oakey on the All Seeing I's Top 30 single "First Man in Space"), there are admittedly a few modern concessions, such as the heavy use of Auto-Tune on the robotic disco of opening track "Never Let Me Go," the nods to acid house on "Electric Shock," and the drum'n'bass leanings of the industrial closer "When the Stars Start to Shine."  But otherwise it's business as usual, with Catherall and Sulley's half-hearted detached tones combining with Oakey's trademark booming baritone on the likes of "Sky," a melancholic fusion of brooding basslines, kaleidoscopic bleeps, and lost love lyrics; the new wave call and response of "Breaking the Chains," and the stuttering synths and avant-garde theatrics of "Privilege," the latter of which Oakey admitted is a deliberate attempt to recapture the spirit of their 1979 debut, Reproduction. However, apart from "Night People," a pulsating slice of bubbling electro featuring a Dalek-inspired chorus and bizarre lyrics which rhymes "houses" with "mouses", “Credo” never really comes close to matching the infectious joy of "Don't You Want Me," "Love Action," or even their last major hit, "Tell Me When," its sparse arrangements and lack of memorable melodies, making it difficult to distinguish the majority of its 11 tracks from one another. With their influential sound currently back in vogue, “Credo” could have been the perfect opportunity to prove to their devotees that they haven't lost their touch, but although there are a few flashes of their heyday's magic, it's a strangely low-key affair which is unlikely to inspire any future synth pop maestros.

Track listing

01.  "Never Let Me Go"   (Robert Barton/Philip Oakey)  - 4:54
02.  "Night People"   (Barton/Honer/Gosling/Oakey)  - 5:30
03.  "Sky"   (Robert Barton/Philip Oakey)  - 4:54
04.  "Into the Night"   (Robert Barton/Philip Oakey)  - 3:43
05.  "Egomaniac"   (Robert Barton/Philip Oakey)  - 3:58
06.  "Single Minded"   (Robert Barton/Philip Oakey)  - 3:50
07.  "Electric Shock"   (Barton/Honer/Gosling/Oakey)  - 4:49
08.  "Get Together"   (Robert Barton/Philip Oakey)  - 3:48
09.  "Privilege"   (Robert Barton/Philip Oakey)  - 3:36
10. "Breaking the Chains"   (Robert Barton/Philip Oakey)  - 4:00
11.   "When the Stars Start to Shine"   (Robert Barton/Philip Oakey)  - 3:48

Credits
Joanne Catherall
Philip Oakey
Susan Sulley
Robert Barton
David Beevers
Nic Burke
Neil Sutton
Producer - Dean Honer, Jarrod Gosling

Notes
Recorded at:  Human League Studios, Sheffield, England
Genre:  Synthpop
Length:  46:50
Label:  Wall Of Sound

© 2011

Jimmy Page - Deathwish II (Soundtrack) (1982)

“Death Wish II” is a soundtrack album by Jimmy Page, released by Swan Song Records on 15 February 1982, to accompany the film Death Wish II. Following the XYZ project, Page was asked by his London neighbour, movie director Michael Winner, to record a soundtrack for the film “Death Wish II” in late August 1981. Page was given a deadline of a few weeks to write and record the album at his personal studio The Sol and to travel on location to Los Angeles with Michael Winner for songwriting themes. Death Wish II starred Charles Bronson, and was set around Los Angeles, which inspired Page to write a blues-flavoured soundtrack. The soundtrack features Dave Mattacks from Fairport Convention, former Pretty Things keyboards player Gordon Edwards, and veteran singer Chris Farlowe. Page used a Roland guitar synthesizer on a number of the tracks. Tracks from this album were later reused by Winner for “Death Wish III”. This album is Page's only solo material to appear on Led Zeppelin's record label Swan Song Records.

Track listing

01. "Who's to Blame"  - 2:41
02. "The Chase"  - 5:48
03. "City Sirens"  - 2:01
04. "Jam Sandwich"  - 2:35
05. "Carole's Theme"  - 2:50
06. "The Release"  - 2:35
07. "Hotel Rats and Photostats"  - 2:40
08. "A Shadow in the City"  - 4:01
09. "Jill's Theme"  - 4:00
10. "Prelude"  - 2:20
11. "Big Band, Sax, and Violence"  - 2:51
12. "Hypnotizing Ways (Oh Mamma)" - 2:49 

Credits
Jimmy Page – vocals, acoustic guitars, electric guitars, guitar synthesizer, synthesizer, theremin, bass
Gordon Edwards – vocals, electric piano, piano
Chris Farlowe – Vocals
Dave Lawson – piano, synthesizers
Dave Mattacks – drums, percussion
David Paton – bass
David Sinclair Whittaker – piano
GLC Philharmonic – orchestra
The Sol Symphonic – strings
Stuart Epps – engineer, mixing
Producer - Jimmy Page

Notes
All songs written and composed by Jimmy Page
Recorded at:  The Sol, Cookham
Genre:  Blues-Rock, Rock
Length: 37:11
Label:  Swan Song Records

© 1982

Donny Osmond - Eyes Don't Lie (1990)

“Eyes Don't Lie” is a full-length album by Donny Osmond, issued in 1990 on Capitol Records. One of the 80's most unlikely comebacks was that of Donny Osmond, who must have been really annoyed to hear the same kind of pop he and his brothers pioneered in the 70's being re-popularized by the likes of George Michael and the New Kids On The Block.
This album might not be one of his best or what fans remember from his childhood career, but it is worth a listen. His voice doesn't fail. After fading away through most of the '80s, Osmond reappeared in 1989. He soon began touring and recording again. “Eyes Don't Lie” did land him a Top 40 hit with the song "My Love Is a Fire." It was a tiny foretelling of what was still to come for the childhood music star who had grown up. Two years later he won the starring role in the Broadway show Joseph and the Amazing Technicolor Dreamcoat. A soundtrack he did for the musical went quadruple-platinum, proving that Donny Osmond hadn't been forgotten nor had he lost his talents, and that some things didn't change with the passing of time.  While "Eyes Don't Lie" also sounds very much of its time, it is certainly no embarrassment. The first single, "My Love is a Fire," has a Princely-pulse and dance-floor chants, giving those new kids a show of how to do it. Even more impressive was how Donny got to control a great deal of this album, as he co-wrote eight of the ten songs here. Of these, the ballad "Love Will Survive" is the song that most deserved to become a hit. The peppy "Take Another Try," which cheekily samples "One Bad Apple" was also a lost shot at a hot. Sadly, once the comeback novelty has become old news, radio went back to treating Donny's new songs as old news. The thing is, this album has held up as well as many albums from the period. Donny's voice is still supple and rich, belying his three decades of music making. The album featured three singles: "My Love Is A Fire, "Sure Lookin' and "Love Will Survive".

Track listing

01.  "My Love is a Fire"   (Carl Sturken, Evan Rogers)  -  4:28
02.  "Eyes Don't Lie"   (Donny Osmond, Carl Sturken, Evan Rogers)  - 4:24
03.  "Love Will Survive"   (Donny Osmond, Carl Sturken, Evan Rogers)  - 5:27
04.  "Sure Lookin'"   (Donny Osmond, David Gamson, Tony LeMans)  - 4:22
05.  "Private Affair"   (Diane Warren)  - 3:49
06.  "Take Another Try (At Love)"   (Donny Osmond, David Gamson, Tony LeMans)  - 4:27
07.  "Make It Last Forever"   (Donny Osmond, Mark Holding, Mark Mancina)  - 5:25
08.  "Never Too Late For Love"   (Donny Osmond, Carl Sturken, Evan Rogers)  - 5:26
09.  "Just Between You and Me"   (Donny Osmond, Hitchings, Hewett)  - 3:46
10.  "Before It's Too Late"   (Donny Osmond, Oliver Leiber, David Gamson)  - 5:18

Credits
Vocals, Backing - Donny Osmond
Backing Vocals – Evan Rogers, Jenny Douglas, Audrey Wheeler, Debra Cooper, Porter Carroll, Sharon Bryant, Tony LeMans, Vaneese Thomas, Billy T. Scott, Jamiliah Muhammed, Shelly Peiken, Jeff Pescetto, Renee Geyer
Saxophone – Dave Koz
Bass – John Nevin
Electric Guitar, Keyboards – Carl Sturken
Horns – Dan Higgins, Gary Grant, Jerry Hey, Larry Williams
Keyboards, Drum Programming – David Gamson
Drums, Percussion – Joe Franco
Keyboards – Rich Tancredi
Bass – Cornelius Mims
Tenor Saxophone – Michael Brecker
Turntables – DJ Aladdin
Guitar – Paul Jackson, Jr.
Guitar – Al Pitrelli
Keyboards – Dave LeBolt
Lead Guitar, Backing Vocals – Rory James Collen
Drum Programming – Oliver Leiber
Percussion – Paulinho Da Costa
Arranged By [Strings] – Jeremy Lubbock
Engineer, Mixed By – Ray Bardani, Ryan Dorn
Engineer [Assistant] – Dan Hetzel, Tom Yezzi
Engineer [Assistant] – Ed Murphy
Executive Producer – Donny Osmond
Producer(s) - Carl Sturken, Evan Rogers, David Gamson, Ric Wake, Donny Osmond

Notes
Genre:  Pop, Soft Rock, Funk
Length:  46:53
Label:  Capitol Records

© 1990

Kinks - State Of Confusion (1983)

For those like me who believe that the Kinks have been somewhat adrift in commercial commotion since their late-Seventies resurgence, “State of Confusion”, their twenty-eighth American album, is a strong reaffirmation of their best qualities. What makes cultists of Kinks fans is leader Ray Davies' empathy for the lives real people lead, and his ability to convey that understanding in a voice that is wise and compassionate and in music that captures the subtlest flickers of emotions, as well as the boldest ones. State of Confusion scores high on all counts. This is not a "happy" record, though there is humor in Davies' Weltschmerz and in the springy vitality of the music. "State of Confusion" sets the tone, painting a scene of domestic disarray: "All the dirty dishes are still in the kitchen sink/The tumble dry is broken/Now the telly's on the blink." To top it off, the poor guy's girlfriend moves out when the video machine goes on the fritz. From there, our hero moves out into the world and finds cause for disillusionment in one after another of its institutions. Like marriage, which makes a two-headed monster of man and wife in "Labour of Love." Or the "Young Conservatives" sprouting up at the universities, whom Davies mocks for their self-centered careerist goals, throwing in a spray of "fa fa fa fa's" at the end as a derisive reminder of the ambitious, by-the-rules schoolboy he lampooned fifteen years ago, "David Watts."
But Davies cuts deepest when he hones in on specific characters, which he does brilliantly in "Property," "Cliches of the World (B Movie)" and "Heart of Gold." The first of these is as sad a song as has been written about the dissolution of a relationship; melancholy washes of keyboards lap up against Davies' gentle, heartbroken voice as he and his ex get down to the terrible task of dividing the spoils. "Cliches" is a fiercely sung, angrily played rocker about the embitterment of one of Davies' celebrated "little men," who is swallowed up in some anonymous high-rise and toils thanklessly in a nondescript job. Then there's "Heart of Gold," which just might be addressed to Davies' beau, head Pretender Chrissie Hynde. Musically, it has the jangly, quasi-folk-rock sound of the Pretenders' recent hit, "Back on the Chain Gang," and toward the end, Ray turns a phrase or two à la Chrissie. Is she, in fact, the girl with a heart of gold "underneath the hard exterior"?
"Come Dancing," the by-now-familiar single that was released many months in advance of the album, sums up the bittersweet mood that wafts through the record in calming counterpoint to its more turbulent moments. In it, Davies reminisces fondly on a landmark from his childhood a dance hall where his sister's suitors used to take her. And though a part of his childhood died at the moment it was demolished, he prefers to dwell on the pleasant memories it recalls than in the sadness of its passing. Grace under pressure and a reflective eloquence are this survivor's finest traits, and they turn up when it matters most on “State of Confusion”.
The album is not quite perfect: "Don't Forget to Dance," Ray's big ballad here, is gloppy and saccharine, and there's no excuse for omitting the regally hard-rocking "Noise" and Davies' astonishingly Dylanesque "Long Distance" (they're on the cassette only). But in the breadth of its songwriting, the zip and assurance of the playing, the comeliness of the melodies and the gritty determination of Ray Davies himself, “State of Confusion” cuts the competition to shreds. Nobody but the Kinks could have made such a record in 1983, and no band deserves more to be at the very top which is where this album ought to place them.

Track listing

01.  "State of Confusion"  -  3:41
02.  "Definite Maybe"  - 4:27
03.  "Labour of Love" -  3:54
04.  "Come Dancing"  - 3:54
05.  "Property"  - 4:19
06.  "Noise" (Audio cassette edition only)  - 4:38
07.  "Don't Forget to Dance"  - 4:34
08.  "Young Conservatives"  - 3:58
09.  "Heart of Gold"  - 4:02
10.  "Clichés of the World (B Movie)"  - 4:51
11.  "Bernadette"  - 3:41
12.  "Long Distance" (Audio cassette edition only)  - 5:23

Credits
Ray Davies : lead vocals, rhythm guitar, synthesizer, piano
Dave Davies : lead guitar, vocals (lead on "Bernadette")
Mick Avory : drums
Jim Rodford : bass guitar
Ian Gibbons : keyboards
Written and Produced by Raymond Douglas Davies
Engineered by John Rollo and Damian Korner
Producer: Ray Davies

Notes
All songs written and composed by Ray Davies
Recorded at:  Konk Studios, London
Genre:  Rock, Pop
Length:  40:19
Label:  Arista Records

© 1983

Robert Johnson - Close Personal Friend (1979)

Robert A. Johnson (born in the 1950s) is one of the hottest rock & roll guitarists of the mid-'70s, bluesy and bruising, street smart and sharp, and a gritty songwriter, a rock and blues guitarist based in Memphis, Tennessee who is best known for his work in the 1970s.
Early in his career Johnson played in bands with Jack Holder and Greg Reding, who later became members of Black Oak Arkansas. Johnson's work became well respected by other musicians and at the age of 23 he was auditioned by The Rolling Stones as a possible replacement for Mick Taylor. Between 1974 to 1977 he went on tour as the lead guitarist for John Entwistle's band, known as "John Entwistle's Ox." With his backing band the Bell Heirs, featuring Dave Cochran on bass and Blair Cunningham, he cut an album entitled “Close Personal Friend” for Infinity Records in 1978.  One glance at his debut album and you have him pegged for another new waver, just one more in that long line of quirky power poppers who emerged from the post-Costello '70s and were soundly dismissed on the spot.  Which leaves “Close Personal Friend” in that awkward space somewhere between the classic it is and the bargain-bin regular it became. Too soulful for the skinny-tie brigade but too confusing for everyone who should have loved it, “Close Personal Friend” features ten stunning rockers that dance on the brittlest edge of American roots, and if any album of that era demands rediscovery, this is it.  While his closest contemporary of the time would be folks like Dave Edmunds or Nick Lowe, his fretwork was still rooted in Chuck Berry's Memphis and there was an energy here that could have lit up radio dials had radio been paying attention (and Infinity not $pent itself into oblivion).

Track listing

01.  I'll Be Waiting  - 4:42 
02.  Wish Upon A Star  - 5:01 
03.  Guide My Energy (Parts 1 & 2)  - 4:27 
04.  Say Girl  - 2:57 
05.  Responsibility  - 3:48 
06.  Kerri  - 2:49 
07.  Leslie  - 4:10 
08.  Wreck My Mind  - 4:07 
09.  Debbie's Theme  - 3:59 
10.  Tell Me About It, "Slim"  - 3:40 

Credits
Robert Johnson - Written-By, Producer, Guitar, Vocals, Bass, Drums
David Cochran - Bass, Vocals, Drums
Blair Cunningham - Vocals, Drums, Percussion

Notes
Genre:  Rock
Length:  37:22
Label:  Infinity Records

© 1979

Grootna - Grootna (1971)

It isn't hard to hear what got Grootna, a sextet from Berkeley, CA, a management deal with entrepreneur Bill Graham and a contract with Columbia Records negotiated by company president Clive Davis. Columbia took a major hit in the fall of 1970 when Janis Joplin died, even though her posthumously released LP, Pearl, became a major success. Joplin, of course, had emerged from the Bay Area band Big Brother & the Holding Company, and Grootna has obvious similarities to it. The group has a loose, eclectic style typical of San Francisco-associated psychedelic acts, with tastes of rock, blues, and country melded in a sense of improvisation heard in lengthy solos from lead guitarist Vic Smith and pianist Richard Sussman. And, in Anna Rizzo, who sings lead on every track except "Road Fever," Grootna has its own Joplin clone. She even tackles a Bessie Smith number, "Young Woman Blues," and a song written by Bob Neuwirth, who provided Joplin with "Mercedes Benz" on Pearl. But, at least on the evidence of this debut album, Rizzo is not the next Joplin, even though she has a strong, effective voice. The songs largely serve as vehicles for the instrumental work, and they usually sound like they could have been much longer. Grootna is also, in an odd way, overshadowed by someone who isn't actually heard on the album itself. The producer is Marty Balin (his actual credit reads, "seduced by"), and this marks his first work on a record since his official departure from Jefferson Airplane, the band he founded. Balin's influence is not strongly felt on Grootna, at least in the sense that the album never sounds much like Jefferson Airplane, but some people will purchase it on the strength of his name and may be disappointed.

Track listing

01.  I'm Funky  - 5:27 
02.  Road Fever  - 5:18 
03.  Going To Canada  - 4:17 
04.  Waitin' For My Ship  - 5:06 
05.  That's What You Get  - 4:26 
06.  Full Time Woman  - 4:28 
07.  Young Woman's Blues  - 3:35 
08.  Customs (Is It All Over)  - 3:45 
09.  Your Grandmother Loves You / I She It  - 5:40 

Credits
Lead Vocals – Anna Rizzo
Vocals, Drums – Dewey DeGrease
Vocals, Lead Guitar, Guitar [Bottleneck] – Vic Smith
Vocals, Rhythm Guitar – Slim Chance 
Bass – Kelly Bryan
Clarinet – Bennet Friedman
Piano – Richard Sussman
Saxophone – Jack Bonus
Strings – Carol Garrett, Terry Adams
Trombone – Michael Lafferty
Engineer – Doc Storch
Producer – Grootna, Marty Balin

Notes
Genre:  Psychedelic Rock
Length:  42:41
Label:  Columbia Records

© 1971

Richie Havens - Alarm Clock (1970)

Born in the Bedford-Stuyvesant section of Brooklyn, Richie Havens moved to Greenwich Village in 1961 in time to get in on the folk boom then taking place. Havens had a distinctive style as a folksinger, appearing in such clubs as the Cafe Wha? His guitar set to an opening tuning, he would strum it while barring chords with his thumb, using it essentially as percussion while singing rhythmically in a gruff voice for a mesmerizing effect.
Havens' career benefited enormously from his appearance at the Woodstock festival in 1969 and his subsequent featured role in the movie and album made from the concert in 1970. His first album after that exposure, “Alarm Clock”, made the Top 30 and produced a Top 20 single in "Here Comes the Sun.", cover from The Beatles. These recordings were Havens' commercial high-water mark, but by this time he had become an international touring success. By the end of the '70s, he had abandoned recording and turned entirely to live work.

Track listing

01.  "Here Comes The Sun"   (George Harrison)  - 3:43 
02.  "To Give All Your Love Away"   (Richie Havens)  - 2:48 
03.  "Younger Men Grow Older"  (Richie Havens, Mark Roth)  - 3:34 
04.  "Girls Don't Run Away"   (Richie Havens)  - 4:17 
05.  "End Of The Seasons"   (Richie Havens)  - 3:38 
06.  "Some Will Wait"   (Richie Havens)  - 2:40 
07.  "Patient Lady"   (Richie Havens)  - 4:45 
08.  "Missing Train"   (Richie Havens)  - 4:55 
09.  "Alarm Clock"   (Richie Havens, Mark Roth)  - 5:17 

Credits
Richie Havens - Guitar, Percussion, Piano, Vocals 
Bill Keith - Steel Guitar 
Rick Derringer - Electric Guitar 
Warren Bernhardt - Organ 
Daniel Ben Zebulon - Conga 
Alan Hand - Piano 
Bill Lavorgna - Drums 
Eric Oxendine - Bass 
Dennis Persich - Electric Guitar 
Joe Price - Conga 
Paul Williams - Guitar 
Bob Margoleff - Moog Synthesizer 
Buzzy Linhardt - Vibes 

Production
Bill Shepherd  String Arrangements 
Bernard Fox  Engineer, Remixing 
Gene Paul  Remastering 
Mark Roth  Composer, Producer 
Al Manger  Engineer, Remixing 
Sid Maurer - Art Direction
Richie Havens - Producer 

Notes
Recorded At:  RKO Sound Studios, The Cellar Door
Genre:  Blues Rock
Length:  38:27
Label:  Stormy Forest Records

© 1970

Jerry Garcia - Garcia (1972)

“Garcia” is Grateful Dead guitarist Jerry Garcia's first solo album, released in 1972. Warner Bros. Records offered the Grateful Dead the opportunity to cut their own solo records, and Garcia was released during the same time as Bob Weir's “Ace” and Mickey Hart's “Rolling Thunder”. Unlike “Ace”, which was practically a Grateful Dead album, “Garcia” was more of a solo effort, as Garcia played almost all the instrumental parts. Six tracks eventually became standards in the Grateful Dead concert repertoire.
“Garcia” is arguably the most solo of all these projects, as only he and the Grateful Dead's Billy Kreutzmann (percussion) contribute instrumentally. That said, Robert Hunter's lyrics should not be underestimated as all six of his co-compositions became staples in the Dead's live songbook for the remainder of their concert career. The infusion of new material can be attributed to the lack of any Dead-related releases since “Workingman's Dead” (1970) over 14 months earlier. Although Garcia is the primary musician on the ten tracks, he has given each arrangement a wholly unique persona. These range from straight-ahead blues-based rock & roll ("Sugaree") to the avant-garde ("Late for Supper"). Within those extremes are discerning renditions and solid performances of stone gems such as the noir folkie "Loser" as well as the lilting balladry of "Bird Song" and the cyclical psychedelia of "The Wheel," the latter of which features some of the finest pedal steel guitar work to have come from Garcia's brief infatuation with the twangy instrument. He brings an intimacy to the affective love song "To Lay Me Down" that was rarely equalled by the Grateful Dead. His prowess as an emotive pianist can be heard throughout not only that cut, but also on the trippy medley consisting of the previously mentioned "Late for Supper," "Spidergawd," and "Eep Hour." Ever the self-effacing artist, at the time of release the guitarist overtly downplayed the album as "overindulgent." Time has rendered that assessment utterly false, as Garcia is nothing short of a full-bodied artistic expression from one of rock & roll's most multi-faceted musicians. Both initiated Deadheads as well as enthusiasts of the burgeoning early-'70s singer/songwriter movement will find much to cherish on this recording as Garcia redefines his immense talents and seemingly undiluted musical potential.

Track listing

01. "Deal"   (Robert Hunter, Jerry Garcia)  - 3:14
02. "Bird Song"   (Hunter, Garcia)  - 4:26
03. "Sugaree"   (Hunter, Garcia)  - 5:54
04. "Loser"   (Hunter, Garcia)  - 4:10
05. "Late For Supper"   (Garcia, Bill Kreutzmann)  - 1:37
06. "Spidergawd"   (Garcia, Kreutzmann)  - 3:25
07. "Eep Hour"   (Garcia, Kreutzmann)  - 5:08
08. "To Lay Me Down"   (Hunter, Garcia)  - 6:18
09. "An Odd Little Place"   (Garcia, Kreutzmann)  - 1:38
10. "The Wheel"   (Hunter, Garcia, Kreutzmann)  - 4:12

Credits
Jerry Garcia - acoustic guitar, electric guitar, pedal steel guitar, bass, piano, organ, samples, vocals
Bill Kreutzmann - drums
Robert Hunter - lyrics

Production
Producers & engineers - Bob Matthews, Betty Cantor, Ramrod
Production assistants - Ramrod, Bill Kreutzmann
Mixing - Bob Matthews, Betty Cantor, Jerry Garcia

Notes
Genre:  Folk Rock
Length:  40:00
Label:  Warner Bros. Records

© 1972

John Waite - Rough & Tumble (2011)

Take the title of John Waite’s tenth solo album to heart: it does indeed sound “Rough & Tumble”, rocking harder than he has through most of his solo career. Certainly, there are some slower and soulful moments arriving fairly quickly in the album, too but there’s grit to these ballads and they’re surrounded by some of Waite’s toughest rockers of recent vintage. As good as it is to hear this in the production, what makes “Rough & Tumble” one of Waite’s better efforts is how the songs largely co-written by Kyle Cook of Matchbox Twenty are a solid set of rockers and ballads, a sturdy set of tunes that benefit considerably from their lean, lively production.  “Rough & Tumble” is Waite’s first studio album of original material since 2007’s Downtown: Journey of a Heart and long-time fans will not be disappointed. The album features some of the best melodic moments of his career but to Waite’s creative credit it is not a safe retread of a proven pop formula.
“Rough & Tumble” has a stripped down, organic rawness to it. Gone are the huge multi-layered vocals and keyboards in favor of guitar/bass/drums purity. At first a little disconcerting, you’ll soon realize the more straightforward sound is the perfect showcase for Waite’s clear emotive vocals, and also sounds just downright cool. Credit for this new direction must go in part to Matchbox Twenty guitarist Kyle Cook, who was Waite’s songwriting partner for the past year and a half. The combination of Waite’s rich, dignified vocals and Cook’s Southern honkytonk Strat is both sexy and stunning. On the Tom Pettyesque “Evil,” Waite sings, “Start to feel the rush of the 4/4 time / Moonlight’s kickin’ in the door.” The slithery groove and sultry vocal will make you want to turn up the red lights and dance like no one’s watching. Waite goes for the gold on “If You Ever Get Lonely, a ballad so beautiful, it will stop you in your tracks. One of the best songs of Waite’s career, it is as “hit single” as a song gets. (Producers of Showtime’s Californication series should take note: this is the perfect song for an episode.) The acoustic “Skyward” is another highlight: simple yet lush, it is both inspiring and life affirming. And “Better Off Gone” is immediately one of the best breakup songs of all time; full of motion and hope. Gonna let these horses run straight into the morning sun / I’m better off gone. Waite reminds us it’s ok to live, love, lose and, if needed, relocate.

Track listing

01.  "Rough & Tumble"   (Luis Maldonado, John Waite)  - 4:24  
02.  "Shadows Of Love"   (John Waite)  - 4:03
02.  "Evil"   (Kyle Cook, John Waite)  - 4:03  
03.  "If You Ever Get Lonely"   (Kyle Cook, Lisa Drew, Michael Dulaney, Steven Dale Jones, John Waite)  - 3:55  
04.  "Skyward"   (Jamie Houston, John Waite)  - 4:09  
05.  "Sweet Rhode Island Red"   (Tina Turner)  - 3:49  
06.  "Mr. Wonderful"   (Ivan Král, John Waite)  - 4:24  
07.  "Further the Sky"   (Gabe Dixon, Tia Sillers)  - 4:47  
08.  "Love's Goin' Out of Style"   (Kyle Cook, John Waite)  - 4:46  
09.  "Better Off Gone"   (Kyle Cook, John Waite)  - 3:50  
10.  "Peace of Mind"   (Mark Spiro, John Waite)  - 4:37  
11.  "Hanging Tree"   (Shane Fontayne, John Waite)  - 3:21  

Credits
John Waite - vocals
Luis Maldonado - guitar
Tim Hogan - bass
Billy Wilkes - drums
Kyle Cook - guitar, programming, backing vocals
Mike Webb - keyboards
Fred Eltringham - drums
Shane Fontayne - guitar
Rodger Carter - drums
Bobby Keys - saxophone
Jennifer Paige - backing vocals

Notes
Recorded at:  Doghouse Studio, Los Angeles, CA; Pastel Studios, Nashville, TN; Treasure Isle, Nashville, TN.
Genre:  Pop, Rock
Length:  46:05
Label : Frontiers Records

© 2011

Kid Rock - Early Mornin' Stoned Pimp (1996)

“Early Mornin' Stoned Pimp” was Kid Rock's third full length album, It was distributed by his own label, Top Dog Records. Kid Rock used the money he made from his 1994/1995 monthly Bootleg Series cassettes as well as becoming the janitor at The White Room Studios to purchase recording time.  White boy rap is bad enough, but Kid Rock can take the irritation to a whole new level. That’s what I used to think. Turns out… the Kid is actually bona fide. Behind that shit-eating grin and those stoner-red slits is a driven SOB that not only survived two failed record deals (including one with Jive as early as 1990), but who fought his way back to self-release this 1996 album, “Early Mornin‘ Stoned Pimp”. Ironically, most of his fans have never even heard it. It was printed in small quantities two years before his breakthrough, is way out-of-print and currently changes hands for collector’s prices. The title track is an R&B/rap throwback that eventually gets hijacked by piano & Hammond riffs that just flat-out groove, while “Detroit Thang“ shows that Kid’s gang gets some of their inspiration from good, old-fashioned basement funk. "Intro" has been used by the Detroit Red Wings and Detroit Pistons at their games. You can’t help but note the live drums & samples and elements of street-level blues. Lyrically, it’s what you’d expect lots of cock-talk about getting ripped, laid & paid. Plenty of Pimp is just over the top, as Rock raps like he’s already a star. Singing about “getting paid like Trump” while janitoring to pay studio fees is priceless. But the fact that Kid Rock though sheer determination managed to turn his pre-fame, wanna-be braggadocio into a cartoon-worthy reality is props you’ve gotta give him. TAKE THE KID ROCK CHALLENGE: Make it through both tunes below & you might gain a different perspective on Kid Rock.

Track listing

01. "Intro"  - 0:50
02. "Early Mornin' Stoned Pimp" (feat. Tino)   (Robert J. Ritchie)  - 7:18
03. "Paid"  - 5:15
04. "I Wanna Go Back" - 5:14
05. "Live" (featuring Esham)  - 2:34
06. "Detroit Thang" (feat. The Howling Diablos)   (R.J. Ritchie, Martin Gross)  - 6:22
07. "Ya Keep On"  - 3:55
08. "Shotgun Blast"  - 2:18
09. "Freestyle Rhyme"  - 3:57
10. "Classic Rock"  - 2:42
11. "My Name Is Rock"  - 4:30
12. "Where U At Rock"  - 5:08
13. "Krack Rocks" (feat. Uncle Kracker)   (Matt Shafer, R.J. Ritchie)  - 4:09
14. "The Prodigal Son Returns"  - 3:16
15. "Black Chick, White Guy"  - 7:10
16. "Outro"  - 0:38

Guest Performers
Esham
The Howling Diablos
Uncle Kracker

Notes
Engineer, Mixed By, Producer, Recorded By – Kid Rock
Musical Assistance [Assistance From] – Al Sutton, Andy Nehra*, Dave Piechura, Mike Nehra*
Recorded:  July 1994-December 1995 at: White Rooms Studio Detroit, MI
Genre:  Hardcore Rap, Rap-Rock
Length:  65:59
Label:  Top Dog Records

© 1996

Buckner & Garcia - Pac-Man Fever (1981)

Buckner & Garcia was a musical duo consisting of Jerry Buckner and Gary Garcia from Akron, Ohio. Their first recording was made in the 1960s, when they performed a novelty song called "Gotta Hear the Beat", which they recorded as Animal Jack.
However, the duo is best known for the song "Pac-Man Fever", which became a large novelty hit in 1982. Later the same year, after the song became a hit, the duo signed a record deal with Columbia/CBS Records. According to interviews, the duo never wanted to become a novelty act known for songs based on video games, but when it signed with the label, the company insisted on a full album of video-game songs, although the duo had intended to write a more varied collection of pop music. They complied despite their misgivings and released “Pac-Man Fever”, a full album consisting entirely of songs about arcade games. Hard to believe since irony has come along and eclipsed dumb fun, but in 1982 more people were actually laughing with Buckner & Garcia than laughing at them. Their ode to the classic video game Pac-Man broke into the Top Ten and everyone had “Pac-Man Fever” for a while, although most didn’t stick around to “Do the Donkey Kong” as their second single suggested. Here, both singles appear alongside songs dedicated to six other arcade classics including Asteroids, Defender, and Centipede. Video game hints and instructions are almost always added to the lyrics, like the sage advice for beating “Evil Otto” found in “Goin' Berzerk” (“I’m sure he’s crazy he’s too as he’s bouncin’ cross the floor/There’s no way to destroy him, let him bounce right out the door”). The music is generally bouncy, squeaky-clean pop that’s dated as they come, but “Froggy’s Lament” is a true curve ball as it tells the tale of Frogger with a narrative style somewhere between “Convoy” and Red Sovine. This is the nerd zenith when it comes to early-'80s camp, and whether or not you find it awesome or awful entirely depends on how many quarters you fed to these machines back in the day.

Track listing

01. "Pac-Man Fever"   (Jerry Buckner, Gary Garcia)  - 3:48
02. "Froggy's Lament"    (Jerry Buckner, Gary Garcia)  - 3:18
03. "Ode to a Centipede"    (Jerry Buckner, Gary Garcia)  - 5:37
04. "Do the Donkey Kong"    (Jerry Buckner, Gary Garcia)  - 4:24
05. "Hyperspace"    (Jerry Buckner, Gary Garcia)  - 4:07
06. "The Defender"    (Jerry Buckner, Gary Garcia)  - 4:02
07. "Mousetrap"    (Jerry Buckner, Gary Garcia)  - 4:00
08. "Goin' Berzerk"    (Jerry Buckner, Gary Garcia)  - 4:17
09. "E.T. (I Love You)"    (Jerry Buckner, Gary Garcia)  - 4:21
10. "Hostage"    (Jerry Buckner, Gary Garcia)  - 3:50

Credits
Jerry Buckner - vocals, keyboards
Gary Garcia - lead vocals, guitar
Chris Bowman - guitar
Larry McDonald - bass guitar
Ginny Whitaker - drums
David "Cozy" Cole - syndrum
Rick Hinkle - guitar
Steve Carlisle - background vocals
Sharon Scott - background vocals
Mike Stewart - Moog synthesizer
Co-producer – Danny Jones (2), Mike Stewart (5)
Producer – Gary Garcia, Jerry Buckner

Notes
Recorded at: Studio 1, Doraville, Georgia
Genre:  Comedy, Electronic Rock
Length:  41:44
Label:  Columbia Records

© 1981

Flash Cadillac & The Continental Kids - Flash Cadillac & The Continental Kids (1973)

Flash Cadillac & the Continental Kids, now known as Flash Cadillac, are an American retro rock ‘n’ roll band. In the late ’60s, Flash Cadillac & the Continental Kids hit the club scene and shook up the psychedelic status quo with a dose of old-style rock & roll. Clad in black leather jackets with their hair greased back in ducktails, they performed punchy ’50s rock classics at a time when ten-minute guitar solos were de rigueur. They are best known for their portrayal of the group Herbie and the Heartbeats in the film American Graffiti, to which they contributed three songs: cover versions of “At the Hop” and “Louie, Louie”, and the original composition “She’s So Fine”. The band began in 1969 in Boulder, Colorado at the University of Colorado with Kris Moe as the keyboardist, Linn Phillips guitar, Warren Knight on bass, Harold Fielden on drums and Mick “Flash” Manresa as front man and guitar. The band got its name, “Flash Cadillac & the Continental Kids” from Hughey Plumley who spent most of his time in the back of a Boulder bar, The Sink, and who entertained himself by creating names for bands. After honing their chops on the fraternity party circuit, the group left Boulder and relocated to Los Angeles in 1971. Two years later, they got their big break when they were cast as the prom band in American Graffiti, a gig that also entailed their inclusion in the movie’s hit soundtrack. A major-label record contract followed, and the band issued a series of pleasant ’50s and ’60s revival music albums that encompassed both cover versions and original compositions. The best of these is the surf-themed Sons of the Beach, issued in 1976. The band toured extensively as an opening act for many of the top bands of the ’70s, including Alice Cooper and Black Sabbath. They also appeared on the TV show Happy Days (in an episode written especially for them, no less) and were featured in the film Apocalypse Now. After their career cooled, Flash Cadillac continued to appear on the summer fair circuit and managed to secure gigs doing classic rock songs with symphony pops orchestras. The band also maintained the ongoing job of producing and performing music for the syndicated oldies radio show Supergold.

Track listing

01.  “Muleskinner Blues (Blue Yodel No. 8)   (J. Rodgers)  - 2:30
02.  “Reputation”   (K. Fowley, S. O’Reilly)  - 2:07
03.  “Crying In The Rain”   (C. King, H. Greenfield)  - 2:15
04.  “Teenage Eyes”   (K. Moe)  - 3:08
05.  “Betty Lou”   (K. Moe)  - 2:04
06.  “Pipeline”   (B. Spickard, B. Carman)  - 2:52
07.  “She’s So Fine”   (K. M. Phillips)  - 2:36
08.  “Tell Him No”   (T. M. Pritchett)  - 2:26
09.  “Nothin’ For Me”   (S. McFadin)  - 1:51
10.  “You Gotta Rock”   (G. Robinson, J. Masino)  - 2:14
11.  “Endless Sleep”   (D. Nance, J. Reynolds)  - 3:45
12.  “Up On The Mountain”   (N. Montague, E. G. Abner Jr.)  - 2:25

Credits
Kris Moe – keyboardist
Linn Phillips – guitar
Warren Knight – bass
Harold Fielden – drums
Mick “Flash” Manresa – guitar

Notes
Genre: Rock & Roll
Length:  30:13
Label: Epic Records

© 1973

John Cougar - A Biography (1978)

“A Biography” is John Mellencamp’s second released album, and last credited to his then-stage name “Johnny Cougar”. Recorded in London, it was released in the U.K. and Australia by Riva Records on March 6, 1978. “A Biography”, wasn’t released in America.
Ironically, it was his best effort yet, featuring a harder and genuinely rocking backbeat and, in the silly but catchy “I Need a Lover,” his first good song. In Australia, however, “I Need a Lover” became a huge hit, with the result that Mellencamp’s career got its first start.
The rest of the album didn’t even come close to matching those heights, yet the song indicated that Mellencamp had talent he just wasn’t sure how to access it. The opener, “Born Reckless”, is a rock anthem. “Taxi Dancer” (which, along with “Lover”, appeared on his mainstream debut, JOHN COUGAR), is surprisingly poetic…as is the album closer, “Goodnight”. The last line of this song is a badboy (and early John Mellencamp) catch-phrase: “A crowd of people, aw sh*t”. There are, of course, flaws (which is one reason why Mellencamp today probably won’t play any of these tunes in his shows, even if you beg him). “Let Them Run Your Lives” showcases the political side of Mellencamp that would appear in the eighties, and run rampant in the nineties, but is not nearly mature as his later statements. “High C Cherrie” could’ve been a beautiful, if stilted, ode to a “working girl”…if not for the vulgarity and cheap screams. And throughout, the production is garrish, overdone…even the “Johnny Cougar” that recorded this record seems disgusted at times. Still, “A Biography” (don’t let the title fool you; Mellencamp wrote all 10 songs) shows glimpses of the artist that was to come. Not Mellencamp’s best, not by a long shot, it is still one for die-hard Mellencamp fans, and fans of 70’s rock and roll. John Mellencamp has disowned his younger days–the days when his record company was in control, and he had to use the pseudonym “Cougar”. Yet, Mellencamp fans feel compelled to take a listen to his early stuff…and some of it is surprisingly enjoyable.

Track listing

01.  “Born Reckless”  - 4:35
02.  “Factory”  - 3:02
03.  “Night Slumming”  - 4:40
04.  “Taxi Dancer”  - 4:05
05.  “I Need a Lover”  - 5:37
06.  “Alley of the Angels”  - 3:58
07.  “High C Cherrie”  - 4:58
08.  “Where the Sidewalk Ends”  - 3:56
09.  “Let Them Run Your Lives”  - 5:55
10.  “Goodnight”  - 2:05

Credits
Johnny Cougar – lead vocals, acoustic guitar, background vocals
Brian BecVar – keyboards, background vocals
Larry Crane – guitars, background vocals
Robert “Ferd” Frank – bass, background vocals
Tom Knowles – drums, background vocals
Andy Mackay – saxophones
Ann O’Dell – string arrangement on “Taxi Dancer”
Producer – John Punter

Notes
All songs written and composed by Johnny Cougar (a.k.a John Mellencamp)
Recorded at Wessex Studios, Basing Street Studios, AIR Studios, London, 1977–78
Genre:  Rock
Length:  42:58
Label:  Riva Records

© 1978

Buck Dharma - Flat Out (1982)

“Flat Out” is a solo album by Donald “Buck Dharma” Roeser, lead guitarist and vocalist for hard rock band, Blue Öyster Cult, released in 1982.
Although Roeser penned and sang all of BÖC’s biggest hits (“(Don’t Fear) The Reaper”, “Godzilla”, “Burnin’ for You”), the band operated as a democracy, and some of the songs he brought to the band were deemed too poppy by the others, so he released many of them on his first and, to date, only solo record.
It was the year after BÖC’s commercially and artistically successful “Fire of Unknown Origin”. It’s too bad Dharma couldn’t sustain that vision for “Flat Out”, which is generally a mess, although it has some scattered interesting moments. Dharma seems unsure which direction “Flat Out” should take. It’s a schizophrenic mixture musically and lyrically. He plays virtually every instrument, but special guests include session wizards like bassist Will Lee and drummer Steve Jordan, new BÖC drummer Rick Downey and classic Alice Cooper bassist Dennis Dunaway, and drummer Neal Smith. Dharma’s wife, Sandy Roeser, co-wrote some songs and contributes background vocals. The production is sleek and Dharma’s guitar retains its capacity to sweetly sting one’s eardrums, but the songs are limp. The track “Come Softly to Me” begins with a 35-second backwards recording. When played in reverse, it is a conversation that mentions a bongo record that sounds like channel eleven music used to be. The conversation, which takes place during a game of ping-pong, ends with, “I could kick your ass but I know this is just for a sound check.” The Fan Club lyric book titles this song “Gnop Gnip” (ping pong spelled backwards). “Born to Rock” has a punk-like edge, a few clever lyrics, and a ripping guitar solo, but it fails as an anthem. The laid-back “That Summer Night” relies on a pop melody. The best thing about “Cold Wind” is the guitar arrangement: a slow, 1950s-like electric guitar riff with lightly strummed acoustic guitar on top. “Your Loving Heart” is simply bizarre and embarrassing. The lyrics attempt BOC-like morbid shocks the song’s literally about a heart transplant but they are laughable. The weird bridge featuring “hospital personnel” yelling out medical lingo also induces snickers. “Five Thirty-Five” is a spry, melodic hard rocker with a danceable jam at the end. The best song is the moody, soaring instrumental “Anwar’s Theme.” “Flat Out” didn’t even crack the Billboard album chart.

Track listing

01.  “Born to Rock”   (Neal Smith, Roeser)  - 3:24
02.  “That Summer Night”   (Donald Roeser)  - 3:44
03.  “Cold Wind”   (Donald Roeser)  - 4:38
04.  “Your Loving Heart”   (Roeser, Sandy Roeser)  - 7:12
05.  “Five Thirty-Five”   (Donald Roeser)  - 5:09
06.  “Wind Weather and Storm”   (Richard Meltzer, Roeser)  - 2:35
07.  “All Tied Up”   (Donald Roeser)  - 4:16
08.  “Anwar’s Theme / Gnop Gnip”   (Donald Roeser)  - 4:11
09.  “Come Softly to Me”   (Gretchen Christopher, Barbara Ellis, Gary Troxel)  - 3:32
10.  “Gamera Is Missing”   (Donald Roeser)  - 3:22

Credits
Donald “Buck Dharma” Roeser – vocals, lead guitar, drums, synthesizer
Sandy Roeser – vocal, backing vocals
Neal Smith- drums
Dennis Dunaway – bass
Giis de Lang – additional rhythm guitar
Richard Crooks – drums
Will Lee – bass
Billy Alessi – synthesizer
Craig MacGregor – bass
Spyke Grubb – backing vocal
Teruo Nakamura – bass on
Richie Cannata – saxophone, clarinet, and horn arrangement
Steve Jordan – drums
Sue Evans – percussion
Ron Riddle – drums

Production
Ken Kessie – engineer
Clay Hutchinson, Jeff Kawalek – 2nd engineer
Tony Bongiovi – re-mixing
Chris Isca, Paul Mandl, Barry Bongiovi, Wayne Lewis, Jimmy Sparling – assistant engineers
Bob Ludwig – mastering
Donald Roeser – producer

Notes
Recorded at : Boogie Hotel Studios, Port Jefferson, New York, Kingdom Sound Studios, Long Island, New York, North Lake Studios, North White Plains, New York, The Power Station and Warehouse Studios, New York City, The Automatt, San Francisco, California, 1981
Genre:  Rock
Length:  38:21
Label:  Portrait Records

© 1982

Styx - Cyclorama (2003)

“Cyclorama” is the fourteenth studio album by Styx, released in 2003. This was the first studio album with Lawrence Gowan, following the departure of group co-founder Dennis DeYoung in 1999. It was also the last album to feature Glen Burtnik, and the only album released by the Lawrence Gowan/Tommy Shaw/James Young/Glen Burtnik/Todd Sucherman lineup.
During the '90s, such veteran arena rockers as Journey and Styx mounted comebacks, both of which featured all, or most of, their classic lineups. But in both cases, both reunions were fleeting, and instead of packing it up for good, both acts soldiered on with new frontmen -- in Journey's case, Steve Augeri got the nod to fill Steve Perry's shoes, while Styx replaced Dennis DeYoung with Lawrence Gowan. As most longtime Styx fans know, DeYoung brought balladry and also a flair for the dramatic to the band (Domo Arigato, "Mr. Roboto"?), while guitarist Tommy Shaw wanted the band to be a tried and true rock outfit. Now that Shaw has been appointed captain of the Styx ship, “Cyclorama” is expectedly more straight-ahead rock than anything he band has ever done, especially evident on such cuts as the album opener "Do Things My Way" and the goofy "Bourgeois Pig" (featuring special guest Billy Bob Thornton). But Styx misses the mark badly by trying to update their sound on "Kiss Your Ass Goodbye," which is an obvious attempt at honing in on Sum 41 and blink-182 territory. Additionally, while listening to such ambitious tracks as "These Are the Times," you can't help but think that the material would've been even better if DeYoung were still involved. As evidenced by “Cyclorama”, DeYoung is just too big a missing piece of the Styx puzzle.
The album's first single was "Waiting for Our Time". It failed to chart.

Track listing  

01. "Do Things My Way"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  (Lead vocals: Tommy Shaw)   - 4:57 
02. "Waiting for Our Time"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  (Lead vocals: Tommy Shaw)   - 4:12 
03. "Fields of the Brave"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw) (Lead vocals: Lawrence Gowan)   - 3:23 
04. "Bourgeois Pig"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  (Lead vocals: Billy Bob Thornton)   - 0:49 
05. "Kiss Your Ass Goodbye"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw) (Lead vocals: Glen Burtnik)  - 3:13
06. "These Are the Times"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  (Lead vocals: James Young)  - 6:45  
07. "Yes I Can"   (T.Shaw; J.Blades, L.Gowan, G.Burtnik, J.Young, T.Sucherman)  (Lead vocals: Tommy & Glen)  - 3:50 
08. "More Love for the Money"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  (Lead vocals: Lawrence Gowan)  - 3:47 
09. "Together"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  (Lead vocals: Tommy Shaw)  - 4:46 
10. "Fooling Yourself (Palm of Your Hands)"   (Tommy Shaw)   (Lead vocals: Tommy Shaw)  - 0:39
11. "Captain America"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw) (Lead vocals: James Young)  - 3:53 
12. "Killing the Thing That You Love"   (G.Burtnik, T.Shaw, L.Gowan, J.Young, T.Sucherman, B.Burger)  (Glen Burtnik)  - 5:36  Lead vocals:
13. "One With Everything"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  (Lead vocals: Tommy Shaw)  - 5:56  
14. "Genki Desu Ka"   (G.Burtnik, L.Gowan, J.Young, T.Sucherman, T.Shaw)  - 6:13

Credits
Glen Burtnik - bass, vocals
Lawrence Gowan - keyboards, vocals
Tommy Shaw - acoustic and electric guitars, vocals
Todd Sucherman - drums, percussion
James Young - guitars, vocals
WithChuck Panozzo - bass on "Bourgeois Pig", backing vocals on "Kiss Your Ass Goodbye"

Additional personnel
Jude Cole
Gary Loizzo of American Breed
Tenacious D (Jack Black and Kyle Gass)
Billy Bob Thornton
John Waite
Brian Wilson

Production
Producers: Tommy Shaw, James Young, Gary Loizzo
Associate producers: Lawrence Gowan, Todd Sucherman, Glen Burtnik
Engineers: Gary Loizzo, Charlie Pakaari, Craig Williams, Mark Linnett, Plinky Giglio, Dave Yackoboskie, Jimmy Hoyson, Jim Mitchell, Bruce Monical

Notes
Genre:  Progressive Rock
Length: 57:59
Label:  Sanctuary/CMC International

© 2003

Steely Dan - Live At The Rainbow, England 1974

Steely Dan started touring in 1972 to support “Can’t Buy A Thrill” and carried a heavy live schedule for the next year and a half.  They stopped touring for twenty years after shows in the summer of 1974, but not until they traveled to the UK for the first time.  Originally scheduled for twelve shows, more than half were canceled and the band would play only five.  The final two were at the Rainbow Theatre in London on May 20th and May 21st. 
“Live At The Rainbow” on Master Note is the first silver pressed edition of the professionally mixed soundboard recording made that night.  Steely Dan brought Stuart “Dinky” Dawson, one of the pioneers in live sound technology, to be the sound engineer and to record the shows on the tour.  Unlike flat soundboards from the era, this is very crisp and detailed with wonderful separation in the instruments.  As the liner notes say:  “Dawson was unaware of it, but he was mixing what turned out to be the final tour legs by the original band, now expanded to an eight piece. On board were a second keyboard player and singer, Michael McDonald, and a second drummer, Jeff Porcaro, in addition to the original musicians. Instrumentally, they were now capable of more complex arrangements and the vocal harmonies significantly improved with McDonald’s voice added to the mix. This was arguably the most compelling touring band Becker and Fagen ever assembled. … A stereo recording with a well-balanced mix, this is indeed the crown jewel of all early Steely Dan recordings.“ After the introduction the band start off with the adrenaline rush of “Bodhisattva.”  It is such an roller coaster ride that the audience could barely keep up.  The relatively tame “Boston Rag” follows, allowing everyone to catch their breath.  “Do It Again,” their first single and one of their most recognizable tunes, is extended with a Shaft style funk interlude.  “Brooklyn (Owes The Charmer Under Me)” effectively replaces “Any Major Dude,” the song more commonly played in this slot.  Don Fagen calls “King Of The World” a very scary song and even tries to convince the audience at the song’s end. 
After introducing the massive band onstage, and pointing out that Skunk Baxter insists on being called Jeffrey while in England, they add two more songs to the set, “My Old School” and the slow and profound “Dirty Work.”  A very long jam laden version of “Reelin’ In The Years” is the official end to the show.  When they return for the encores, they play long versions of “Show Biz Kids” as well as an extended version of the unreleased “This All Too Mobile Home” complete with a Genesis style drum duet.  The song was never recorded in studio and was only played on this tour.  It’s good to have such a good recording.

Track listing

01.  Tobe-Waiting-Intro  - 3:16
02.  Bodhisattva  - 4:58
03.  The Boston Rag  - 6:08
04.  Do It Again  - 7:54
05.  Any Major Dude  - 3:12
06.  King Of The World  - 5:11
07.  Rikki Don’t Lose That Number  - 5:11
08.  Pretzel Logic  - 5:28
09.  Your Gold Teeth II (Jam)  - 5:30
10.  Reelin’ In The Years  - 4:30
11.  This All Too Mobile Home  - 6:46

Credits
Walter Becker - Bass
Donald Fagen - Piano, Syntesizer, Vocals
Michael Mcdonald - Fendler Rhodes, Vocals
Jeff Porcaro - Drums
Royce Jones - Percussion, Vocals
Jeff Baxter - Guitar, Pedal Steel, Percussion, Background Vocals
Denny Dias - Guitar
Jim Hodder - Drums, Percussion, Background Vocals

Notes
Genre:  Jazz Rock
Length:  58:04
Label:  Master Note

© 1974